By C.P. Taylor
Directed by Jim Petosa
How did it happen? How did a nation go mad? How were normal people transformed into brutes, devoid of ordinary humanity? Set in Germany at the height of Hitler’s rise to power, GOOD takes place partly inside the mind of a “good” man, Professor John Halder. Unconsciously, this well-meaning scholar is led into participation in the hell that was Hitler’s Germany.
I’m Caitlin (she/her)! I just received my MFA in Acting from the Brown/Trinity Rep Program in Providence, RI. My acting career began in Vermont, where I played a Munchkin in a school production of The Wizard of Oz. As a kindergartener, I wasn’t old enough to be in the show, but my dad was building the set because my sister was in it, so I got to be in it, too! Since then, I have been passionate about creating and telling stories.
Stories have the power to change lives, or at least outlooks, even if just a little bit. Those creating art and those experiencing art come together to share, slow down, contemplate, and enjoy together. How awesome is that?! I love playing, I love collaborating, I love sharing space and breath and laughing with people. I’m particularly excited about telling stories about loneliness and connection, time, memory, and joy. And love, of course.
I am committed to cultivating equitable, antiracist and anti-oppressive creative communities in which everyone can share their true self. In which everyone is curious, open and listening. I’m glad you’re here – thanks!
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.
Mark Evancho has designed scenery, lights, and projections for PTP/ NYC for 25 years in Maryland and in New York. Over the years Mark has designed for the New Jersey Shakespeare Festival, Olney Theatre Center in MD, Pennsylvania Shakespeare Festival and the Bucks County Playhouse in PA. In the New England area, Mark has designed for the Vermont Stage Company, Lyric Theatre Company, and Lost Nation Theatre Company in Vermont, and broadcast designing for YNC/ Yankee Communications Network in New Hampshire. Mark teaches design at Middlebury College.
◊ member of the Stage Directors and Choreographers Society
º member of United Scenic Artists, Local USA 829