Fenlon Lamb

Fenlon Lamb

Fenlon Lamb has been recognized by The Kansas City Star as “one of the most creative forces in Kansas City…presenting satisfying and ingenious productions.” Seen and Heard International praised her “well-honed theatrical sensibility.” Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions that she launched with her artistic partner, Jefferson Ridenour.  Papermoon created new productions of Madama Butterfly for Inland NW Opera, Don Giovanni and Carmen for Pensacola Opera, Il barbieri di Siviglia for Amarillo Opera, and remounted their flagship production and Hänsel und Gretel at Palm Beach Opera. Papermoon’s La voix humaine recently received first place in the National Opera Association competition. This season, Papermoon productions will appear at Amarillo Opera (Hänsel und Gretel ) and Opera Delaware (The Barber of Seville and The Marriage of Figaro).

A frequent collaborator with Arizona Opera, she directed the world premiere production of Riders of the Purple Sage and returned to the company last year for a “fantastic revival of this timely western” (Opera Wire).  A documentary entitled RIDERS OF THE PURPLE SAGE: THE MAKING OF A WESTERN OPERA following the production from conception to premiere was released in March of 2021, Broadway World declaring it “A soaring and epic testimonial to the creative process.”

Calendar

Event Date
Feb 25
to
Feb 27
L'Elisir d'Amore
Director
Palm Beach Opera
West Palm Beach, Florida
Feb 25
to
Feb 27
Barber of Seville
Producer
Opera Delaware
Wilmington, Delaware
Event Date
Apr 1
to
Apr 3
La boheme
Director
New Orleans Opera
New Orleans, Louisiana
Event Date
May 20
to
May 22
The Marriage of Figaro
Producer
Opera Delaware
Wilmington, Delaware

Artist Bio

Fenlon Lamb has been recognized by The Kansas City Star as “one of the most creative forces in Kansas City…presenting satisfying and ingenious productions.” Seen and Heard International praised her “well-honed theatrical sensibility.” Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions that she launched with her artistic partner, Jefferson Ridenour.  Papermoon created new productions of Madama Butterfly for Inland NW Opera, Don Giovanni and Carmen for Pensacola Opera, Il barbieri di Siviglia for Amarillo Opera, and remounted their flagship production and Hänsel und Gretel at Palm Beach Opera. Papermoon’s La voix humaine recently received first place in the National Opera Association competition. This season, Papermoon productions will appear at Amarillo Opera (Hänsel und Gretel ) and Opera Delaware (The Barber of Seville and The Marriage of Figaro).

A frequent collaborator with Arizona Opera, she directed the world premiere production of Riders of the Purple Sage and returned to the company last year for a “fantastic revival of this timely western” (Opera Wire).  A documentary entitled RIDERS OF THE PURPLE SAGE: THE MAKING OF A WESTERN OPERA following the production from conception to premiere was released in March of 2021, Broadway World declaring it “A soaring and epic testimonial to the creative process.”

Upcoming directing engagements include returns to Madison Opera for Lucia di Lammermoor, Palm Beach Opera for L’elisir d’Amore and La boheme for New Orleans Opera. She will also direct a filmed version of Mozart and Salieri for Opera San Jose.

Recently, Fenlon directed new productions of Charlie Parker’s Yardbird for Arizona Opera and Scalia/Ginsburg for Opera Delaware and returned to Madison Opera for La Traviata. Fenlon has directed Carmen for Annapolis Opera, North Carolina Opera, Mill City Summer Opera and Dayton Opera along with engaging productions of Tosca, La Bohème, Il Barbiere di Siviglia and Don Pasquale for Palm Beach Opera. Other highlights include, Der Fliegende Höllender for Opera Carolina with Greer Grimsley in the title role and Werther with Gran Wilson at Mobile Opera.   As the Director of Opera and Vocal Programming of the Bar Harbor Music Festival, Fenlon has designed and directed engaging productions of Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La Cenerentola, Don Giovanni and Hänsel und Gretel.

Updated September 1, 2021.

Press

“…Lamb’s memorable tableau…” – DC Metro Theater Arts

Carmen – “Lamb’s memorable tableau was enhanced by superior lighting work, which brightened the colors, especially the cheery colors in the Plaza de Toros scene. “

"...these were among Lamb’s original inventions, and they worked...” – Palm Beach Daily News

Tosca – “In the world of Harvey Weinstein and the #Me Too movement, Tosca’s travails take on new meaning, and Fenlon Lamb’s staging – mostly traditional but peppered with subtle added touches – lent a modernity to this operatic chestnut that shocked some viewers at its premiere in 1900 in Rome. Tosca’s desperation resulting in her stabbing Scarpia first in the stomach, then in the back; her jumping off the parapet backward at the end, cornered and afraid to look down: these were among Lamb’s original inventions, and they worked”

"...Director Fenlon Lamb keeps a breathless pace without degenerating into clichéd sight gags..." – South Florida Classical Review

Il barbiere di Siviglia – “Palm Beach Opera’s production opened Friday night at the Kravis Center and hit all the right notes. Throughout the performance, the audience laughed uproariously at the cannily staged, nonstop comedy and cheered the cast at the final curtain. Director Fenlon Lamb keeps a breathless pace without degenerating into clichéd sight gags. Strobe lights enhance the wonderful confusion of the Act I finale while the storm scene is staged as a Keystone Cops silent movie pantomime. Displaying theatrical ingenuity and artistic taste, Lamb’s staging captures the essence of bubbly opera buffa rather than exaggerated sitcom.”

“...the lighting and the projections of Michael Baumgarten and Fenlon Lamb added much to the constantly changing moods..." – CVNC

Der fliegende Holländer – “The lighting and the projections of Michael Baumgarten and Fenlon Lamb added much to the constantly changing moods. Working within a traditional set design (on loan from the Arizona Opera), with an actual mock-up of a sailing vessel crossing the stage, projections on the scrim in front and on the back cyclorama were an integral part of the staging. An unusual innovation during the overture was a retrospective insight into Senta’s obsession with the legend of the Flying Dutchman, done with projections and showing the child Senta already fascinated by the dark tragedy of the Holländer.”

"...she did not give [the cast] a second’s worth of down time while they were on stage..." – Bar Harbor Times

L’Elisir d’Amore – “Major kudos to Fenlon Lamb who directed this delightful show. Not only did she gather together a terrific little cast – drawing them, literally, from coast to coast – she did not give them a second’s worth of down time while they were on stage – engaging them every moment with some bit of stage business, even when they weren’t singing. In fact some of the most hilarious moments were done in pantomime.”