Jerry Lieblich writes plays and usually lives in New York. It has been said that “his ear is uncannily precise,” (Helen Shaw, TimeOut NY), and Ben Brantley of the New York Times called his play D Deb Debbie Deborah (2015) “dizzingly clever.” His plays have been presented at Clubbed Thumb, Abrons Arts Center, Ars Nova, Theater of NOTE, Cloud City, and The Paradise Factory, and he has developed work with Playwrights Horizons, The Vineyard Theater, New York Theater Workshop, Soho Rep, Page 73, PRELUDE, HERE Arts Center, Ensemble Studio Theater, and Pipeline Theater Company, among other theaters, basements and rooms in New York and elsewhere.

Jerry has held residencies at The UCROSS Foundation and the Edward F. Albee Foundation, received an EST/Sloan Foundation Commission and the Himan Brown Creative Writing Award, and is an alum of the Soho Rep Writer/Director Lab and Page 73's I-73 Writer's Group. He has been a finalist for the Page 73 Playwriting Fellowship, the Princess Grace Award, Clubbed Thumb Biennial Commission, Bay Area Playwrights Festival, and the Heideman Award. His Play D Deb Debbie Deborah has been published in Theater Forum and translated into German, and his critical writings can often be found on Culturebot. He's also the writerly half of the divising team Tiny Little Band. (

Presently, Jerry is pursuing his MFA at Brooklyn College under the mad tutelage of Mac Wellman and Erin Courtney.


A verbally rambunctious loggorheic encyclopedic gollywompus of a play concerning speech acts, political power, fractal geometry, eusociality, theater, and some other stuff too. A Witness at a trial describes to us a play in which a team of scientists attempts to use real speeches from real US Presidents to nullify the language-power of the fake US President (but also maybe the real US President) while the rest of us bozos try to go on living lives of picturesque American normalcy, unaware that this isn't a theater at all it's an aircraft carrier and we're headed to war.

2M, 3F
A motivational speech. An ad for cheese chips. An ancient Greek hero. A desire to do good, to live right, to not fail, to make the world better, to find happiness, to find comfort, to find meaning, to find, to find, to find, success success SUCCESS. Your Hair Looked Great is a kaleidoscopic head-trip through the social and cultural forces that shape our sense of what life is and what life should be.
Made with Tiny Little Band. Premiered at Abrons Arts Center (2017). Developed at PRELUDE and Barn Arts Collective.

“[Lieblich has a] razor-keen flair for pastiche...There's quite a bit of extremely good writing.” - Time Out New York

"Remarkable... The real gift of this show is that while all of its other elements depend upon formula, its structure does the opposite—resisting formula altogether... The impressive ache of this show, then, is its structural admission that there might not be any failsafe pathway toward success—or, indeed, that success might not be achievable in the first place." - Culturebot

2F, 2M
Katie, a photographer, goes home to look at some baby pictures. What she finds is a house oppressively thick with her own history. Maybe remembering the memory will make it easier this time…
Developed with P73 (2015) and Playwrights Horizons (March 2016). 

2F, 3M
Deb has a boyfriend. Deb is Deb. Deb has a job. Deb is Deb. Things are good. Deb is Deb. But who's her boyfriend? Who's her boss? Who are you? Who is Deb? Bizarre, unsettling and theatrically daring, D Deb Debbie Deborah is a mind-bending voyage into a world where losing your identity means losing everything. 
First produced at Clubbed Thumb's Summerworks (May 2015). Developed with the Soho Rep Writer/Director Lab.

“dizzyingly clever…Mr. Lieblich’s dramatic intentions are always clear. And every element in the production feeds and particularizes this confused clarity. Or clear confusion.” - NY Times, Critics’ Pick

“(4 out of 5 stars) D DEB boasts moments of slippery gorgeousness, some of which have to be seen to be believed…another expertly produced Clubbed Thumb Summerworks show, crafted exquisitely to showcase a script.” - Time Out New York

2F, 1M
A series of nested stories brings us deeper and deeper into the scary, unstable middle ground between belief and disbelief, a land where ghosts appear, people disappear, and the threat of crippling isolation lurks around every corner. Journey far into the labyrinthine passageways of memory, belief, and the unknown with this literary theatrical event that will leave you wondering who you are, which way is up, and what, if anything, do you believe.
Made with Tiny Little Band
Premiered at Cloud City, Brooklyn (May 2015). Developed at HERE Arts Center with the Smith + Tinker Writer's Group, Gershwin Live at Dixon Place, and Mohawk Arts Collective. Presented at PRELUDE.14. 

" wonderful... Playwright Jerry Lieblich nests his spooky narratives like Russian dolls, deftly enfolding us in the show's origami structure till we're sure the dead are all around us... this is why we go to thrillers: to feel competent hands giving our fearful hearts just…a tiny…squeeze." - Time Out New York

1F, 2M, 1 Any Gender
In a shitty walkup somewhere in Brooklyn, Ned is hopelessly in love with Natalie, the cute girl downstairs. But when a small, scraggly demon emerges in Ned's apartment, the promise of a newer, cooler, hipper self threatens to dissolve his very personhood. Amidst strange doppelgangers, ominous portents, and an unending search for some meaningful transformation, three twentysomethings watch their identities disintegrate before their very eyes. Eudaemonia is a dark, imaginative, and wildly magical romp through the insecurities and isolations of urban life.
Premiered at (not just) 3 New Plays at Tom Noonan's Paradise Factory.
Developed with Bookshop Workshops.

"Three twenty-somethings are given a brutal schooling in the fragility of 'reality' as they perceive it, and watch their archetypal lives implode in this wildly entertaining play... Between the superb acting, writing and stage design, Eudaemonia is a must see." -

"You're going to enjoy this play." - New York Theatre Review