Marlon Campbell is experienced in every aspect of theatrical production, and special event presentation. He has planned, produced, promoted, performed, directed, and designed shows for major companies, emerging Artists, as well as local arts organizations.

Mr. Campbell served as Stage Manager for numerous productions, ranging 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, Museum of Modern Art, Cathedral of St. John the Divine, the American Museum of Natural History, and the United Nations.

On Her Majesty's Service, he was Technical Coordinator of the Ruth Seaton James Center for the Performing Arts, in Devonshire, Bermuda. While in that position, he trained students from Cedarbridge Academy, and also sat on a Ministry of Education panel charged with developing a new School for the Arts on the island. Previously, he was the Technical Coordinator of Aaron Davis Hall, at the City College of New York, and is the Chairman of the Board of Directors for the award-winning Caribbean American Repertory Theatre.

He was the Production Manager and Technical Director of Vy Higginsen's long-running gospel musical Mama, I Want to Sing!, and its many sequels. For more than a decade, he oversaw performances worldwide, at the Saenger Theatre in New Orleans, Union Square Theatre, Madison Square Garden, Dempsey Theatre, Washington's Warner Theater, Nashville's Grand Ole Opry, Louisville, Kentucky's Whitney Center, Der Weiner Konzerthaus in Vienna, Austria, as well as multiple tours of Germany, Switzerland, and Japan.

In addition, Mr. Campbell has served as Property Master for several New Federal Theatre productions, including Christchild, Robert Johnson: Trick the Devil, Checkmates, Urban Transition: Loose Blossoms and Bessie Speaks!, 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 Roberto Stivanello productions of the operas Pagliacci, Suor Angelica, Madama Butterfly, and La Boheme at Henry Street Settlement and University of Bridgeport, as well as the thriller Wait Until Dark, for the Harlem Theatre Company.

He designed graphics, sets, and special properties for the world premieres of Amiri Baraka's Primitive World (a post-apocalyptic, anti-nuclear jazz musical), Michael Jones’ Hercules Didn’t Wade in the Water, and Ishmael Reed's Life Among the Aryans. His props have also appeared in live productions at the Producers Club, Theatre for the New City, the Lamb's Theatre, Nuyorican Poet's Cafe, Black Spectrum Theatre, the Billie Holliday Theatre, Dwyer Center, Bank Street Theatre, and in London's West End. Mr. Campbell dressed the sets for the films Let's Get Busy, Black Utopia, and A Warning from the Ancestors, and propped music videos for pioneering Rap Artists such as Doug E. Fresh and Ice-T. He is known for his design of elaborate imaginary or real mechanical devices, as well as faithful and resourceful renderings of printed documents and period settings.

Mr. Campbell was the Lighting Designer for Scott Joplin’s Treemonisha, JVC’s Lost Jazz Shrines, and the Broadway premiere of Lola Loui’s The Children's Legacy. He installed and/or operated lighting systems at Harlem’s Minisink Center, Bronx Community College, Jamaica Performing Arts Center, St. Paul's Community Baptist Church, York College performing Arts Center, Osaka's NHK Studios, and the New York Reggae Music Festival.   

In January 2005, he succeeded founder Millicent Jones as Executive Director of the Theatre of the Living Word. Based primarily at the L. Charles Gray Theatre of the Presbyterian Church of Saint Albans, in Queens, TLW features the plays of such acclaimed writers as Ossie Davis, James Baldwin, Lorraine Hansberry, Langston Hughes, and Nannie L. Burroughs. In addition to originals works, such as Then & Now, by Mr. Campbell, Sojourn, by Millicent Jones & Geri Taylor-Brown, and the very popular Caribbean drama Coralfish Island, by the late Douglas Nathaniel Williams. TLW also collaborates with other companies to go "beyond the walls," in order to reach wider audiences. Working with Caribbean American Repertory Theatre, TLW presented Oliver Stephenson's Tradewinds, at the Metropolitan Community Church, A Raisin in the Sun at Jamaica Center for Arts & Learning, and Rudolph Shaw’s Biko Rising!, in Capetown, South Africa. With an eye to the future, young people are involved in every aspect of Theatre of the Living Word productions, both onstage and behind-the-scenes.