Lighting Designer David Heguy & 4Wall Illuminate The Phil Collins Story Tour

The Phil Collins Story, an all-new docu-concert chronicling the artist's chart-topping career from his time with Genesis through his multi-Grammy winning solo work and Academy Award-winning contributions to Disney, is currently selling out venues across the country. Staged and conceived by Dean Elliott, the production stars Seth Eliser as Phil Collins and features a live band performing over 30 songs that span decades of Phil's music. 4Wall is supplying the tour's lighting and control package, working alongside Lighting Designer David Heguy to bring the show's visual identity to life.

A Partnership Built On Trust

Heguy has worked with 4Wall and Senior Account Manager Adam Aronofsky for years across a range of projects. So, when The Phil Collins Story was greenlit, he knew immediately where to turn for his equipment needs.

"4Wall has always been amazing to me," Heguy said. "I've worked with other shops on various projects, but I always find myself coming back to 4Wall for a few reasons. They consistently offer the best, newest, and most extensive selection of gear, and knowing this tour required very specific infrastructure and equipment, choosing them was a no-brainer."

That confidence was put to the test early on when the production initially leaned toward another vendor due to existing relationships. Heguy pushed back, reassuring the team that 4Wall was the right choice for a touring production of this nature.

"Given the nature of a touring production, I knew that if we encountered a problem on the road, 4Wall would do everything in its power to get us a solution as quickly as possible," he explained. "I am very happy with the partnership I have with 4Wall, and was proud to collaborate with them on a project like this. I look forward to continuing our relationship."

Budget planning was a collaborative process between Heguy and Aronofsky. While the production had a solid budget to work with, maximizing every dollar was still a priority.

"Our process usually starts with me asking for the world, and Adam bringing me back down to earth," Heguy said. "He's incredibly skilled at taking a number at face value and finding ways to squeeze as much into the budget as possible. He was a vital part of getting this tour on its feet and making sure the team and I had everything we needed for success while keeping my design vision at the forefront."

The feeling is mutual. Aronofsky, who has worked with Heguy across a range of productions, sees the relationship as a natural fit for both sides.

"I've had the pleasure of working with David for several years now," Aronofsky said. "David and I have collaborated on numerous projects ranging from small productions to larger scale projects that required creativity and reliability. Building a strong relationship has been very important to ensure trust and respect throughout the years, which makes working with David seamless for 4Wall."

A Small but Mighty Rig

The producers behind The Phil Collins Story wanted to begin with a shorter initial run before investing in a larger touring package, but they left plenty of room for lighting to make a strong impact. Heguy was tasked with building a rig that could load in quickly, travel efficiently, and deliver consistent results across a wide range of venues, from casinos to large roadhouses to smaller spaces.

"A major priority was ensuring the tour could load in quickly, efficiently, and be replicable across a wide range of venues while maintaining consistency," Heguy said. "They were also very focused on staying true to the look and feel of an authentic Phil Collins concert. This led me to spend a great deal of time researching the evolution of lighting in Phil Collins' shows over the years, which heavily influenced many of my design and fixture choices."

Heguy concentrated the visual strength of the design from the deck rather than overhead, working with two electrics above while investing heavily in floor-based fixtures. The approach centered on a combination of Ayrton Perseo Beams, Martin MAC Aura XBs, and ACME Tornados on the electrics, with GLP Impression FR1s behind the band platforms, GLP JDC1s for audience blinders and color fills, and ChromaQ Color Force IIs for band lighting and pixel-mapped texture. Six Perseo Beams on the deck delivered the strong beam work that reaches into the house and creates the concert atmosphere Heguy was after. An EOS Ti console provided full control of the rig.

"In the end, the goal was to create a package that was efficient, flexible, and powerful enough to deliver the energy of a true Phil Collins concert, regardless of venue size," he said. "Every fixture choice was driven by storytelling, speed, and impact, allowing the show to feel much bigger than the footprint we travel with."

Honoring the Legacy Without Copying It

As a docu-concert, The Phil Collins Story isn't a standard tribute act. The show features Eliser speaking to the audience about how Phil became Phil, tracing the journey from Genesis through his solo career. That theatrical backbone required Heguy to balance concert spectacle with more neutral, storytelling-driven moments.

"I drew a lot of inspiration from Phil Collins' past concerts," Heguy said. "I tried not to watch too many videos, because the goal was never to copy, but rather to reflect the spirit and ideas of his tours. Phil used tons of movers to create incredible beam work that expanded the lighting beyond the stage, often engulfing the entire venue in light. This was a goal of my design at the root of the gear chosen."

That research informed specific choices throughout the rig. The FR-1s echo concepts from past Collins tours. The Perseo Beams on the electrics and deck reference the expansive beam work Collins was known for. LED neon around each deck platform nods to his illuminated set pieces. The ideas are rooted in Collins' legacy, but the execution is Heguy's own.

With over 30 songs in the setlist and at least twice as many ballads as up-tempo numbers, one of Heguy's biggest challenges was making sure every song felt distinct. He deliberately saved certain ideas, color palettes, and fixture modes for specific moments, avoiding the repetition that can flatten a show of this length.

"Take 'You'll Be in My Heart' from Tarzan, for example," he explained. "This love ballad carries intense emotional weight, and I wanted the lighting to live in that Tarzan world while also expanding into pinks and purples, with slow-spinning gobos moving through the audience during the chorus." He also pointed to small but intentional tricks that keep the show feeling fresh: holding back the JDC1 pixel mode until a few songs in, saving the Tornados for later in Act One, and reserving open white beams and strobing exclusively for "In The Air Tonight."

Standout Fixtures

Two fixtures in particular exceeded Heguy's expectations on this tour: the Ayrton Perseo Beam and the ACME Tornado.

The Perseo Beam wasn't Heguy's original pick. It came as a substitute suggestion from Aronofsky, and Heguy trusted his judgment based on his experience with the Ayrton Rivale. The payoff was immediate. He was impressed with the variety of gobos, the wide and beautiful color range, and the fixture's ability to produce both saturated, punchy looks and lighter, cooler tones in the exact shades he was after.

The ACME Tornado, on the other hand, was a late addition born out of necessity. While drafting the plot, Heguy had two open gaps on the second electric and wasn't sure how to fill them. It wasn't until he saw the Tornados in action at a Disney Cruise boat launch party that he knew they were the right fit.

"I called Adam right away, and even though the units were initially booked for other projects, he worked his magic and secured them from another tour that didn't need them," Heguy said. "Another example of 4Wall's exceptional service. These units added the flair the design needed. They're bright, have amazing color, are simple to program, and could perform multiple roles to impress the audience."

Looking Ahead

This run of The Phil Collins Story represents just the first phase of what the team hopes will be multiple iterations of the tour. Plans are already forming for the next pass, including replacing the current video surface with a larger, brighter LED video wall, something Heguy is looking forward to exploring with 4Wall.

Beyond video, Heguy is eyeing additions that would expand the show's visual footprint: a light wall surrounding the video surface, more moving lights on the deck to increase audience immersion, additional FR-1s along the stage edge, and more ACME Tornados throughout the rig.

"There are already plenty of ideas cooking for the next pass of the tour," Heguy said. "But in the meantime, I'll continue exploring what 4Wall has to offer to keep making the show look bigger, bolder, and more exciting."

Since opening night, The Phil Collins Story has been selling out stops in advance or day-of, with audiences responding to the production's ability to transport them back to the music they grew up with. Heguy credits the full creative team, including video designer Taylor Edelle Stuart and performer Seth Eliser, for building something that honors Phil Collins' legacy while giving audiences an experience that feels both nostalgic and new.

"When 'In The Air Tonight' played, it felt like an earthquake of energy," Heguy said. "Seeing people smile, sing along, or even tear up during a ballad makes all the late nights and challenges completely worth it. This is the kind of work that makes me excited to keep designing, pushing boundaries, and bringing these shows to life night after night."

Credits:

Director: Dean Elliot
Producers: Paquin Entertainment 
Video Designer: Taylor Edelle Stuart
Scenic Designer: Chris Osborn
Costume Designer: Elissa Martin
Sound Designer: Teddy Woosley
Production Manager: Noah Smith 
Lighting Designer: David Heguy

The Phil Collins Story: www.philcollinsstory.com  |  Instagram: @PhilCollinsStory

David Heguy: www.dhlighting.org  |  Instagram: @DavidHeguyDesign  |  @David.Heguy