Nominated: KXT 2024 Awards - Best Play, Best Director, Best Design

"Set design by Tyler Fitzpatrick is simple, but noteworthy for the sleekness it brings to the production. Also by Fitzpatrick, are the wonderfully dynamic lights, beguiling with their surprising elaborateness." - Suzy Wrong

"Technial flourishes were also impressive.  The play had a terrific sound design from Clare Hennessy, and the set from Tyler Fitzpatrick had several lighting and video treats." - Stage Whispers

"The intimate theatre, mixed with Tyler Fitzpatrick & Lily Hayman’s set design, meant that once you were in, you were locked in and not allowed to leave....Fitzpatrick’s lights with Clare Hennessy’ssound were fantastic accompaniments, excellently done, to the point a theatre friend I met in the audience was wondering who the artists were for future productions. The haze was brilliant and not overdone (always a challenge in a small space especially!)" - Kat Pech, Theatre Thoughts

"There is a breadth and depth of knowledge and love here. Together with Tyler Fitzpatrick’s stage & lighting (which is more evolved than I expected it to be) and Clare Hennessy’s sound which brings the ‘magic’ to life, this is a real hit." - Cultural Binge

Sydney Theatre Award Receipient for Best Lighting Design of an Independent Production 2022

“Tyler Fitzpatrick’s evocative lighting design provides for the staging, a hypnotic quality that encourages our minds to simultaneously focus and dream, to use what our eyes see, and travel to mythical and perhaps philosophical spaces within.” - Suzy Wrong

"While the central musical motif was haunting, the moments that Pingon and Pan chose not to have music were some of the most moving of all. The music worked well in tandem with Tyler Fitzpatrick’s lighting design to dictate tone and punctuate each section in the fifty-minute piece." - ATYP

The set also followed with simplicity, as one splatter-shaped gold platform elevated the space and enhanced relationships of harmony and conflict within the performance. Lighting by Tyler Fitzpatrick was simple yet effective, where shadows against the back curtain let the audience enter a dream-like state. - Charlotte Leamon, Theatre Travels

"Lighting by Tyler Fitzpatrick is warm and magical, with a string of bulbs behind the curtain bringing mystical depth and bright whites showing scorching heat." - Charlotte Smee, Theatre Thoughts

“…the lights of Tyler Fitzpatrick’s back-lit lighting design obscured behind a gauzy curtain. This warm, cozy but chic design later became more disquieting as the lights turned cool and shadows took over the recesses of the stage corners.” - Nightwrites

"Lights by Tyler Fitzpatrick are deployed with an impressive eye for detail, notable for their ability to manufacture subtle but meaningful shifts in mood" - Suzy Wrong

"Lighting nuances by Tyler Fitzpatrick are expertly on cue, changing from a bright amber light to lowlight. Red hues bring a hellish vibe to the cousins’ brawl like alleyway cats." - Sydney Theatre Review

"The addition of Teale Howie’s Richard Nixon impressionist Jasper and his subsequent infatuation with Cicelia is rib-crackingly portrayed thanks in part of Tyler Fitzpatrick’s lighting design." - Theatre Thoughts

"In addition to the performances, Porpoise Pool uses creative set design, lights, sound, and costumes that makes the production’s sci-fi and avant-garde sections possible." - Stage Whispers

“The collaboration used throughout the creative process was prominent in how well actors, sound, lighting, set, stage, blocking and writing worked together, creating an eccentric yet eerie environment in such a limited space and limited budget.” - The Young Syd Review

"The charm of this minimalist piece is the sense of family, of community, of sisterhood that the performers evoke so convincingly; their work is deftly complemented by Hailley Hunt’s production design, Christine Pan’s sound design and Tyler Fitzpatrick’s lighting design." - Sydney Arts Guide

"The pale costumes of the women catch the exquisite light (Tyler Fitzpatrick), and the gold, pinks and bronzes of the hanging fabric is alluring.  Christine Pan’s music an evocation of the poetic, the hopes, and dreams of the laborers." - Kate Gaul, Theatre Travels

"Production design by Hailley Hunt introduces a sense of ethereal beauty to the production, along with lights by Tyler Fitzpatrick that deliver remarkable sensuality, to this portrait of woman as both heroic and tragic." - Suzy Wrong

Adelaide Fringe Weekly Award Winner 2023

"This is a graceful production. And all brilliantly supported by co-producer and lighting designer Tyler Fitzpatrick. Fitzpatrick has fun creating distinctive lighting states for the musical moments inside the drama." - Kate Gaul, Theatre Travels

"conscious juxtaposition of light and darkness in the costuming, lighting, pacing, set design and music elevate the story and allows Heffernan to fully lean into its extremes, from explaining that fairies don’t poop to talking her mother off a literal ledge, without giving the audience whiplash. It’s a delicate balancing act, and this duo nails the tightrope walk." - Toasting Aussie Theatre

"Utilising KXT’s traverse staging, Fitzpatrick’s lighting is fully rock’n’roll, harnessing tiered homemade LEDs and three columns of par cans to create insanely pleasing visuals as Heffernan slams out echoing riffs on guitar." - Justin Clarke, Theatre Thoughts