Stage / Special Events
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.
On 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.
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, Mr. 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 (the props for
were noted in a New York Times review), 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 the Robert Stivanello productions of the operas Pagliacci,
Angelica, Madama Butterfly, and La Boheme, as well as
Harlem Theatre Company's 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
Mr. Campbell 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 First Presbyterian Church of Springfield Gardens,
The Plaza Hotel, Bronx Community College, Tokyo's NHK Studios, St.
Paul's Community Baptist Church, and the New York Reggae Music Festival.