Our Mission

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The Williams Project is a theatre collective that strives to make theatrical excellence accessible to diverse and engaged audiences, while paying our artists a living wage. 

The writing of Tennessee Williams shapes our vision of theatrical excellence, so we strive like him to create theatre that is:

  • Entertaining enough to make everyone feel welcome and a part of the community;
  • Ambitious enough to risk humiliating failure;
  • Powerful enough to move people to love each other more, even in the face of the temporary nature of theatre and life.

We strive to make theatre consistent with the belief that professional artists are vital to our culture, and that such artists deserve to be compensated in a way that recognizes their value. Great theatre artists are working class heroes who sacrifice greatly to make important work, and we pay all of our artists a living wage in order to support that work.

History

Since the ensemble's founding in 2014, The Williams Project has brought epic, accessible theatre to more than 3,400 audience members in Seattle and Longview, WA. In four seasons, The Williams Project has produced James Baldwin's Blues for Mister Charlie (Emerald City Bible Fellowship/Franklin High School, 2017) and Tennessee Williams’s Orpheus Descending (Intiman Theatre, 2015) and The Glass Menagerie (Café Nordo, 2016). The company also has developed and shared workshop productions of Shakespeare’s Henry VI (2014), Suzan-Lori Parks’s In the Blood (2015), and James Baldwin’s Blues for Mister Charlie (2016). Orpheus Descending was included on The Seattle Times’s list of the top ten theatre productions of 2015 and named the best play of the year by BroadwayWorld Seattle.

Guiding Statements

Reality—the fact that life is tragic. Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.
— James Baldwin, The Fire Next Time
Hell is yourself and the only redemption is when a person puts himself aside to feel deeply for another person.
— Tennessee Williams