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Alongisde his singing engagements, Benjamin works as a stage director, producer and librettist.

Stage Director Opera
Stage Director Opera

July 2023

The Magic Flute

W.A Mozart

Clonter Opera, UK

Stage Director: Michael McCaffery

Associate Director: Benjamin Schilperoort

Designer: Jessica Staton

Lighting Designer: Pablo Fernandez Baz

Musical Director: Philip Sunderland

Oct 2022

The Telephone/La Voix Humaine

G.C. Menotti/F. Poulenc

Opera on the Move

The Playground Theatre, London

Stage Director: Benjamin Schilperoort

Designer: Fiona McKeon

Lighting Designer: Hugo Dodsworth

Musical Director: Satoshi Kubo



Play by Benjamin Schilperoort

Music by Kurt Weill

Opera on the Move

Stage Director: Benjamin Schilperoort

Lenya: Kristy Swift

Weill: Richard Rittelmann

Voice: Emilie Cavallo


Così fan tutte

W.A. Mozart

Libretto by Lorenzo da Ponte

Opera on the Move

Stage Director: Benjamin Schilperoort

Music Director: Emil Duncumb


Pelléas et Mélisande

C. Debussy

Libretto by Maurice Maeterlinck

Opera on the Move


Due to this production’s expedited rehearsal process, I contributed not only by supporting the stage director conventionally, but also by directing many of the scenes and running the dialogue and movement sessions. The show was the first at Clonter Opera to use projection, and we exploited it, along with sculpted lighting, to create a stark and thrilling visual world.

I staged a double bill of two operas that focus on technology and the limits of human connection. In The Telephone, the design and the staging were influenced by German expressionism  and the physicality of telephone wires and switchboards. In La Voix Humaine, we used the same set and referenced expressionism’s descendent, film noir, creating a darker and more austere landscape of flickering lights and hallucinations.

I wrote Lenya-Lenya to create a piece of theatre which could be rehearsed during the covid-19 pandemic. The show only required three singers, a pianist, and me. I was also interested in writing something which explored all the dualities and contradictions of Lotte Lenya’s life. The result was a 90-minute musical theatre piece using the compositions of her partner Kurt Weill. The show makes a case for Lenya’s overlooked role as the inspiration and co-creator of many of Weill’s compositions, as well as her extraordinary identity as an avant-garde queer performer in a straight-laced age. 

I created a staging concept for Così fan tutte which incorporated live improvisation, so that every night the staging was completely different. The set and costumes would be changed before the show without giving the performers time to familiarise themselves. The rehearsal process involved 3 weeks of intensive training in improvisation techniques.

I founded Opera on the Move in 2018 to stage a rarely-performed opera, Peter Brook’s adaptation of Pelléas et Mélisande. We put it on at the Playground Theatre in London, a venue where opera had never been performed before. The show gave the company a reputation for creating bold, immersive and unusual work. I spent four years as the artistic director of the company.

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