Jeremy Williams is an acclaimed Director and Choreographer known for his captivating and thought-provoking contributions to the world of theater and performance. With a career marked by groundbreaking productions and innovative storytelling, Jeremy has earned recognition and praise from audiences and critics alike.
With Convergences Theatre Collective
The Woman Who Was Me (Director & Choreographer): In collaboration with playwright Peter Grandbois and Project Visionary Liz Stanton. The play has been presented multiple times at the United Solo Theatre Festival as well TheaterLab NYC, and the Performing Arts Center at Naropa University in Boulder, CO and continues to tour and grow. The production received widespread acclaim and garnered five Innovative Theatre Award nominations, including Outstanding Production, Outstanding Solo Performance for Liz Stanton, Outstanding Director, and Outstanding Choreography/Movement for Jeremy Williams. Notably, the production secured the WIN for Outstanding Lighting Design by Kate (Jaworski) Rodell. Critics hailed Jeremy's direction, praising it as "a gorgeous blend of stark emotionalism, dynamically choreographed movement, and visual magnificence." The play delved deep into the human psyche, offering "psychological insights, arresting imagery, and fierce acting."
“Director Jeremy Williams’ staging is a gorgeous blend of stark emotionalism, dynamically choreographed movement and visual magnificence...Filled with psychological insights, arresting imagery and fierce acting, The Woman Who Was Me is a compelling and highly theatrical confessional”.
- Darryl Reilly for TheaterScene
“...by highlighting individual stories, The Woman Who Was Me invites us to explore the nuances of what it means to be a woman—or a human—in the world. In the shadowy but fertile landscape of self-inquiry, we, like Lanie, may face our desires, reassess our priorities, and emerge into the light of personal truth."
- Emily Cordes, Theater is Easy
BABEL (Co-director/Choreographer): Jeremy co-created and directed "BABEL" in collaboration with WT McRae. Choreographing with the ensemble, the production featured an original score and powerful theatrical design that added depth to this powerful narrative. "BABEL" made its world premiere in an off-Broadway limited run at the Theatre at the 14th St Y, captivating audiences with its unique storytelling. This groundbreaking work also received residencies and workshop productions at Flushing Town Hall, Gibney, 2X2 Studios, and TheaterLab NYC. Told through acrobatic-dance-theater and rich theatrical design, the story explores themes of diversity, unity, and the complexity of human relationships. Reviewers praised the production's ability to leave audiences feeling hopeful and united, making it especially relevant in today's cultural and political climate.
"Diversity of gender, age, race, and body type is present in casting, and further drives the message that for all our differences, our commonality lies in our humanity. Every moment of this seventy-five minute piece is utilized to its fullest potential, driving the story without forcing it. The play leaves the audience feeling hopeful and united, which proves timely for the current state of American culture and politics."
- Adrienne Sowers The Reviewers Hub
"In BABEL, the mesmerizing new dance theater piece by Convergences Theatre Collective, the first sight seen by the audience is a stage adorned only by the show’s 22 (Yep!) performers. They represent all races, ethnicities, and body types....given the increasing divisions (political, religious, and ethnic) in our culture as of late, the play’s diverse cast and message of coming together as one couldn’t be more timely...we are reminded that the only ‘walls’ we should build are ones where humans bond together for a common humanitarian cause... and the only way we can reach greater heights is when we have our fellow man or woman to hold us up."
- Jed Ryan for the Huffington Post
Developing New Works: Jeremy's creative journey extends to numerous workshop productions, works-in-progress, and staged readings, reflecting his versatility and commitment to developing new theatrical works.
Jeremy has delightfully contributed to the Phoenix Theatre Ensemble, an NYC Off-Broadway theatre company, by directing the NYC premier of MURROW, a production that garnered critical acclaim for its superb collaboration between playwright Joseph Vitale, performer Joseph J. Menino, and director Jeremy Williams.
"Murrow, the man, furnishes the frame for Murrow, the reporter. Both are magnificently brought to life via a superb collaboration between playwright Joseph Vitale, performer Joseph J. Menino and director Jeremy Williams. Bravo! Bravo! Bravo! for individually and jointly doing Murrow proud.”
- Myra Chanin for the Huffington Post
"Murrow understood the double-sided potential of mass media; on the one hand it was a weapon for exposing truth, but on the other it was a device from which businessmen could make enormous profit…Joseph Vitale did a remarkable job of assemblage of Murrow quotes and facts from a large variety of sources and director Jeremy Williams carefully guided Menino into a well calibrated performance that makes history and morality clear for the audience. Don't miss this one."
- Mark Savitt for Hi Drama
Jeremy has also directed several productions for the Phoenix for the Family series, charming audiences of all ages with his original staging of classic tales by playwright Kathy Menino with original music by Ellen Mandel.
Little Red (Director & Choreographer)
The Emperor's New Clothes (Director & Choreographer)
Rumplestiltskin (Director & Choreographer)
The Toymaker’s Apprentice (Director & Choreographer)
Grimms & Giggles (Director & Choreographer)
Three Little Pigs (Choreographer)
Sharing the creative process with audience members, Jeremy has directed staged readings of classics and new plays with the Phoenix Theatre Ensemble community.
Albert’s Bridge by Tom Stoppard
"Anatomy of a Scene" exploring comedy in Shakespeare's Much Ado About Nothing
Custom of the Country adapted by Taavo Smith & Jeremy Williams from the original by John Fletcher and Philip Massinger
Facing Death by August Strindberg
‘M’ is for Moon Among Other Things by Tom Stoppard
MARCH by Jim Gabbe
The Pariah by August Strindberg
The Stronger by August Strindberg
Jeremy's contributions to the Arkansas Shakespeare Theatre included directing and choreographing beloved classics like West Side Story, PIPPIN, Fiddler on the Roof, and choreographing Romeo & Juliette. His ability to craft engaging and visually stunning performances was a testament to his directorial and choreographic expertise.
Director's Note: PIPPIN
As the director/choreographer of PIPPIN I have some big shoes to fill left by the man who not only staged the first production but was also instrumental in its creation with composer Stephen Schwartz and book writer Roger O. Hirson. Bob Fosse’s fingerprints are all over this show from the over-the-top production numbers to the risky theatrical tricks and dazzling physicality. But this isn’t Fosse’s PIPPIN. I’m very proud to say that this is our PIPPIN!
The story of PIPPIN is about dreaming of greatness and working hard to become great. That sounds like the great American dream. A story that we all share. The ability to dream big and have those dreams realized through hard work (and a little magic) is at the heart of this show. With that in mind, we decided to set our PIPPIN in the Dust Bowl amid the great depression. Traveling carnivals were a popular form of entertainment and people flocked to see the different acts that claimed to be extraordinary. Pippin finds himself at a carnival where he ends up joining the show. It turns out to be just the opportunity he needs to discover what it truly means to be extraordinary.
Designers Jeff Kmiec and Mike Floyd have imagined incredible worlds that have become a playground for the actors and me, allowing us to explore the characters and story in a way that I think both pays homage to the creators’ intentions and provided a fresh take on this classic story. Mark Binn’s musical direction has pulled the best from the original score and the exciting updates to the current revival on Broadway. He and the cast have also made some fantastic updates of their own. Fernando Quiñones and I had a blast creating the physical language and choreography for this production. Inspired by and borrowing from dances of the 1930’s, contemporary pop/street dances, and traditional musical theatre dance- bursting with the energy and edge that are a signature of my choreography.
Pippin searches for his extraordinary life to discover he’s already living it. We hope you'll find something extraordinary on stage as we tell his story to you.
Director's Note: Fiddler on the Roof
I'm excited to be back for another season at AST! Last year I had the privilege of
staging PIPPIN which was brought to the Broadway stage by the great Bob
Fosse. And this summer I get to play with one of Jerome Robbins' most beloved
musicals! This is not the traditional restaging of Robbin's iconic work. We've
gone to the heart of Anatevka to re-discover this wonderful and complex story; a
much loved musical with some of the most recognizable songs in the Broadway
cannon. I started working on FIDDLER never having done a production. And
even though it is a familiar show- I grew up listening to the record with my
grandmother -I was delighted to find such amazing surprises in the script! This
play deals with many major themes from cultural identity and racism to the clash
between tradition and contemporary values; issues that are still very alive today.
But that's only a part of why we want to see FIDDLER again and again. When
you get to the heart of this play you find love. The love of family, God, country,
community, and friends. And the powerful force of falling in love. The characters
in FIDDLER suffer greatly and love deeply. It is the conflict of the human
condition- something we all wrestle with. As Hodel sings to her father: "Who
could imagine I'd go wandering so far from the home I love. Yet, there with my
love I go." Love takes us on amazing journeys. I hope you'll love your journey to
Anatevka with us and our production of "Fiddler on the Roof”.
Director's Note: West Side Story
West Side Story is my all-time favorite musical! The score is perfection in the way it blends Jazz, Latin, and traditional musical theatre into a rich tapestry of sounds capturing an essence of America and our diverse culture. And the dances are every choreographer’s dream to stage! The story is what catches my heart every time. West Side Story is a major part of our American culture and tells a story of two groups of people trying desperately to live the American dream.
I’m excited that AST is producing West Side Story with Romeo & Juliet. These stories share similar themes of love, loss, fear, and tragedy. I was reminded of a line in the prologue of Romeo & Juliet: “Two households, alike in dignity”. This immediately made me think of the Sharks & Jets. Both of these communities love their own groups fiercely and are committed to being the best they can be; living dreams of freedom, independence, and an opportunity for a better life. There is dignity within each community. The violence stems from the fears of each group towards the other. Fear of the unknown. Fear of others is also part of our American story and something we still see playing out every day. We fear groups of people that are “different” from the majority which causes unrest within our country that has led to violence and discrimination for so many.
Working on this production I have been in awe of Anita’s capacity for compassion. Her lover is killed and yet she still supports Maria and Tony’s love. It is my hope that we can all be like Anita: to face our fears, to love unconditionally, and to offer compassion even to those who we might fear. West Side Story has a message of potential for hope as Maria walks away- heartbroken but alive and able to love another day.
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