Marlon Campbell has an in-depth knowledge, and wide-ranging experience in all aspects of live performance. He has served as Stage Manager for numerous productions. These range from New York's Harlem Week Celebration, the Asian-American Dance Festival, and the Madison Avenue Street Fair, to special ceremonies at New York City Hall and the United Nations.
Oh Her Majesty's Service, he served as Technical Coordinator of the Ruth Seaton James Center for the Performing Arts, in Devonshire, Bermuda. While in that position, he also sat on a Ministry of Education panel charged with developing a new School for the Arts on the island. Previously, he has served as the Technical Coordinator of Aaron Davis Hall, at the City College of New York, and is the Executive Director of the Theatre of the Living Word, a community-based dramatic troupe.
      He served as the Technical Director of Vy Higginsen's Mama, I Want to Sing!, and its many sequels. For more than a decade, he oversaw performances at the Saenger Theatre in New Orleans, Madison Square Garden, Union Square Theatre, Washington's Warner Theater, Nashville's Grand Ole Opry, Louisville, Kentucky's Whitney Center, Der Weiner Konzerthaus in Vienna, Austria, as well as tours of Germany, Switzerland, and Japan.
In addition, Campbell has frequently served as Property Master for Woodie King, Jr.'s New Federal Theatre. There, he became well-known for his design of elaborate imaginary or real mechanical devices, as well as his faithful and resourceful renderings of period settings. His NFT works have included Robert Johnson: Trick the Devil, Checkmates, and Diss Dis Diss Dat, as well as the National Black Touring Circuit's Brother Malcolm X, at Harlem's Schomburg Center for Research in Black Culture. He also provided props for productions of the operas Pagliacci, Angelica, Madama Butterfly, and La Boheme, as well as the thriller Wait Until Dark. He designed the sets and special properties for the world premieres of Amiri Baraka's Primitive World (a post-apocalyptic, anti-nuclear jazz musical), Douglas Nathaniel Williams' Coralfish Island, and Monroe Dornbusch's Miss Everlasting Joy. His props have also appeared in live productions at The American Museum of Natural History, the Lamb's Theatre, Nuyorican Poet's Cafe, and the Billie Holliday Theatre. Campbell dressed the sets for the films Let's Get Busy, Black Utopia, and A Warning from the Ancestors, and provided props for music videos by several pioneer rap artists such as Doug E. Fresh and Ice-T.
Marlon was the Lighting Designer for the Off-Broadway productions Gospel Is, Mama's Christmas in Japan, and Lola Loui's The Children's Legacy, and has installed and/or operated lighting systems at Bronx Community College, Tokyo's NHK Studios, St. Paul's Community Baptist Church, and the New York Reggae Music Festival.