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Williamstown Theatre Festival

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1000 Main St Williams College/Box 517
Williamstown, MA 01267-0517

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Williamstown Theatre Festival


Directions Driving

Directions Driving

Take FDR Drive North to Willis Avenue bridge to Major Deegan Expressway/Route 87 North, to Saw Mill River Parkway North, to Taconic Parkway North. Follow the Taconic approximately an hour and a half to Chatham exit, Route 295 East (exit is marked "last exit before toll"). Follow Route 295 East to Route 22 North. Take Route 22 North to Route 43 East



Ample free parking is available in the three-level parking garage behind the theatre, accessible from Main Street/Route 2 and from Whitman Street, just off of Route 7. Additionally, there is parking and handicap accessible parking available across the street from the theater on Stetson Court

Theater Description:

During the winter of 1954, Ralph Renzi, News Director of Williams College, and David C. Bryant, chairman of the College’s active drama program, conceived the idea of using the Adams Memorial Theatre on the Williams College campus for a summer theater with a resident company.

They were joined by music professor Irwin Shainman as Treasurer and Louis Rudnick (Williams ’15), chairman of the Williamstown Board of Selectman, who was elected President of the new Foundation—a position he held for 17 years. Robert C. Sprague, President of Sprague Electric, became a leading financial advisor. With the help of the Board of Trade, local businessmen and town residents including Cole Porter, the Williamstown Summer Theatre—later renamed the Williamstown Theatre Festival—was formed .

When Bryant left Williams the following year, Nikos became Artistic Director, and the Festival’s repertory became increasingly ambitious with productions of Shaw, Giradoux, Miller, Williams and Chekhov. A growing family of actors evolved including Mildred Dunnock, E.G. Marshall and Thornton Wilder, later joined by the likes of Blythe Danner, Olympia Dukakis, Edward Herrmann, Kate Burton, James Naughton and Christopher Reeve, whose return year after year gave stability to the Equity company.

In the 1960s and early 1970s, Williamstown became known for innovative versions of classics: The Seagull (taped for PBS), Galileo, Six Characters in Search of an Author, Peer Gynt and The Threepenny Opera. By this time over 100 people worked in the theater every summer. Auxiliary activities began to supplement the Main Stage: the Apprentice Workshop, an experimental Second Company, lively late-night cabarets, Sunday literary events and new play readings. The 1980s saw some of the WTF’s most ambitious work—The Greeks, a two-night celebration of Tennessee Williams with the playwright in residence, premieres on the other Stage and launch of the popular outdoor Free Theatre. Many projects transferred to Broadway, Off-Broadway and television.

After an extraordinary and visionary 33 years as the head of the WTF, Nikos Psacharopoulos passed away in 1989. Following a 35th season dedicated to his memory run by a troika of Peter Hunt, Austin Pendleton and George Morfogen, Hunt, named Artistic Director, gave a new focus to musical theatre and American classics. In 1996, long-time WTF stage manager Michael Ritchie became Producer. During his eight years at the helm, nearly two dozen productions transferred to Broadway, Off-Broadway and regional theatres across the country. In 2002, the Williamstown Theatre Festival received the Tony Award for Outstanding Regional Theatre. Ritchie was succeeded in 2005 by Roger Rees, who encouraged new writing and emphasized the importance of the Apprentice in the life of the Festival. Former WTF resident director Nicholas Martin served as Artistic Director from 2008-2010. In 2011, WTF received the Commonwealth Award for Achievement, the highest cultural honor bestowed by the Commonwealth of Massachusetts.  Former Associate Producer Jenny Gersten led the Festival from 2011-2014 and Mandy Greenfield will take the helm as Artistic Director in Fall 2014.

Through these 60 years, the Festival’s goals remain constant: to attract top talent, cultivate young artists, produce reinterpreted versions of classics and new plays from gifted playwrights and to continue to attract audiences with the quality and ambition of our work.