Williamstown Theatre Festival Announces 2021 Season

This summer, rediscover the power of live theatre with a season of three world premieres unlike anything you have experienced before and yet every bit as artistically excellent, culturally rich, and impactful as the work you have come to expect from Williamstown Theatre Festival. Devised by the country’s leading generative theatre artists,…

REVIEW: “A Raisin in the Sun” at the Williamstown Theatre Festival

by Barbara Waldinger What is the purpose of producing a classic play that has already been revived many times onstage and on film?  Some people say that it’s to give a new generation of theatregoers the opportunity to see an important work.  Others insist that it’s to give a director…

REVIEW: “Dangerous House” at the Williamstown Theatre Festival

by Barbara Waldinger South Africa is the ONLY African country where gay marriage is legal.  At the same time, the common South African practice of “corrective rape,”—purportedly intended to turn lesbians straight—goes unprosecuted. This is the background of the taut and powerful drama, Dangerous House by Jen Silverman, the fourth…

REVIEW: “Seared” at the Williamstown Theatre Festival

by Barbara Waldinger Wilted spinach salad with warm bacon dressing; seared wild salmon with a Bengali onion chutney; seared asparagus with olive oil, salt and pepper; gnocchi, pork belly sliders, scallops. . . This is not a restaurant menu but rather a gustatory appreciation of Theresa Rebeck’s Seared at Williamstown…

REVIEW: “Herringbone” at the Williamstown Theatre Festival

Reviewed by Gail M. Burns, June, 2007 “I dance ’til the people applaud. The art’s thrown in extra.”– a vaudeville hoofer I am always attracted to the peculiar. Tell me that you’ve never seen anything quite like it, and I’m there. Partly this has to do with spending my formative…

Gail’s Letter to the Editor Concerning the Williamstown Theatre Festival

Posted September, 2006 To the Editor: Let’s be honest here. The Williamstown Theatre Festival has been all about itself and not about its audience for years. It is a mere coincidence that Roger Rees’ term at the helm commenced as the WTF moved in the ’62 Center for Theatre & Dance, the most…

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