Fly Jamerson

Fly Jamerson

Fly (Steffens) Jamerson is a digital and physical Performance Writer and Designer with interests in devising, directing, mixed-reality, and dramaturgy. Fly has an MFA in Generative Dramaturgy from the University of Arizona, and currently lives in Tucson.

In Tucson, Fly’s work has been seen at Arizona Repertory Theatre and in the School of Theatre, Film, and Television’s Studio Series. National...
Fly (Steffens) Jamerson is a digital and physical Performance Writer and Designer with interests in devising, directing, mixed-reality, and dramaturgy. Fly has an MFA in Generative Dramaturgy from the University of Arizona, and currently lives in Tucson.

In Tucson, Fly’s work has been seen at Arizona Repertory Theatre and in the School of Theatre, Film, and Television’s Studio Series. National credits include: Milwaukee Repertory Theater, Milwaukee Chamber Theatre, Playhouse on the Square (Memphis, TN), Shakespeare & Company (Lenox, MA), Spooky Action Theater (Washington, DC), Chicago Dramatists, Playwrights Foundation (San Francisco, CA), and The Drama League (NYC), among others.

Fly is a member of Literary Managers and Dramaturgs of the Americas, as well as the Dramatists Guild.

For Fly’s full CV or to explore upcoming, current, and past projects, visit www.flyjamerson.com

Plays

  • FROZEN FLUID
    An Antarctic Gender Non-Binary Creation Myth

    Three scientists - enduring the vast tundra, close quarters, and three hundred beached whales on a melting glacier - are faced with questions of gender, biology, identity, climate change, and faith.

    TAY, a scientist specializing in Phytoplankton, is a genderfluid person trying to quietly organize and understand their place on the ice...
    An Antarctic Gender Non-Binary Creation Myth

    Three scientists - enduring the vast tundra, close quarters, and three hundred beached whales on a melting glacier - are faced with questions of gender, biology, identity, climate change, and faith.

    TAY, a scientist specializing in Phytoplankton, is a genderfluid person trying to quietly organize and understand their place on the ice while their presence cracks every foundation. HERMAN, a scientist specializing in Glacial Disintegration, builds an arc to get the team off of the melting glacier while struggling to keep his relationships afloat. TERRA, a whale biologist, is overwhelmed by the deconstruction of her faith and her identity as the world theatens to swallows her whole.

    A play in process - I am interested in developing this work in length and depth as it relates to the deconstruction of gender and the representation of the sciences. This is the first draft of FROZEN FLUID.

    As I and others around me explore the construction and performance of gender and identity I followed these characters out onto the ice and watched it crack and melt beneath us. I want to point more toward the (de)construction and performance and of gender, of mythos and religion, of family and parenthood and community, of ecology and biology - in bodies and genders of all kinds.

    Sometimes I want to scrub the play completely of gender because I don't understand it, but feel it push back - and I think that's what the play has to do. I want to explore the formal dramaturgical structures of the Old Testament, of children's games, of more than just binary gender and a nonbinary femme position. I think the world of the play as its shown itself thus far brings us to the edge of these explorations - there's more to be found.

    I want an unmaking of Eden, an unnaming of the animals, where all the ice in the world has to melt to start over. We're born into this - but also, can we identify as not something without something? Questions for the New Flood for a New Age of the Post-Gender Family in a Post-Glacial world.
  • INSIGNIFICANCE IS SICKENING AND LOVE MEANS NOTHING AT ALL; ALL IT IS IS THE STRENGTH TO KEEP GOING ON NO MATTER WHAT HAPPENS
    An adaptation of Chekov's Three Sisters.

    From the program note for the 2018 production at The University of Arizona, by dramaturg Anna Jennings:

    "Adaptations of Chekhov abound, ranging from translations to radical usurpations of the original plays. Contemporary playwrights do not erase Chekhov but accompany his signature language and mood with their own. Elements of...
    An adaptation of Chekov's Three Sisters.

    From the program note for the 2018 production at The University of Arizona, by dramaturg Anna Jennings:

    "Adaptations of Chekhov abound, ranging from translations to radical usurpations of the original plays. Contemporary playwrights do not erase Chekhov but accompany his signature language and mood with their own. Elements of Chekhov’s Three Sisters remain visible in INSIGNIFANCE[...]; Steffens’ voice strikes a remarkable harmony with Chekhov’s. Illustrating the human capacity for love and destruction through haunting images and poetic language, this new adaptation joins countless other in reorienting the Chekhovian mood for contemporary theatre.

    But, why so many Chekhov adaptations? Through the process of this new play’s development, we found that it is the Chekhovian belief in the individual, absurd impossibility of existence, and optimism for the future that keeps theatre artists returning for more. We hope this production’s humor, pain, and hope allows you to recognize and embrace your Bear.

    'Life is long and there will be many good and bad happenings, Mother Russia is so vast.' -Anton Chekhov."
  • BELL AND BLISS
    Set in the sweltering Washington DC summer of 1881, President James Abram Garfield lays dying behind a curtain in the White House - Charles Guiteau has buried a bullet deep in the President's belly, and Dr. D Willard Bliss is trying desperately to find it. Enter Alexander Graham Bell, overwhelmed and exhausted by the success of his revolutionary telephone. Both men seek greatness: for Bell, an invention...
    Set in the sweltering Washington DC summer of 1881, President James Abram Garfield lays dying behind a curtain in the White House - Charles Guiteau has buried a bullet deep in the President's belly, and Dr. D Willard Bliss is trying desperately to find it. Enter Alexander Graham Bell, overwhelmed and exhausted by the success of his revolutionary telephone. Both men seek greatness: for Bell, an invention that will redefine his success as a scientist; for Bliss, to be the ultimate medical savior of the nation. As Garfield slowly succumbs to sepsis, their failed attempts to save him fully charge the motivations of Bell's assistant, Charles Sumner Tainter, as what he hears from Bell's machine suggests what they're searching for may not be a piece of lead.

    BELL AND BLISS was inspired by primary resource materials that include not only the personal journals and letters of the titular characters, but also visceral artifacts such as President Garfield's spine and the bullet that wounded him. The playwright interacted with these primary resources at institutions including the Library of Congress Manuscript Division, the Historical Society of Washington DC, and the National Museum of Health and Medicine.
  • LOVE IS A HORSE WITH A BROKEN LEG TRYING TO STAND WHILE 45,000 PEOPLE WATCH
    A man, haunted by the death of his childhood pet, is on the verge of eviction. A business school drop out wagers everything to get the girl of his dreams. A lovesick photographer turns her subjects into stone. All are plagued by the inability to change. All are offered an opportunity to do so. Drawing from influences and experiences ranging from Bukowski to Joyce to life-as-a-twenty-something to the Absurd,...
    A man, haunted by the death of his childhood pet, is on the verge of eviction. A business school drop out wagers everything to get the girl of his dreams. A lovesick photographer turns her subjects into stone. All are plagued by the inability to change. All are offered an opportunity to do so. Drawing from influences and experiences ranging from Bukowski to Joyce to life-as-a-twenty-something to the Absurd, LOVE IS A HORSE explores stories of addiction, existentialism, and the absurd.
  • CHICKEN
    Polly needs pink roses. Badly. But with four weddings, three proms and two days to Mother's Day, there's only one place left in town to get them - Flora's Festive Flowers - and they're all being used in a casket spray to honor the tragic death of a young woman. This piece explores the commodity of the grieving process, and asks: Why do we so often face our demons by becoming them?
    ...
    Polly needs pink roses. Badly. But with four weddings, three proms and two days to Mother's Day, there's only one place left in town to get them - Flora's Festive Flowers - and they're all being used in a casket spray to honor the tragic death of a young woman. This piece explores the commodity of the grieving process, and asks: Why do we so often face our demons by becoming them?

    "Fly Steffens' 'Chicken' is about the disturbingly symbiotic relationship between a bully and her victim - and how that victim's self-loathing is enmeshed in unwilling admiration for her tormenting oppressor. [...] The night's smartest, bravest and most ambitious piece." - Mike Fischer, Milwaukee Journal Sentinel, 2013