Imagine discovering your life’s passion by sheer accident in a middle school hallway. That’s exactly what happened to Maaz Ahmed, a Marquette Theatre alum who’s now lighting up Broadway—literally. But here’s where it gets fascinating: Ahmed’s journey into lighting design wasn’t part of some grand plan. It started with a simple question from a choir teacher: ‘Want to run lights for the school musical?’ Ahmed said yes, mostly to spend time with friends, but little did they know, this casual decision would spark a lifelong obsession.
‘I still remember the rush of satisfaction after my first show,’ Ahmed recalls. ‘That’s when I knew I was hooked.’ Fast forward to today, Ahmed is a Milwaukee-based lighting designer with over a dozen shows under their belt and a fellowship on their first Broadway production, ‘Bug.’ In an exclusive Q&A with Marquette Today, Ahmed pulls back the curtain on the art and science of lighting design, revealing what most people never see behind the scenes.
What drew Ahmed to Marquette? ‘I wasn’t sure if I wanted a Bachelor of Fine Arts or a Bachelor of Arts, but I knew I needed a place where I could explore everything,’ they explain. It came down to Marquette and Michigan, but Marquette felt like home—a place where creativity and opportunity collided.
So, what exactly does a lighting designer do? Think of them as the unsung heroes of theatre, the ones who shape the mood, focus the audience’s attention, and bring the director’s vision to life. ‘We’re like the cinematographers of the stage,’ Ahmed says. ‘Every color, every shadow, every shift in light is deliberate, designed to make you feel something.’
And this is the part most people miss: the sheer complexity behind the magic. Ahmed’s process starts months before a show, with script readings, deep conversations with the director, and architectural drawings of the theatre. Then comes the math—yes, math. ‘You’re calculating beam angles, light positions, and multiplying that by hundreds of fixtures,’ Ahmed explains. ‘My light plots can range from 100 to 250 lights, depending on the show.’
But here’s where it gets controversial: Is lighting design more art or science? Ahmed leans into both. ‘The technical side is crucial, but the creative part—programming colors, timing transitions—that’s where the magic happens,’ they say. Take, for example, their work on ‘The Elaborate Entrance of Chad Deity,’ a wrestling play staged in a 120-seat warehouse. ‘We essentially recreated a WWE spectacle in a tiny space,’ Ahmed laughs. ‘It was a technical nightmare, but the result was breathtaking.’
Another standout? A hyper-realist production where a ceiling blocked their usual lighting setup. ‘I had to rethink everything,’ Ahmed admits. ‘It forced me to innovate, and that’s what I love about this job.’
How did Marquette shape Ahmed’s career? ‘Marquette gave me freedom,’ they reflect. ‘I didn’t start as a lighting designer—I discovered it sophomore year. But Marquette let me act, direct, and design, giving me a 360-degree view of theatre that still influences my work today.’
Advice for aspiring theatre students? ‘If you want something, make it happen,’ Ahmed urges. ‘Theatre is what you put into it. If you’re serious about a career, give it everything you’ve got. That’s how you build a foundation.’
Now, here’s a question for you: Do you think lighting design gets the recognition it deserves in theatre? Or is it still an overlooked art form? Let’s debate it in the comments—Ahmed’s story might just change your perspective.
