Williamstown Theatre Festival
Williamstown Theatre Festival
4.5
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4.5
180 отзывов
Отлично
147
Очень хорошо
22
Неплохо
4
Плохо
2
Ужасно
5
Gabalexmom
Чикаго, Иллинойс4 публикации
июль 2022 г. • С друзьями
Wonderful show and a really fun area! Show was amazing and enjoyed the Clark and the Williamstown Inn. Go see a great show at WTF!
Опубликовано 27 июля 2022 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
Merideth B
Метери, Луизиана22 публикации
июль 2022 г. • Для двоих
I’ve been to the WTF many times over many years, and this was the first real clunker of an experience. The setting, facility and stage are all magnificent. That has not changed. But this particular show was disappointing. It was interesting and provocative, but disjointed and strange for no obvious reason. The all women cast had magnificent voices, but the show was ill-conceived.
Опубликовано 19 июля 2022 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
Keith Harrow
10 публикаций
июль 2022 г.
What a treat! This was our first trip to a live theatrical performance since the start of the pandemic. We saw the play Man of God in the intimate Nikos Theater, followed by a talk with the cast after the show. Because there are only about 10 rows, every seat in the theater is excellent. We are used to Broadway ticket prices, so the relatively low cost here was a pleasant surprise. Excellent experience in Williamstown.
Опубликовано 17 июля 2022 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
etreich
Нортгемптон, Массачусетс5 публикаций
авг. 2019 г.
I pushed myself to drive all the way to Williamstown to attend production of 'Ghosts' by Henrik Ibsen. Fabulous theater! Fabulous seats! I have taught 'Ghosts' to high school students, so thought I knew it well, but this production brought it to life and made me realize nuances I hadn't noticed before.
Опубликовано 16 сентября 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
GailFenske
Бостон, Массачусетс48 публикаций
авг. 2019 г. • Путешествие в одиночку
As usual, the quality of dramas are superb, with New York prices and clientele. But even New Englanders are at home in this long-standing gem.
Опубликовано 16 августа 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
RalphH42
Williamstown, Массачусетс224 публикации
июль 2019 г. • Путешествие в одиночку
Henrik Ibsen’s “Ghosts” has finally come to Williamstown.
But the only ghosts sensed at the Williamstown Theatre Festival under the present regime of Mandy Greenfield, as vulgarian an artistic director as one could wish on a passel of undiscriminating audiences and coterie of glad-handing theater “critics”, are those of past productions during the theater’s golden years when artistic directors had taste and didn’t suffer fools and their gimmicks to instill life into classic plays.
Were it not for my experience of seeing Uma Thurman’s smart, buoyant and totally captivating performance in Molière’s The Misanthrope at NYC’s Classic Stage Company twenty years ago, I might not have gone to the WTF’s newest travesty of a classic play. And were it not for Thurman’s engaging presence in Carey Perloff’s moronic direction of Ibsen’s classic, I’d have left at, or before, intermission. But Thurman’s regal voice and careful cadences could not lift the play from the doldrums of Paul Walsh’s hapless, unnecessary and inconsistent translation. Nor could Thurman’s grace of form and thought, and outright classical beauty, compensate for the idiotically conceived onstage presence of a composer-musician who is periodically illuminated at key dramatic moments where his “music” (sound effects, really) is brought in to provide the subtext for actors’ lines. It merely distracts from Thurman who, like any true actor, is more than capable of providing her own subtext.
In the cases of the two leading men, Bernard White and Tom Pecinka, I’d have preferred the whole of Grieg’s “In the Hall of the Mountain King” played repeatedly and over amplified on a saw, to the shrilly irritating nasal discharges of these two creatures who cannot endow their characters with a shred of the humanity necessary to provoke interest, let alone tolerance, of their unwelcome presences. To White’s offense, add uncertainty of his lines, something that Greenfield, in an unprofessional apology, tried to excuse as opening night magic in her pre-show remarks. His call for a line, fed to him by a prompter in the front row and poorly assimilated by White, was, at least, a divertimento from a soulless performance that was repellent for all the wrong reasons. In the case of Pecinka, I kept imagining a Hannibal Lecter-styled muzzle to muffle and contain his insistent mellerdramatics, as opposed to mere melodramatics.
Courtesy of a set which wastes space, beggars explanation and serves as a continual distraction, the actors are forced to perform in a narrow space which severely restricts them, in Perloff’s boring blocking, to lateral movements in which they rise, cross in front of and sit in three pieces of furniture. Perhaps the overly intellectualized concept is to suggest the characters’ imprisonment under a strict religious system, but the idea remains strictly an idea, and the lack of depth to the acting space merely underscores the lack of depth in the production. It just contributes to the other soporifics on hand. Tall modern-seeming windows are anachronistic against the time period-appropriate costumes, while a grass covered roof makes one wonder if indeed we are in Peer Gynt’s Hall of the Mountain King, whose angry trolls would be a relief from the men surrounding Thurman.
Beyond the incompetence, there is an strong undercurrent of insincerity to Perloff’s production. It’s difficult to locate its source. Perhaps it stems from insecurity, a fear of being exposed as a fraud. Thus,the flim-flam artist’s reliance on obfuscation and that notion repeated in this review: distraction. One feels as if one has been scammed out of $75 by a fawning charlatan and her confederates.
The production does accomplish one thing; it momentarily makes one forget the nonsense of breaking the fourth wall in the WTF’s insulting-to-one’s-intelligence production of A Raisin in the Sun, whose director didn’t trust Lorraine Hansberry’s realist style to deliver the powerful message it has voiced clearly for decades.
It’s time to sweep the stage clean of hipsters, dilettantes, egotists, elitists, conceptual con artists, faddists and other such quacks who should be re-educated with The Emperor’s New Clothes before they seek to elevate their status by stripping great works and re-adorning them with superficialities and synthetics.
But the only ghosts sensed at the Williamstown Theatre Festival under the present regime of Mandy Greenfield, as vulgarian an artistic director as one could wish on a passel of undiscriminating audiences and coterie of glad-handing theater “critics”, are those of past productions during the theater’s golden years when artistic directors had taste and didn’t suffer fools and their gimmicks to instill life into classic plays.
Were it not for my experience of seeing Uma Thurman’s smart, buoyant and totally captivating performance in Molière’s The Misanthrope at NYC’s Classic Stage Company twenty years ago, I might not have gone to the WTF’s newest travesty of a classic play. And were it not for Thurman’s engaging presence in Carey Perloff’s moronic direction of Ibsen’s classic, I’d have left at, or before, intermission. But Thurman’s regal voice and careful cadences could not lift the play from the doldrums of Paul Walsh’s hapless, unnecessary and inconsistent translation. Nor could Thurman’s grace of form and thought, and outright classical beauty, compensate for the idiotically conceived onstage presence of a composer-musician who is periodically illuminated at key dramatic moments where his “music” (sound effects, really) is brought in to provide the subtext for actors’ lines. It merely distracts from Thurman who, like any true actor, is more than capable of providing her own subtext.
In the cases of the two leading men, Bernard White and Tom Pecinka, I’d have preferred the whole of Grieg’s “In the Hall of the Mountain King” played repeatedly and over amplified on a saw, to the shrilly irritating nasal discharges of these two creatures who cannot endow their characters with a shred of the humanity necessary to provoke interest, let alone tolerance, of their unwelcome presences. To White’s offense, add uncertainty of his lines, something that Greenfield, in an unprofessional apology, tried to excuse as opening night magic in her pre-show remarks. His call for a line, fed to him by a prompter in the front row and poorly assimilated by White, was, at least, a divertimento from a soulless performance that was repellent for all the wrong reasons. In the case of Pecinka, I kept imagining a Hannibal Lecter-styled muzzle to muffle and contain his insistent mellerdramatics, as opposed to mere melodramatics.
Courtesy of a set which wastes space, beggars explanation and serves as a continual distraction, the actors are forced to perform in a narrow space which severely restricts them, in Perloff’s boring blocking, to lateral movements in which they rise, cross in front of and sit in three pieces of furniture. Perhaps the overly intellectualized concept is to suggest the characters’ imprisonment under a strict religious system, but the idea remains strictly an idea, and the lack of depth to the acting space merely underscores the lack of depth in the production. It just contributes to the other soporifics on hand. Tall modern-seeming windows are anachronistic against the time period-appropriate costumes, while a grass covered roof makes one wonder if indeed we are in Peer Gynt’s Hall of the Mountain King, whose angry trolls would be a relief from the men surrounding Thurman.
Beyond the incompetence, there is an strong undercurrent of insincerity to Perloff’s production. It’s difficult to locate its source. Perhaps it stems from insecurity, a fear of being exposed as a fraud. Thus,the flim-flam artist’s reliance on obfuscation and that notion repeated in this review: distraction. One feels as if one has been scammed out of $75 by a fawning charlatan and her confederates.
The production does accomplish one thing; it momentarily makes one forget the nonsense of breaking the fourth wall in the WTF’s insulting-to-one’s-intelligence production of A Raisin in the Sun, whose director didn’t trust Lorraine Hansberry’s realist style to deliver the powerful message it has voiced clearly for decades.
It’s time to sweep the stage clean of hipsters, dilettantes, egotists, elitists, conceptual con artists, faddists and other such quacks who should be re-educated with The Emperor’s New Clothes before they seek to elevate their status by stripping great works and re-adorning them with superficialities and synthetics.
Опубликовано 10 августа 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
Leslie S
Arlington, Массачусетс34 публикации
авг. 2019 г. • Для двоих
We saw "Tell me I'm not crazy" commissioned by the WTF, a comedy about a grandfather who buys a gun, and so much more, and "Ghosts" by Ibsen, starring Una Thurman.
We loved the comedy. The cast was phenomenal. The dialog zippy. The themes of gun ownership, fear of immigrants, a woman's career and family balance, stay at home dad (well done, Mark Feuerstein!), Aging for women's really terrific, and the comic timing perfection.
Ghosts had a dramatic and modern set, with live music on stage behind a glass wall that doubled as the exterior of a house. Set a bit confusing, were they inside or outside? Cast good, but maybe direction the problem. Just didn't connect with the audience. Thurman good, but her rebellion against the mores of 19th century Norway, just wasn't visible from our seats. Needed a bit more. Perhaps an update to make it more relevant.
Every year the WTF puts on terrific professional productions. Plan a trip soon, or for next year. You will not regret it! We'll be back!!!
We loved the comedy. The cast was phenomenal. The dialog zippy. The themes of gun ownership, fear of immigrants, a woman's career and family balance, stay at home dad (well done, Mark Feuerstein!), Aging for women's really terrific, and the comic timing perfection.
Ghosts had a dramatic and modern set, with live music on stage behind a glass wall that doubled as the exterior of a house. Set a bit confusing, were they inside or outside? Cast good, but maybe direction the problem. Just didn't connect with the audience. Thurman good, but her rebellion against the mores of 19th century Norway, just wasn't visible from our seats. Needed a bit more. Perhaps an update to make it more relevant.
Every year the WTF puts on terrific professional productions. Plan a trip soon, or for next year. You will not regret it! We'll be back!!!
Опубликовано 7 августа 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
Maps63276811029
3 публикации
июнь 2019 г.
If you have an interest in seeing professional theater this Festival has new and classic plays and musicals.The festival has something for everyone. The Festival is set in a beautiful area of Western Massachusetts.
We saw a top notch cast in the traditional play " A Raisin in the Sun."
Although the play was set in the early 60's it still was relevant to these modern times.It took my breath away.
I hope the show moves on to Broadway so more people see it.
We saw a top notch cast in the traditional play " A Raisin in the Sun."
Although the play was set in the early 60's it still was relevant to these modern times.It took my breath away.
I hope the show moves on to Broadway so more people see it.
Опубликовано 7 августа 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
woody096
Massachusetts267 публикаций
авг. 2019 г.
Williamstown theater festival which its on the campus of Williams College enjoys the peaceful beautiful setting of Williamstown. The facility is top notch and the actual theater is conducive to producing outstanding theater. I do not think there is a bad seat in the house. Perhaps a few seats are better than others, but in general the acoustics and stage designs are always superb. I have yet to see a bad play here. Rather the productions I have seen have been wonderful. I can not speak highly enough for this theater. There are many interns and apprentices here which adds to a youthful addition to the staff. A number of their shows have made or will make it to either Broadway or off broadway.
Опубликовано 6 августа 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
drdblu
Бостон, Массачусетс313 публикаций
июль 2019 г. • Для двоих
What a great time at the Williamstown Theater Festival last night. We watched the world debut of a new play, “Tell Me I’m Not Crazy,” by Sharyn Rothstein. It was really funny and very relatable. The actors were all terrific. We recognized Mark Blum (Crocodile Dundee), Mark Feuerstein (Royal Pains and GM Miami), and Jane Kaczmarek (Malcolm in the Middle) with newcomer (to us) Nicole Villamil. Very funny, timely and filled with familiar situations.
And after the show, the theater invited us to a special opening night party where we met the actors and playwright, all of whom were friendly and easy to talk with.
Do not miss this play.
And after the show, the theater invited us to a special opening night party where we met the actors and playwright, all of whom were friendly and easy to talk with.
Do not miss this play.
Опубликовано 26 июля 2019 г.
Этот отзыв отражает субъективное мнение члена сообщества Tripadvisor, а не официальную позицию компании Tripadvisor LLC. Tripadvisor проверяет отзывы.
Natalie Y
Сидней, Австралия
I would like to organise a private tour with backstreet guides for Feb 1st
Williamstown T
Williamstown
Hi Natalie,
Thanks for reaching out to us. Were you looking to schedule something for February of 2016?
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