From St. George to Broadway: Kat Morrill on Lighting Design and a Tony Award-Winning Debut
When Maybe Happy Ending opened on Broadway in 2025, audiences were dazzled by its inventive design and striking visuals. The show went on to win the Tony Award for Best Musical and the New York Drama Critics’ Circle Award, with USA Today calling it “one of the most visually stunning shows to hit New York in ages.” For Utah Tech alumna Kat Morrill, the production also marked a personal milestone: her Broadway debut as an assistant lighting designer.
Morrill’s path to Broadway began in St. George. She graduated from Utah Tech University in 2013 with a Bachelor of Science in Theater, just missing the chance to complete a newly introduced music minor. Even without the credential, her training as a classical and jazz musician shaped how she approaches design. “Lighting is music made visible,” she said. “My classical training helps me analyze a story, and my jazz background teaches me to respond and build on it.” That blend of structure and improvisation became her artistic signature.
During her time at Utah Tech, Morrill worked relentlessly in theaters on campus and in the community. She operated spotlights at Dixie High, Saint George Musical Theater, and Tuacahn Amphitheatre. On campus she served as a programmer and console operator, eventually becoming lighting director for three years after graduating. She credits much of her career trajectory to those opportunities. “At UT I could work on as many productions as I wanted,” she said. “I left with a diverse portfolio and real-world experience that prepared me for the professional stage.”
One of the most formative parts of her undergraduate years was working with mentor Deward Wilson on events at the Cox Auditorium, where she gained hands-on experience with industry-standard ETC Eos consoles. That technical knowledge has proven invaluable. “I can trace nearly every achievement in my career to the programming skills I developed on campus,” she explained. “The software I learned at UT is the same that professionals use on Broadway and at venues all over the world.” Faculty members also encouraged her to stretch creatively, inviting her to design lighting for concerts in jazz and percussion. Those varied opportunities helped her connect her musical instincts with her technical training.
Morrill’s move to New York came after graduate study at Brooklyn College, where she worked closely with lighting designer Ben Stanton. Years later, Stanton brought her onto his design team for Maybe Happy Ending. The long days of technical rehearsals, twelve hours or more at a time, were intense but exhilarating. Lighting design must be built live in the theater, she explained, unlike costumes or scenery that can be prepared offsite. That pressure is demanding, but it also gives the work its energy.
When opening night arrived, the production team held a ceremony to honor everyone making their Broadway debut. For Morrill, the moment felt surreal, a literal welcome to Broadway. The celebration continued weeks later when the show triumphed at the Tony Awards. While most of the crew didn’t attend the ceremony itself, the company gathered for a viewing party in Bryant Park. “It was amazing to hear our show’s name called so many times and feel the joy in that room,” she said.
Looking ahead, Morrill is assisting Stanton again on Manhattan Theatre Club’s Off-Broadway production of Queens while continuing to freelance across New York City. She also teaches lighting programming as an adjunct instructor at Brooklyn College, passing on the same skills she first honed in St. George. Through every new opportunity, she sees a direct line back to Utah Tech. “The foundation I built there has shaped everything since,” she said. “I’m grateful for the mentors, the hands-on work, and the chance to grow in a community that gave me the confidence to take on the world’s biggest stage.”