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・ Michael Williamson (photographer)
・ Michael Williamson (swimmer)
・ Michael Willis
・ Michael Willmann
・ Michael Willoughby, 11th Baron Middleton
・ Michael Willoughby, 12th Baron Middleton
・ Michael Wills
・ Michael Willson
・ Michael Wilshaw
・ Michael Wilson
・ Michael Wilson (Australian footballer)
・ Michael Wilson (Australian politician)
・ Michael Wilson (basketball)
・ Michael Wilson (Canadian politician)
・ Michael Wilson (cyclist)
Michael Wilson (director)
・ Michael Wilson (guitarist)
・ Michael Wilson (ice hockey)
・ Michael Wilson (New Zealand footballer)
・ Michael Wilson (offensive lineman)
・ Michael Wilson (presenter)
・ Michael Wilson (writer)
・ Michael Wilton
・ Michael Winchester
・ Michael Wincott
・ Michael Windisch
・ Michael Wines
・ Michael Winkelman
・ Michael Winkler
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Michael Wilson (director) : ウィキペディア英語版
Michael Wilson (director)

Michael Wilson (born 1964) is an American stage director working extensively in regional theatre, Broadway, and Off-Broadway.〔(Theatre ) ''New York Times'', September 12, 2010〕
He is devoted to American artists and recently completed a ten-year retrospective of the known and neglected works of Tennessee Williams at Hartford Stage, where he was the company's Artistic Director from 1998 to 2011. Wilson has also furthered new play development by nurturing and commissioning works by both renowned and emerging artists as a director and through Hartford Stage's Brand:NEW Festival of New Works and American Voices, a reading series spotlighting American artists of color.
==Career==
In an interview in 2008, Wilson noted:

Like most directors, I want to show a variety of work. I've done Shakespeare, Chekhov, and O'Neill, as well as new work. Some people have defined my body of work as being dominated by female characters, and this play is no exception. I have collaborated many times with Elizabeth Ashley, who plays the matriarch in Dividing, I don't necessarily subscribe to the notion that I am "a woman's director." But I would say that I am drawn to plays that deal with family situations. In the plays I work on I want there to be a real moment of catharsis. I am always looking to let the audience have some kind of emotional connection. That's one of the reasons why I love Horton's () plays so much: they allow that connection.〔("Interview with Michael Wilson" ) lct.org, September 19, 2008〕


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