Press

Highest marks must go to the creative team interpreting this work for Opera Philadelphia – chiefly director William Kerley, set and costume designer Tom Rogers, and lighting designer David Howe. The production values were exquisite. Kerley delivered the sensuality that must underpin this opera without ever devolving into seedy and shocking, like having, oh, a baker’s dozen of naked men filling the duchess’ bedchamber. The set and lighting were more than functional. They became clever co-conspirators in the boudoir.”

Gale Martin – Bachtrack.com
(Powder her Face  - Opera Philadelphia)

Friday night at the Perelman Theater, Opera Philadelphia pulled off its greatest piece of work this season, and perhaps in several seasons, with a gorgeously sung and smartly crafted production of Thomas Adès’ Powder Her Face. Director William Kerley knew there was already enough camp and melodrama built into the unraveling of 20th-century tabloid fixture Margaret, Duchess of Argyll, without boldfacing its drama in hot-pink neon.”

Peter Dobrin  - Philadelphia Inquirer
(Powder her Face  - Opera Philadelphia)

William Kerley marshals a terrific company… he directs with style, wit and pace…”

Mark Valencia – What’s on Stage
(Albert Herring – Guildhall School of Music and Drama)

By applying his interpretation with consistency… William Kerley has produced (for a too few sold-out performances) a version of this best-loved opera which could be just the thing to draw a different, younger audience into the opera house.”

Peter Grahame Woolf – Musical Pointers
(Magic Flute – Guildhall School of Music and Drama)

William Kerley’s staging of The Rake’s Progess, in William Fricker’s spare, atmospheric sets and contemporary costumes – a timely credit-crunch Rake, to be sure – was one of the best I have seen anywhere… Kerley staged the fable brilliantly…”

Hugh Canning – Opera Magazine
(Rake’s Progress – British Youth Opera)

Maazel brought all of this to life in a sumptuous performance, full of rhythmic clarity and lyrical grace. Director William Kerley staged the piece resourcefully, moving the characters expertly across designer Nicholas Vaughan’s steeply sloping unit set.”

Joshua Kosman – San Francisco Chronicle
(Rape of Lucretia, CAL Performances, Berkeley, USA)

William Kerley‘s brilliantly observed direction can hardly be faulted.’

Simon Thomas – Music OMH
(Albert Herring – British Youth Opera)

Maazel has assembled a group of good singers who can act, and stage director William Kerley has molded them into a lively ensemble with terrific timing.”

Joan Reinthaler – Washington Post
(Barber of Seville – Castleton Festival, USA)

Stage direction by William Kerley was well-ordered and crisp, the timing of each scene was impeccable, and the young orchestra, under the precise baton of Festival founder Lorin Maazel, was bold and vigorous..’

Terry Ponick – Washington Times
(Carmen – Castleton Festival, USA)

A fizzing production! Donizetti’s gem has to be funny and this one was…”

Stephen Crowe – Music omh.com
(La Fille du Regiment – Opera Holland Park)

William Kerley’s strikingly independent productions rode on strong performances, creative staging and choreography rather than high-tech sets.”

Anne Midgette – Washington Post
(De Falla/Stravinsky double-bill – Castleton Festival, USA)

Ribaldry and scandal ran rampant in Mr. Kerley’s flamboyant production..”

Steve Smith – New York Times
(Beggar’s Opera – Castleton Festival, USA)

William Kerley’s witty, tasteful staging..”

Anthony Holden – The Observer
(La Fille du Regiment – Opera Holland Park)

William Kerley’s modern-dress production of The Rake’s Progress packed a well-honed punch.”

Anna Pickard – The Independent
(Rake’s Progress – British Youth Opera)

William Kerley, the director, made ideal use of the space, deploying the singers throughout the theater at times.”

Steve Smith – New York Times
(Turn of the Screw – Castleton Festival, USA)

William Kerley’s production hits an ideal note of comedy pathos and includes some outstandingly good singing. Really, the feel-good factor is so high it should register on the Richter scale.”

Warwick Thompson – Metro
(La Fille du Regiment – Opera Holland Park)