STEPHANIE FLEISCHMANN is a playwright and librettist whose texts serve as blueprints for intricate three-dimensional sonic and visual worlds. Her “lyrical monologues” (The New York Times),“smart”opera libretti (Opera News), plays and music-theater works have been performed internationally and across the U.S.
Opera libretti include: The Long Walk, music by Jeremy Howard Beck, commissioned by American Lyric Theater (premiere: Opera Saratoga; Utah Opera; Pittsburgh Opera,); After the Storm, music by David Hanlon, commissioned by Houston Grand Opera’s HGOco ; In a Grove, with composer Christopher Cerrone (Mahogany Opera Group’s Various Stages Festival, London); Boundless, music by Avner Dorman (HGOco); The Property, music by Wlad Marhulets, commissioned by Lyric Opera of Chicago’s Lyric Unlimited. Fleischmann’s texts and songs have been set by composers Olga Neuwirth (Aldeburgh, Basel, Berlin, Vienna), Sxip Shirey, and Elspeth Brooke. She is currently working with Bobby Previte and Daniel Fish on Niagara (Hudson Opera House, 2017), and with composers Julia Adolphe, Peter Knell, Jeremy Gill, Jeremy Howard Beck and David Hanlon on new operas.
Music-theater works include Red Fly/Blue Bottle (Latitude 14: Here Arts Center, NYC; EMPAC, Troy, NY; Noorderzon Festival, the NL), The Secret Lives of Coats (Red Eye Theater, Minneapolis; Whitman College, WA; the Playwrights Center/Playlabs), music for both by Christina Campanella; The Sweetest Life, music by Saskia Lane, developed in collaboration with Julian Crouch (BRIC lab, the Vineyard, New Victory LabWorks). Plays include: Sound House (New Georges), Eloise & Ray, Tally Ho, The Street of Useful Things, What the Moon Saw, The World Speed Carnival, among others. Her work has also been developed or presented at venues including Exit Festival (France), Roundhouse Studio (London), Synchronicity (Atlanta), Son of Semele (LA), Roadworks (Chicago), the Hollywood Bowl, the Ojai Festival, Empty Space, Act II, Asolo Rep; and in NYC at New Georges, Soho Rep, Mabou Mines/Suite, Theater for One, the Knitting Factory, Prelude, the Public.
Additional collaborations include lyrics and dramaturgy for Melissa Kievman & Brian Mertes’ Chekhov at Lake Lucille (including the film The Seagull—lyrics/story editor) and text/dramaturgy for Andy Dawson’s The Russian Doctor (Birmingham Rep, Bristol Old Vic, Winchester Theatre Royal, UK; Mass MoCA, US) and lyrics/dramaturgy for Brian Mertes’ projects at Juilliard (The Greeks, Parts 2 & 3; Paris, Texas).
Fleischmann is a recipient of a Venturous Theater Fund Capital Grant, a 2014–15 Howard Foundation Fellowship in Playwriting, a grant from Arts Council England (for TALLY HO/NYLon Projects), three NYSCA Individual Artist Commissions, an NEA Opera/Music-Theater commission, two New York Foundation for the Arts Fellowships, a Tennessee Williams Fellowship, the Frederick Loewe Award, the Whitfield Cook Award, and residencies at Macdowell, Hedgebrook, HARP, among others. Her work has been supported by the MAP Fund, Opera America, New Music USA, Greenwall Foundation, Mid-Atlantic Arts Fund, Tobin Foundation, Pew Charitable Trust, Anna Sosenko Assist Trust, Copeland Fund, LMCC Swingspace & NY State Music Fund. She is a former American Lyric Theater Resident artist and Playwrights Center Core Writer, an alumna of New Dramatists, and a 2015–16 New Georges Audrey Residency recipient.
She received her MFA from Brooklyn College, where she studied with Mac Wellman. She has taught at Sewanee, Bard, and Skidmore College. Her plays are published by: Play, a Journal of Plays; Playscripts.com; Smith and Krauss.
Articles by Stephanie Fleischmann:
Daphne Oram has clearly become a beacon for contemporary composers from Missy Mazzoli to Rene Orth to Anne LeBaron. Yet the question, voiced by many a respected music colleague, keeps...