SEPTEMBER 27 - 30, 2018


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What They Say About Us

"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 pushedtheir 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, The Boston Globe, "Tennessee Wiliams’s Time is Now," Sept 21, 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, Oct 2013

"A luminous Festival..."
-- Robert Israel, EDGE Boston

 "… 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 ofthe 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 every one 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, Oct 3, 2013 

"Check it out, blow your mind, be astonished!"
-- Chris Busa, WOMR Art Talk, Sept 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, The Boston Globe, Oct 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.'"
-- 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 and 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. Hall-Flavin 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 peoples’ 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 theaterWilliams was not just an American writer to celebrate on those terms each year; he was a writer whotranscended 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

About The Mutilated

"For the truly adventurous theatergoer, I have a deliciously odd couple to recommend in a decidedly odd play: Mink Stole and Penny Arcade in 'The Mutilated.'"
-- Charles Isherwood, The New York Times, Sept 5, 2013

"Revived under Cosmin Chivu’s direction, with audiences being led to follow the action from backyard, to a porch, to a downstairs barroom, the production was nothing short of brilliant... Fate will be the final arbiter here, but we may yet see a revival of this bawdy tale back on Broadway."
-- Robert Israel, EDGE Boston, Oct 1, 2013

About The Milk Train Doesn't Stop Here Anymore

"Unconventional theatre that's dark, challenging and richly rewarding... Judging by the standing ovation Fred Abrahamse's revival received on opening night, one can safely assume that, as with many a great piece of art, The Milk Train Doesn't Stop Here Anymore was simply way before its time."
-- Cape Times, South Africa, Oct 8, 2013

About Kingdom of Earth

"Another play about mother-son relationships was the production of Kingdom of Earth that arrived to the Festival by way of Cape Town, South Africa. As directed by Fred Abrahamse, the play grabbed hold of your throat and slowly, purposefully, squeezed your breath away."
-- Robert Israel, EDGE Magazine

"Multi-award-winning South African actress Anthea Thompson’s stunning performance was one of the most talked about at last year’s festival. Her return and that of director Fred Abrahamse and fellow cast members Marcel Meyer and Nicholas Dallas make for a don't-miss, must-see event for anyone who is considering or ever considered a life in the theater."
-- Lynda Sturner, Provincetown Banner, Sept 12, 201

About Autumn Song in Columbus, Mississippi

"There was a rare and magical moment in Columbus last night with the presentation of Tennessee Williams' musical masterpiece Autumn Song. It sounds like an awfully high-brow conglomeration but it was pure musical geniusThe quality of the acting, the musicians, the singers, the directing and lighting was outstanding. Each and every song was a show-stopping hit."
Bob Raymond, Columbus Dispatch, Sep 6, 2013

About The Tennessee Williams Songbook

"It’s the music that Tennessee Williams wanted put in his various plays. The music is very eclectic. And then the director David Kaplan, the great Tennessee Williams scholar and the curator of the Provincetown Tennessee Williams Festival –- you know he’s a world-class scholar of Tennessee Williams, and a terrific director -- David has put various pieces of text in with the songs. So, we didn't know how this hybrid was going to go over with an audience. And, down in Mississippi we had a very sophisticated audience because it was a Tennessee Williams festival, and there were a lot of scholars there and real aficionados -- people who are very, very passionate about Tennessee Williams. And it went over like gangbusters."
-- Actor Alison Fraser, quoted in an article by Rob Harttman on

About Now The Cats With Jeweled Claws

"Now the Cats with Jewelled Claws, a never-produced one-act by Tennessee Williams at La MaMa, proved to be the tastiest treat of the season, with its starry cast of cult movie stars (Mink Stole), downtown theater royalty (Everett Quinton), and downtown It Boys (Joseph Keckler and Max Steele). The unknown Williams play itself proved surprisingly muscular and absurdist, a bold step in a new direction that Williams didn't take, and the cast was just ideal."
-- Benjamin Sutton, The L Magazine

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