About the Festival
Overview, Mission & History
The Provincetown Tennessee Williams Theater Festival presents the works of Tennessee Williams, often world premieres, in plays, film, dance, live music, and performance art. We have presented shows from around the world and from different parts of America. We also present new works inspired by Williams.
The history-making Festival takes place each year in September, two weeks before Columbus Day, in a fishing village at the tip of Cape Cod, Massachusetts. In 1940, 1941, 1944 and 1947, Williams spent fertile summers in Provincetown falling in love and writing prodigiously, including plays that would become enduring world classics: The Glass Menagerie and A Streetcar Named Desire.
Provincetown is now a popular summer tourist destination. In the autumn the weather is still warm, the light turns noticeably blue, creating the perfect marriage of distinctive settings and stunning performances to enliven the cultural and economic vitality of the town.
The Williams-Provincetown connection is so strong that in 2006, noted theater director and Williams scholar, David Kaplan, founded the Provincetown Tennessee Williams Theater Festival with a group of theater professionals and community members. With Kaplan as its curator, the Festival is now a non-profit organization led by festival director Jef Hall-Flavin and a 9-member board of directors.
Vision: Advancing the spirit of Tennessee Williams through performance.
We honor Tennessee Williams by presenting his classic and undiscovered plays, the work of his peers, and new work inspired by Williams’ creative vision worldwide. The Festival contributes to the cultural wealth of Provincetown by celebrating Williams’ connection to Cape Cod, his evolving international importance and his avant-garde spirit.
Each year the Festival events advance a theme:
2019 bridged American and Japanese theater forms by presenting plays by Williams alongside plays by Yukio Mishima, perhaps Japan's most provocative author. The season included productions of And Tell Sad Stories of the Deaths of Queens... and The Night of the Iguana by Williams, The Lighthouse and The Black Lizard by Mishima, as well as the remount of 2014's sleeper hit The Lady Aoi by Mishima. The 2019 festival also featured two world premieres: The Lady from the Village of Falling Flowers by Williams and Busu by Mishima.
2018 explored the drama of anticipation by pairing Williams plays with pieces by Federico García Lorca, Anton Chekhov, and Samuel Beckett, all on the theme of "Wishful Thinking." Roses served as a motif in 2018, as the world premiere of Tennessee Williams' Talisman Roses appeared alongside Willams' The Rose Tattoo and Lorca's Doña Rosita the Spinster.
2017 included productions of Williams’ work paired with works by Shakespeare. Audiences enjoyed making connections between the two playwrights — explored through performance, educational programming, and social events — and arrived at new understandings of both playwrights in productions including Hamlet, Sweet Bird of Youth, Antony and Cleopatra, and Ten Blocks on the Camino Real.
2016 brought audiences into the rule-bending theater of Tennessee Williams and Eugene O'Neill. Both titans of the American theater, Williams and O'Neill experienced extended periods in which their work was under-appreciated or misunderstood. The time had come to look again at the thought-provoking plays of these two extraordinary writers who help to define American identity, in productions including The Hairy Ape and Small Craft Warnings.
2015: Year Tenn was a celebration of our first decade in Provincetown, with highlights from previous years, like Williams’ endearing and autobiographical "The Parade," alongside a reading of a new play by the renowned playwright John Guare.
2014 expanded our understanding of Williams by focusing on his Circle of Friends. Four Tennessee Williams plays were presented together with those of four of his friends: Yukio Mishima, William Inge, Jane Bowles, and Carson McCullers.
2013 celebrated “Tennessee Williams and Women,” featuring formidable Williams’ Women Maggie the Cat from "Cat on a Hot Tin Roof', Sissy Goforth in "The Milk Train Doesn't Stop Here Anymore", and Myrtle from "Kingdom of Earth."
2012 focused on "Tennessee Williams and Music," inspired by the famous quote from The Glass Menagerie, "In memory, everything seems to happen to music."
2011 marked the Centennial of Williams’ birth, and the Festival celebrated 100 years of America’s great playwright with some of his most biographical plays, including the rarely- seen Something Cloudy, Something Clear, which was performed on the beach.
“Under the Influence” was the 2010 focus, where Williams’ work was complemented by plays, poetry, film and art that inspired him, as well as new work inspired by Williams.
In 2009, the Festival examined “The Fight for Life” with groups from New Zealand, Norway, and all over the U.S., responding to the challenge that theater – to survive as a force for life and art – must be passionate, powerful and disciplined.
In 2008 the focus was "Tennessee Williams and the Healing Power of Love," with two world premiere plays: Green Eyes, and The Dog Enchanted by the Divine View.
The 2007 Festival concentrated on avant-garde texts Williams wrote after turning sixty, including the world premiere of Sunburst and erotic performance artist Julie Atlas Muz.
In our first year, 2006, the theme "Tennessee Williams in P’town" featured the world premiere of Williams' 1940 gay romance The Parade and the Hong Kong Repertory Theater's Cantonese Eccentricities of a Nightingale.
Performances take place in many venues, from the local theaters to the high school auditorium, as well as unconventional places like hotel rooms, storefronts, churches, porches, or the wharf jutting out into the picturesque harbor. Like a magnet for creativity, Williams is the catalyst for many new works, and new viewpoints on existing plays.
As a result, the Festival is now known for its innovation, and for polishing and premiering undiscovered treasures (having premiered nine unknown Williams plays since 2006). With the focus clearly on the text – or on the music or dance – the Festival performances don’t just inform Williams’ significant body of work, they add to it.
What They Say About Us
What they say about us
“September 21–24, 2017, marked this year’s Provincetown Tennessee Williams Theater Festival, one of several major Provincetown arts festivals and the only one which celebrates the town’s distinct theatrical heritage. Williams spent four of his most formative summers in Provincetown perfecting his craft and awakening his sexuality—culminating in the summer of 1947 which saw him make the finishing touches to A Streetcar Named Desire. However, the festival has far outgrown the need to rely on masterpieces like Streetcar in order to find an audience. Instead, the festival’s curators are much more interested in exploring Williams’s forgotten, misunderstood, or otherwise unknown works and reinterpreting them in fresh, new ways.”
— Derek McCormack, Howlround, November 5, 2017
“Tennessee Williams and William Shakespeare are playwrights whose voices echo across stages around the world, relying on the kindness of strangers and holding up a mirror to society. Granted, Williams is a far more recent voice, but, as the Provincetown Tennessee Williams Festival has proven for the past twelve years, his plays have the range and reach to bring together international theatre companies to explore his work … This year’s pairing was an exciting mix of styles, genres, cultures, and time periods. ”
— Bess Rowan, Huffington Post, September 30, 2017
“I’m in awe of people who can produce something like this festival,” says [Everett] Quinton. “This has the potential to be one of the greatest theater festivals in the country.”
— Steve Deroches, Provincetown Magazine, September 20, 2017
“For the ninth year, organizers of the annual Provincetown Tennessee Williams Theater Festival have created a unique environment where a select ensemble of theater companies and artists from all over the world is asked to find new ways of exploring old plays in nontraditional theatrical venues that illuminate and bring fresh insights to the world of Williams. The productions this year came from theater companies as nearby as Wellfleet and as far away as Cape Town, South Africa. And while the actors brought a wide range of experiences, from members of community theaters to the actors equity union, all brought equal enthusiasm to create nothing less than bold, outstanding and original productions.”
— Lynda Sturner, Banner Correspondent, September 17, 2015
“Through the Provincetown Tennessee Williams Theater Festival we’ve had wonderful
opportunities to see his classic works reimagined, to take in some of his most obscure work, as well as to see world premieres of previously hidden theatrical gems.”
“The Festival has continually presented thrilling theatrical experiences utilizing non-traditional theater spaces year after year, which is one of the most beloved hallmarks of the annual end of September event. Since its inception the festival has used traditional theaters and rooms in unique ways by ignoring the stage, bringing the performance to the floor or the balcony, or creating a set design that fully transforms the space in to a decrepit Mississippi Delta mansion in a rainstorm or a street scene in New Orleans’ French Quarter. But beyond that, the festival has created memorable productions performed in the fish house at the end of Fisherman’s Wharf, the hotel rooms of the Gifford House, on the beach along the harbor, and in the hidden gardens of Provincetown."
— Steve Desroches, Provincetown Magazine, May 19, 2017
“One of the things that make this festival so unique is that these plays and events happen all over Provincetown … This also enhances and illuminates William’s connection to Provincetown. It’s almost as if he’s back here partying with us at the A-House.”
— Lynda Sturner, Provincetown Banner, September 16, 2014
“Thanks in substantial part to the annual Provincetown Tennessee Williams Theater Festival, which kicks off this week, a spate of unseen or seldom-seen plays have pushed their way into view, giving us a fuller sense of his entire body of work and suggesting the need for a reappraisal of a writer we thought we knew.”
— Don Aucoin, Boston Globe “Tennessee Wiliams’s Time is Now”, September 19, 2013
“The Festival is a cavalcade of serious theater, a celebration of an inventive playwright. And this year’s edition of the gathering, which closed on September 29, proved exemplary.”
— Robert Israel, ArtsFuse Mag, October 2013
“…brought a powerhouse of actors with the extraordinary ability to transform themselves into characters both outrageous and ordinary. The directors brought fresh visions and new insights to classics and recently unearthed gems of 20th century plays, The festival turned practically all of Provincetown into a stage. The players created theater in all kinds of places, from a traditional proscenium venue to the pool deck of the Boatslip. They took risks, stringing together short plays in one occasion, adding tap dancers, presenting only the second act in another and trying to make sense out of Gertrude Stein. …ideas always emerged through their experiments as everyone worked hard to find new ways to deepen the understanding of Williams and wonder at his enduring relevance to our lives. “
— Lynda Sturner and Rob Phelps, Provincetown Banner, October 3, 2013
“Check it out, blow your mind, be astonished!”
— Chris Busa, Art Talk, WOMR, September 23, 2013
“(Peter) Smith, of the Tennessee Williams Center, credits Kaplan and the Provincetown Tennessee Williams Theater Festival for helping bring much of the playwright’s work into the light. Since 2006 the festival has held world premieres of nine previously unproduced plays by Williams, along with one US premiere. The plays have included The Remarkable Rooming House of Madame Le Monde, American Gothic, The Parade, Green Eyes, and The Dog Enchanted by the Divine View. On Thursday night the festival will add another world premiere to its list with Curtains for the Gentleman, one of three short plays to be presented under the title The Chorus Girl Plays.”
— Don Aucoin, Boston Globe, October 2013
“This year’s theme was ‘Under the Influence.” And it not only gave festival organizers a chance to showcase the playwright’s roots and legacy, but also demonstrated the thought and care that goes into the festival. The theater professionals, scholars, writers, performers and fans who stage this annual labor of love do a great job of connecting the dots.”
— John Winters, Attleboro Sun Chronicle, 2010
“As the Festival continues to grow in both size and popularity, it is increasingly recognized as a significant institution for the preservation and celebration of the playwright’s work, garnering worldwide attention.”
—Steve Desroches, Provincetown Magazine, 2010
“ ‘Tennessee belongs in Provincetown,’ says director Lee Breuer. ‘He lived in Provincetown, he wrote in Provincetown, some of his greatest memories came from Provincetown, one of his deepest loves came from Provincetown. This is where he should blossom’.”
— Lee Breuer - Theater Director, The Boston Globe, 2011
“The Tennessee Williams Theater Festival creative team of David Kaplan and Jef Hall-Flavin just gave us four concentrated and compelling days of performance. This year’s theme, “Double Exposure — Past & Present,” focused on Williams’ layering of time and events to reveal hidden depths in the playwright’s work, and that theme played true over and over.
—Sue Harrison, Provincetown Banner, 2011
“Because Williams drew enormously from Provincetown during his stays here, Hall-Flavin stresses the importance of real involvement in this festival created in his honor. HallFlavin points proudly to the emerging symbiosis between the town’s artistic environment, its residents and the celebratory events that bring Williams to the fore of people's’ imagination.”
— Deborah Minsky, The Cape Codder and Provincetown Banner, 2012
“One of the best things about the annual Provincetown Tennessee Williams Theater Festival is the international scope of its programming. By bringing in productions of Williams’ work (and works inspired by Williams) from other countries, we are able to get a fuller sense of what his work has meant to literature and theater. Williams was not just an American writer to celebrate on those terms each year; he was a writer who transcended the borders of our nation, even as his work is so clearly tied to his Southern roots.“
— Rebecca Alvin, Provincetown Magazine, 2012
“By giving us Williams unplugged, the brave folks at the Provincetown festival are doing the necessary, good work…”
—Randy Gener, American Theatre Magazine
David Kaplan, Curator
David Kaplan is Curator and co-founder of the Provincetown Tennessee Williams Theater Festival and the author of the book Tennessee Williams in Provincetown. He is the editor of Tenn at One Hundred, the centennial anthology on the subject of Tennessee Williams' reputation.
In 1993 he directed and designed the Russian premiere of Suddenly Last Summer in Russian at the Gorky Theater of Samara. In 2003 Mr. Kaplan directed Tennessee Williams’ The Eccentricities of a Nightingale in Cantonese at the Hong Kong Repertory Theater, and in 2008 in Chicago, he staged the critically acclaimed world premiere of Williams' The Day on Which a Man Dies.
Other Williams plays he’s directed: The Dog Enchanted by the Divine View ,Talk to Me Like the Rain and Let Me Listen, Frosted Glass Coffins, A Perfect Analysis Given by a Parrot , The Traveling Companion and The Chalky White Substance.
For decades he has staged cultural collisions of classic Western texts in unexpected languages: a Sufi King Lear in Tashkent, Uzbekistan, performed in the Uzbek language; Genet’s The Maids in Ulaan Baator, Mongolia, performed in Mongolian; A Midsummer Night’s Dream in Buryatia, performed in the Buryat language. In Russia Mr. Kaplan directed the first Russian productions of Auntie Mame and Eugene O'Neill's Ah, Wilderness! Also in Russia, Macbeth.
Plays directed by Mr. Kaplan have appeared in over 40 of the 50 United States.
Jef Hall-Flavin, Executive Director
Jef Hall-Flavin is the Executive Director for the Provincetown Tennessee Williams Theater Festival, where he directed Eugene O’Neill’s Diff'rent, as well as three world-premiere Tennessee Williams one-act plays, The Parade (2006), Green Eyes (2008), and The Enemy: Time (2009), among many other plays.
Recent directing projects include Orpheus Descending in New Orleans; The Glass Menagerie and A Streetcar Named Desire both of which he staged in New Zealand; and A Midsummer Night’s Dream at Park Square Theatre in his home town of St. Paul, Minnesota.
As Associate Director of The Shakespeare Theatre Company in Washington, D.C., he assisted Michael Kahn and Bill Alexander on several productions, directed As You Like It in a co-production with the Kennedy Center, and restaged Mark Lamos’ production of A Midsummer Night’s Dream at the Shakespeare Free-For-All, as well as the Aspen Institute’s Ideas Festival.
Jef developed and directed a touring production commissioned by the Guthrie Theater called The Stuff of Dreams, and was also the artistic director of Outward Spiral Theatre Company in Minneapolis from 1998 - 2003, where he directed and produced ten plays, including a critically acclaimed production of Hedwig and the Angry Inch.
In addition to directing, Jef has been an instructor, curriculum developer, guest lecturer at many venues, including the University of Minnesota (BFA program), Concordia University, Stages Theatre Company, Hofstra University, Hamline University, Stephens College, George Mason University, and Mayo Medical School.
Charlene A. Donaghy, Producing Director
Charlene A. Donaghy is the Producing Director for the Provincetown Tennessee Williams Theater Festival. Charlene’s plays have been produced in New York, Boston, New Orleans, Memphis, Los Angeles, and around the United States, with recognition in Great Britain and Canada.
Madison Square Productions holds the option to produce Charlene’s full-length play The Quadroon and the Dove in New York City and beyond. Hansen Publishing Group publishes Bones of Home and Other Plays, a collection of Charlene’s plays.
Other publications include Best American Short Plays, 25*10-Minute Plays for Teens, and Estrogenius, a Celebration of Female Voices.
Charlene is also the Festival Director of the Warner International Playwrights Festival and Co-Producer of the ATHE New Play Development Workshop. She teaches playwriting and theatre at University of Nebraska, is a founding member of Boston’s Proscenium Playwrights, a core member of NYC’s 9th Floor Playwrights, a member of The Playwrights Center in Minnesota, and Connecticut Regional Representative of The Dramatists Guild of America.
Premieres at the Festival
Since 2006, the Tennessee Williams Theater Festival has presented twelve World Premieres and one American Premiere of Tennessee Williams’ plays:
- The Parade (World Premiere 2006)
- Sunburst (World Premiere 2007)
- The Pronoun ‘I’ (World Premiere 2007)
- Green Eyes (World Premiere 2008)
- The Dog Enchanted by the Divine View (World Premiere 2008)
- The Enemy: Time (World Premiere 2009)
- The Remarkable Rooming House of Madame LeMonde (World Premiere 2009)
- American Gothic (World Premiere 2010)
- Once In A Lifetime (World Premiere 2011)
- I Never Get Dressed Till After Dark on Sundays (American Premiere 2012)
- Curtains for the Gentleman (World Premiere 2013)
- Aimez-Vous Ionesco? (World Premiere 2015)
- Talisman Roses (World Premiere 2018)
Tennessee Williams and Provincetown
About Tennessee Williams and Provincetown
“I am moving into a little shanty in the dunes where I can avoid the summer crowds. I find this is a good place to work and think I will get a play off to you next week.”—Tennessee Williams in a 1944 letter from Provincetown to agent Audrey Wood
On the edge, artistically and geographically, Provincetown prides itself on embracing creativity and diversity and attracting legendary artists, writers and filmmakers to its protected and pristine environment.
As American’s great playwright Tennessee Williams was influenced in his work and his personal life by the spirit and openness of Provincetown, it is fitting that the Provincetown Tennessee Williams Theater Festival celebrate Williams with the same spirit of discovery – of one’s self and of the world – that he tapped in this small town.
Over several summers during the 1940s, Tennessee Williams worked in a shack on the dunes or on a wharf in the bay and crafted many of his masterful works, including The Glass Menagerie and A Streetcar Named Desire. .
Provincetown was also significant in Tennessee’s personal life as this is where he fell in love for the first time and where he later met the man with whom he would have a deep and abiding 14 year relationship.
The aim of the TW Festival to keep the spirit of Tennessee Williams alive and inspire new generations through its performance and exploration of his early work, mature masterpieces, and experimental plays.
Writing in American Theater Magazine, Critic Randy Gener wrote about the importance of the Festival to American drama “…Williams is a giant – prescient, pitiless and well-nigh impregnable…. By giving us Williams unplugged, the brave folks at the Provincetown festival are doing the necessary, good work, outside the confines of commercial bottom feeding…. Williams’s dramaturgy is still ahead of our time…”
For more information, pick up a copy of curator David Kaplan's book, Tennessee Williams in Provincetown.
Revitalizing Tennessee Williams’ Reputation with Traveling Productions
TW Festival Curator David Kaplan says, “It is our mission to see that Tennessee Williams is fully understood for the creative force that he was, and that goes well beyond his classic masterpieces. Williams was always writing and experimenting and much of his work was dismissed in his time. Our performances offer exciting and pioneering approaches to his work that turn plays thought impossible to stage or to understand into theatrical excitement that audiences embrace."
Tennessee Williams’ reputation is being revitalized as more audiences and critics are seeing the full breadth and vitality of the full range of Williams’ work in performance.
Since beginning in 2006, several productions Festival audiences saw first at the tip of Cape Cod as well as variations on them have continued to spread out into the world revitalizing the reputation of America’s playwright for his creative accomplishments.
From 2015 – 2016:
TO NEW ORLEANS, LA:
- The Mutilated (TW Fest 2013) directed by Cosmin Chivu, starring Mink Stole, played New Orleans’ Contemporary Arts Center in November 2015.
- Orpheus Descending (TW Fest 2010,’11), with Irene Glezos, Beth Bartley, and Brenda Currin, was at Southern Rep in New Orleans (directed by Jef Hall-Flavin) during March 2015..
- The Hotel Plays, our third collaboration with the Historic Hermann-Grima House. Directed by TW Fest curator David Kaplan with a mix of New Orleans and Provincetown performers, in association with The Tennessee Williams/New Orleans Literary Festival in March 2015.
- Kingdom of Earth, the inaugural production of the Tennessee Williams Theatre Company of New Orleans was directed by Augustin Correro (TW 101 for TW Fest 2014) in August 2015.
TO NEW YORK, NY:
- Cosmin Chivu directed the New York premiere on Valentine’s Day 2016 of The Remarkable Rooming-House of Mme. LeMonde (TW Fest world premiere 2009, ’15) as part of the double bill Tennessee Williams 1982 at Walkerspace in Tribeca.
- The Beth Bartley – Irene Glezos Orpheus Descending then played Manhattan’s St. John’s Lutheran Church in April, 2016, directed by Austin Pendleton, also featuring Lou Liberatore, Kier Dullea, and Mia Dillon.
TO ST. LOUIS, MO:
- The 1st annual Tennessee Williams Festival St. Louis, May 12th -15th, 2015, included The Rooming-House Plays, a variation of our Hotel Plays (TW Fest 2009, ‘11) directed by David Kaplan.
TO BOSTON, MA:
- Boston’s Beau Jest Moving Theatre, under the direction of Davis Robinson presented Wild Williams at the Charlestown Working Theater in Boston, reprising their productions of Mme. LeMonde, and Aimez-vouz Ionesco? (TW Fest world premiere 2015), and adding a new production of The Pronoun ‘I’ (TW Fest world premiere 2007).
TO SOUTH AFRICA:
- Abrahamse-Meyer brought their production of The Day on Which a Man Dies (TW Fest 2009, ’15) directed by David Kaplan, to the National Arts Festival in Grahamstown in July.
- New Directions published Now the Cats with Jeweled Claws & Other One-Act Plays, a new collection of Williams’ plays edited by Thomas Keith, which includes texts staged in Ptown: The Demolition Downtown (2007), Now the Cats with Jeweled Claws (2011), Once in a Lifetime (2011 world premiere), and Aimez-vous Ionesco? (2015 world premiere).
From 2009 – 2014:
TO NEW ORLEANS, LA – Tennessee Williams New Orleans Literary Festival:
- Auto-da-Fé (2013), a Williams mother-son drama performed on a porch in Provincetown in 2012, then restaged on the back steps of an historic New Orleans home in the French Quarter with a Dixieland band.
- The Tennessee Williams Songbook (2013) a concert of songs from TW plays created for the 2012 Festival by David Kaplan, starring Broadway’s Alison Fraser.
- Gift of An Orange (2014) by Charlene Donaghy, a play inspired by a Williams short story that was an audience favorite of the 2012 Festival.
- The Hotel Plays (2014), a quartet of one-acts originated in Provincetown that were performed in rooms and hallways of the historic Hermann-Grima House to an awestruck audience.
TO COLUMBUS, MS – The Tennessee Williams Tribute:
- The Dog Enchanted by the Divine View (2009), Williams’ short play that became The Rose Tattoo, which had its 2008 premiere in Provincetown.
- The Case of the Crushed Petunias (2010), an early one-act play about a shopkeeper whoreceives a casual visit by a handsome man called death.
- The Strangest Kind of Romance, (2011), a one-act play about a man with a cat, seen in the 2010 version of The Hotel Plays.
- The Tennessee Williams Songbook (2012).
- Autumn Song (2013), a collaboration with composer George Maurer of Minnesota and Jef Hall-Flavin, a musical dialogue in song and jazz of the poetry of Rilke and Williams created for the Festival.
- Orpheus Descending (2012). The stunning, site-specific 2010 production was presented in churches in three cities across Mississippi: Columbus, Oxford and Jackson.
TO NEW YORK, NY
- The Mutilated (2013), a late work by Williams that was panned by critics when it was originally produced in 1966, went on to New York, starring Mink Stole and Penny Arcade and was nominated for a Drama League Award under the direction of Cosmin Chivu.
- The Two-Character Play (2012), the 2011 Provincetown production from London inspired New York producers to mount an off-Broadway version of our production with the same director, starring Amanda Plummer, to great reviews.
- Orpheus Descending (2012), the runaway hit of the 2010 Festival from The Infinite Theatre was revived for a sold-out one-night benefit performance in a West Village church.
- Now the Cats with Jewelled Claws (2011), an avant-garde work featuring Everett Quinton and Mink Stole that was presented at LaMaMa Etc.
TO CHICAGO, IL
- The Chorus Girl Plays (2014), a world premiere first seen in P'Tpwn in 2013. Danzloop Chicago presented these three Williams plays choreographed with dance at the Strawdog Theatre.
- The Escapes (2011) dance adaptations based on The Escape and Summer at the Lak, which were created for the Festival in 2010 opened at the American Theater Company.
- Lorita (2009) a dance adaptation based on Williams' short story Happy August the Tenth premiered at the Provincetown Festival in 2008.
TO SEWANEE, TN
- The Traveling Companion and The Chalky White Substance (2009), and The Hotel Plays (2011) which played under the title “Hotel Williams” at the Tennessee Williams Center.
TO ALBUQUERQUE, NM
- Once in a Lifetime (2011) After premiering at the Provincetown Festival, this play was presented by the Fusion Theatre in Albuquerque.
TO LOS ANGELES, CA
- Green Eyes (2011), this kinky one-act premiered in Provincetown in 2008, and was presented at the Ruskin Theatre Group in Los Angeles.
TO MINNEAPOLIS / ST. PAUL, MN
- Green Eyes (2011) was also seen at the nation’s largest Fringe Festival in Minnesota.
TO CAPE TOWN, SOUTH AFRICA
- Kingdom of Earth (2012), unpopular in 1968, was presented at the Festival by Abrahamse-Meyer Productions and was loved by critics and audiences. It went on to win major nominations and awards in South Africa. The Provincetown production also inspired the Columbus Tennessee Williams Tribute and the South Camden Theatre Company in New Jersey to put on their own productions of Kingdom of Earth.
- The Milk Train Doesn't Stop Here Anymore (2013) by Ambrahamse-Meyer Productions went on to be highly acclaimed as one of the best plays of 2013.
TO DUBLIN, IRELAND
- The Traveling Companion and The Chalky White Substance (2010), a double-bill of one-acts directed by David Kaplan was presented as "Tennessee Suite" at the Dublin Gay Theatre Festival.
TO BERLIN, GERMANY
- Autumn Song (2014), this original jazz-inspired song cycle of Williams and Rilke poems first seen in Provincetown in 2012 was invtied to Berlin in April 2014 for two provate concerts.
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- 2018 Shows
- 2017 Shows
- 2016 Shows
- 2015 Shows
- 2014 Shows
- 2013 Shows
- 2012 Shows
- 2011 Shows
- 2010 Shows
- 2009 Shows
- 2008 Shows
- Young Love
- The Dog Enchanted by the Divine View
- Lorita! (Happy August the Tenth)
- Camino Real
- Tennessee in Foreign Tongues
- Love Songs from Summer and Smoke
- The Eccentricities of a Nightingale
- Rancho Pancho
- Green Eyes with Adam and Eve on a Ferry
- Olympia Dukakis - From Streetcar to Milktrain
- Coffee with Eli Wallach and Anne Jackson
- 2007 Shows
- The Foggy Foggy Dew
- Julie/Pronoun I
- Sunburst/The One Exception
- The Plexiglass Menagerie
- The Parade or Approaching the End of a Summer
- The Traveling Companion/The Chalky White Substance
- Camino Real
- Amiri Baraka
- The Notebook of Trigorin
- The Gnadiges Fraulein
- Ethel Elkovsky Recites
- The Ghost Plays
- Everyone Expects Me to Write Another Streetcar
- Road to Paradise
- The Strange, the Crazed, The Queer
- The 3 Mrs. Stones - The Roman Spring of Mrs.Stone
- I Can't Imagine Tomorrow with The Stronger and Come and Go
- Homage to Valeska Gert
- The Demolition Downtown/The Municipal Abaittoir
- Three More Films - The Red Devil Battery Sign, Noir et Blanc, and The Migrants
- Tennessee Rocks