Cheryl Faraone is a co-founder of Potomac Theatre Project and has produced all of PTP/NYC’s 35 seasons. She has directed many shows for the company, including Dogg’s Hamlet, Cahoot’s Macbeth and Arcadia by Tom Stoppard; Serious Money, Vinegar Tom, After-Dinner Joke, Mad Forest and Far Away (the last online) by Caryl Churchill; Sarah Kane’s Crave, Territories, Lovesong of the Electric Bear, Politics of Passion: the Plays of Anthony Minghella, An Experiment with an Air Pump, Perfect Pie, Stanley and many more. Previously, she directed and produced for eight seasons with the New York Theatre Studio. For the Olney Theatre Center in Maryland she directed King of the Jews, The Real Thing and Anna Karenina. She worked on the Broadway productions of The American Clock and An Evening with Comden and Greene with producer Arthur Cantor and also worked at the Public Theatre,  and the Folger Theatre . Her work at Middlebury College, where she is professor emeritus, teaching Theatre and Women and Gender Studies for 35 years, includes the direction of 30+ productions, including Julius Caesar, Men on Boats, Enron, Stupid Fucking Bird, As You Like It, The Good Woman of Setzuan, Jumpers, Arcadia, The Real Inspector Hound,The Five Hysterical Girls Theorem, An Experiment with an Air Pump, Top Girls, Way of the World, and numerous others.

A graduate of Catholic University and Florida State University’s School of Theatre, and officer and board member for OOBA (early ART/NY, the League of Washington Theatres, Athe and TCG. She is a member of the National Theatre Conference.

In 1986 Richard Romagnoli co-founded and has since been the Co-Artistic Director of the Potomac Theatre Project. PTP/NYC; Director, For PTP/NYC, private and public Zoom productions of Pinter’s Press Conference/Party Time, Howard Barker’s poem Don’t Exaggerate. His most recent ‘live’ production for the company was 2019’s Havel: The Passion of Thought. For PTP and other theatres he has directed multiple productions of Howard Barker’s The Castle, Scenes from an Execution, The Europeans, A Hard Heart, Pity In History and The Possibilities. He has also directed Barker’s Judith, Gertrude— The Cry, Victory: Choices in Reaction and Barker’s poems ‘Gary the Thief,’ ‘Plevna: Meditations on Hatred, ‘and ‘Don’t Exaggerate.’ For the worldwide 2010 Barker celebration “21 for 21”, he directed Judith with Jan Maxwell, Alex Draper and Stephanie Janssen. Other playwrights directed for PTP include Harold Pinter, Edward Albee, Gore Vidal, Vaclav Havel, Pavel Kohout, Snoo Wilson, Howard Brenton and Tariq Ali. In Washington D.C. he has directed Dumas fil’s Camille (with Jan Maxwell), Pinter’s The Homecoming, Coward’s Private Lives, and The Importance of Being Earnest for the Olney Theatre Center, and has also worked with Project Y in D.C. and in Boston for Whistler in the Dark. He is a professor emeritus of theatre at Middlebury College in Vermont, where he directed numerous plays, including, most recently, Major Barbara, Havel: The Passion of Thought.

Jim Petosa is Professor Emeritus with Boston University’s College of Fine Arts.  He served as a professor and as director of the BU School of Theatre from 2002 – 2018. He also served as artistic director of the Boston region’s New Repertory Theatre from 2012 – 2018. Petosa has directed Tom Stoppard and André Previn’s Every Good Boy Deserves Favour at NYC’s Town Hall and the operas Carmen (Peter Brook adaptation) and The Man Who Mistook His Wife for a Hat among others. PTP/NYC credits include Monster, Spatter Pattern, A Question of Mercy, Therese Raquin, Somewhere in the Pacific, Marisol, Dog Plays, Statements After an Arrest, Good, Brecht on Brecht, among others. He also served as Artistic Director for the Olney Theatre Center, where directing credits include Democracy, Racing Demon, Brooklyn Boy, Copenhagen, The Laramie Project, Art, The Miracle Worker, Jacques Brel is Alive and Well and Living in Paris (won a Helen Hayes Award for Outstanding Musical Production), Theatre J’s Collected Stories (received a Helen Hayes nomination for Outstanding Direction), and Look! We Have Come Through! (Charles MacArthur New Play nomination, Co-created with Carole Graham Lehan). A member of the Actor’s Equity Association and the Society of Directors and Choreographers, and the Becket Arts Center Board, he teaches acting and directs for the Boston University Opera Institute.