How does a good man turn toward the unthinkable? In 1930s Germany, Professor John Halder, played by Michael Kaye (Broken Glass, Amadeus), writes a novel about compassionate euthanasia, drawing the attention of the Nazi Party. Despite his own misgivings and the pleadings of his Jewish friend Maurice, John is tempted by the changing world around him. In this expressionistic play with music, CP Taylor poses questions that remain all too familiar in today’s political landscape.
“The production most directly prompted by Trump is also the most incendiary: C.P. Taylor’s Nazi-era Good, slated for Watertown’s New Repertory Theatre in the weeks before the November election. In that 1981 play, a seemingly moderate professor in 1930s Germany rationalizes the actions of the ascendant Nazis, describing them as ‘a temporary aberration,’ until, bit by bit, he is drawn into participating in their horrors.” – The Boston Globe
The Charles Mosesian Theater is equipped with a Tele-Coil Loop System. Patrons with hearing aids and cochlear implants can set their devices to “T-Coil” to take advantage of the assistive listening system. Patrons wishing for assistive listening devices may pick up a headset from the Box Office upon arrival at the theater. Click here to learn more.
JUDITH CHAFFEE* (Mother) makes her New Repertory Theatre acting debut, having previously choreographed Assassins. She appeared in Good at Boston Center for American Performance and again for the Potomac Theatre Project in NYC. Other credits include An American Dream (Colorado Arts Festival); Benjamin Britten’s A Midsummer Night’s Dream, House of Bernarda Alba, and Agnes of God (Boston University), and had a recent film role in The Inhabitants. She has two CDs on Period Styles through Insight Media, and co-edited, with Olly Crick, The Routledge Companion to Commedia dell’Arte. She is Associate Professor Emerita at Boston University, where she was awarded the 2011 Metcalf Cup and Prize for Teaching, and was head of movement for theatre and opera before retiring in 2015.
BENJAMIN EVETT* (Eichmann, Bouller) returns to New Repertory Theatre after performing in Broken Glass, Assassins, On the Verge, Camelot (2014 IRNE Award, Best Actor in a Musical), Amadeus, Cherry Docs, Opus, Indulgences, A Christmas Carol, Quills, A Girl’s War, and Jerusalem, and directing RENT. He recently won the Elliot Norton Award for Outstanding Solo Performance 2015 for Albatross with The Poets’ Theatre, where he is also Executive Director. He has appeared in Freud’s Last Session and God of Carnage (co-produced with Arizona Theatre Company and San Jose Rep). He was a member of the ART Resident Acting Company from 1993 to 2003, performing in over 50 productions including Waiting for Godot, The Bacchae, Phedre, and Six Characters in Search of an Author. He has performed at Missouri Rep, Virginia Stage Company, Alley Theatre, Taiwan National Theatre, and Moscow Art Theatre. He is Founding Artistic Director of Actors’ Shakespeare Project, where he played Coriolanus, Hamlet, Petruchio, Edmund, and Caliban.
Doctor, Dispatch Rider
Doctor, Dispatch Rider
JESSE GARLICK (Doctor, Dispatch Rider) returns to New Repertory Theatre after performing in Assassins and New Rep’s Classic Repertory Company production of A Midsummer Night’s Dream. Previous Boston credits include Arcadia (Nora Theatre Company); Beowulf (The Poets’ Theatre); Salome (Bridge Rep); Who Would Be King, Yellow Bird Chase, and Talk To Strangers (Liars & Believers). He also appeared in Good this past summer Off-Broadway (PTP/NYC). Mr. Garlick is a teacher at Boston Ballet’s ECI Department as well as a freshman drama teacher at Newton South High School. He is a permanent company member of Liars & Believers as well as a co-founder of the 360 Dance Ensemble. He received a BFA in Acting from Boston University and attended the Academia Dell’Arte in Arezzo, Italy. Born in Stony Brook, NY, he currently resides in Brighton. Mr. Garlick will next appear in Journey To The West (Central Square Theater).
MICHAEL KAYE* (John Halder) returns to New Repertory Theatre after performing in Broken Glass, The Elephant Man, Amadeus, Opus, House With No Walls, and Silence. He also appeared in Good this past summer Off-Broadway (PTP/NYC). Other area credits include Mothers and Sons and Clybourne Park (SpeakEasy Stage Company); Uncle Jack, Monster, The Glass Menagerie, and Good (Boston Center for American Performance); A Midsummer Night’s Dream (Actors’ Shakespeare Project); Book of Days (Lyric Stage Company); and various productions at Huntington Theatre Company and Boston Playwrights’ Theatre. Mr. Kaye serves as Assistant Professor of Acting at Boston University School of Theatre, where he earned both his BFA and MFA in Acting and Theatre Education respectively. Born in Chicago, he now lives in Sandwich, NH.
LILY LINKE (Elizabeth, Sister) returns to New Repertory Theatre after performing in New Rep’s Classic Repertory Company productions of 1984, Julius Caesar, and A Midsummer Night’s Dream. Other recent credits include Changes of Heart, Great Expectations, and the world premieres of Women of Henry VIII and Stella Maris (Boston University). She has participated in the development of two original works, Ex Nihilo (Boston University) and The Wastelands Project (Children of the Wild). A BFA Theatre Arts graduate from Boston University, Ms. Linke currently serves as the Education Associate for New Rep in addition to working as a preschool teacher. Originally from Los Angeles, she currently resides in Somerville.
WILL MADDEN (Freddie) returns to New Repertory Theatre after performing in New Rep’s Classic Repertory Company productions of Macbeth, A Midsummer Night’s Dream, and Of Mice and Men. Recent credits include Arcadia (Central Square Theater); Cymbeline (Brown Box Theatre Project); The Love of the Nightingale (Hub Theatre Company); and Julius Caesar (Bridge Repertory Theater). He received a BFA from Boston University and studied at the London Academy of Music and Dramatic Art. Originally from Peachtree City, GA, he currently resides in Brighton. Mr. Madden will next appear in Journey to the West (Central Square Theater).
CHRISTINE POWER (Helen) returns to New Repertory Theatre after performing in Three Viewings and several Next Voices readings. Recent area credits include A Great Wilderness (Zeitgeist Stage Company); Six Degrees of Separation (Bad Habit Productions); Equus (Off the Grid); Greenland (IRNE nomination Best Supporting Actress, Apollinaire Theatre Company); Chalk (Fresh Ink Theatre); In the Summer House (Fort Point Theatre Channel); Playhouse Creatures (Maiden Phoenix Theatre Company); The Miracle Worker (Wheelock Family Theatre); and Neighbors (Elliot Norton nomination Outstanding Actress, Company One). Ms. Power will next appear in Faithless (Boston Playwrights’ Theatre) and Barbecue (Lyric Stage Company). neactor.com/profile/ChristinePower
ALEX SCHNEPS* (Hitler, Bok) makes his New Repertory Theatre debut. Other area credits include Prelude to a Kiss (Huntington Theatre Company). Other recent credits include Romeo & Juliet (Hartford Stage); The Winter’s Tale (Shakespeare’s Globe Education); The Hen Night (Traverse Theatre, Edinburgh, Scotland); and Mornings of April and May (Connecticut Free Shakespeare). Mr. Schneps is currently working towards his MFA in Theatre Education at Boston University where he also received his BS in Film and Television. He received an MA in Classical and Contemporary Text from the Royal Conservatoire of Scotland.
TIM SPEARS* (Maurice) returns to New Repertory Theatre after performing in The Elephant Man, Amadeus, and Mister Roberts. He also appeared in Good this past summer Off-Broadway (PTP/NYC). Other New York City credits include A Question of Mercy and Assistant Director on Monster (PTP/NYC); and JUMP! and Realism (The Exchange). Other Boston credits include Clybourne Park (Speakeasy Stage Company); Uncle Jack, Monster, House (IRNE Nomination), Good, and A Question of Mercy (Boston Center for American Performance); and The Devil’s Teacup (Boston Playwrights’ Theatre). Mr. Spears received a BFA in Acting and an MFA in Directing from Boston University. Born in Texas, he now resides in Somerville.
CASEY TUCKER* (Anne) returns to New Repertory Theatre after appearing in Assassins. Other Boston credits include The Complete History of America Abridged and Henry V (Arts After Hours); The Effect of Gamma Rays on Man-in-the-Moon Marigolds (Boston Center for American Performance); Goody F*cking Two Shoes, The Late Night Cabaret, and Baby Wants Candy (Williamstown Theatre Festival). Ms. Tucker earned a BFA in Acting from Boston University and studied at the London Academy for Music and Dramatic Arts. Originally from Orange County, CA, she currently resides in New York City.
C.P. Taylor (Playwright) was born in Glasgow, Scotland in 1929 and was the author of more than 70 plays. Married and father of four children, he spent his last 20 years in Northumberland, in Newcastle-on-Tyne. There he wrote many plays for young audiences and was closely associated with the Live Theatre Company for which he wrote And a Nightingale Sang (1977). About his writing, Taylor said, “[My] main themes are the conflicts between man’s ideals and his limitations. Every play is about particular people, particular periods, particular incidents. The universal comes from a close and accurate study of the particular.” His longtime friend Max Roberts, artistic director of the Live Theatre Company, wrote of him: “Whatever the subject matter, all the plays he wrote contained a basic ‘truth’ or something he unearthed that was ‘real,’ however small or seemingly inconsequential. Add to this an enormous ‘worry’ about the human race, a gifted instinct to make sense of the absurdities, cruelty and humor of its people, a total inability to write anything shallow or transparent, and you have a very special playwright … he left behind him not only a fantastically diverse canon of work but a constant reminder of what was possible in the past and a stimulus for achievement in the future.” In 1981, C.P. Taylor died suddenly at the age of 52.
JIM PETOSA (Director, Artistic Director) joined New Repertory Theatre as an award-winning theatre artist, educator, and leader in 2012. He has served as Director of the School of Theatre, College of Fine Arts, at Boston University since 2002, and Artistic Director of Maryland’s Olney Theatre Center for the Arts and its National Players educational touring company (1994-2012). While at Boston University, he established the Boston Center for American Performance (BCAP), the professional production extension of the Boston University School of Theatre, in 2008. Throughout the Northeast, Mr. Petosa has directed for numerous institutions, including Freud’s Last Session, The Testament of Mary, Broken Glass, Assassins, On the Verge, The Elephant Man (IRNE Nomination), Amadeus, Three Viewings, The Last Five Years, and Opus at New Rep. In Boston, his work was nominated for two IRNE awards for A Question of Mercy (BCAP). He has served as one of three artistic leaders for the Potomac Theatre Project (PTP/NYC) since 1987. In Maryland, his work earned over 25 Helen Hayes Award nominations as well as the award for outstanding direction of a musical for Jacques Brel is Alive and Well… His production of Look! We Have Come Through! was nominated for the Charles MacArthur Award for outstanding new play, and he earned the Montgomery County Executive’s Excellence in the Arts and Humanities Award for Outstanding Artist/Scholar. A member of Actors’ Equity Association, Mr. Petosa has served on the executive board of the Stage Directors and Choreographers Society, and currently serves on the Board of Directors for StageSource. Originally from New Jersey, he was educated at The Catholic University of America and resides in Quincy.
JACLYN FULTON* (Production Stage Manager) makes her New Repertory Theatre debut. Recent local credits include Il Campanello, L’amico Fritz, and Martha (Boston Midsummer Opera); What Moves You? and Gym Dances (Harvard Dance Program); Barefoot in the Park (Moonbox Productions); and West Side Story (Fiddlehead Theatre Company). Regional credits include festival seasons with Sarasota Opera and Opera Theatre of Saint Louis. She is a proud graduate of Boston University’s School of Theatre where she received the Sidney Friedman Prize. This winter Ms. Fulton will return to Harvard Dance as Stage Manager and to Sarasota as Assistant Stage Manager. She is a native Bostonian and currently resides in Jamaica Plain.
Assistant Stage Manager
BECCA FREIFELD* (Assistant Stage Manager) returns to New Repertory Theatre after serving as Production Assistant on Freud’s Last Session, The Testament of Mary, The Snow Queen, A Number, Broken Glass, Scenes From an Adultery, The King of Second Avenue, and Closer Than Ever. Other area stage management credits include Shoes On, Shoes Off (Brandeis Theatre Company); Romeo & Juliet and Evil Dead: the Musical (Arts After Hours); Hamlet (Wax Wings Productions); Bully Dance (Argos Productions); and Hamlet (Bay Colony Shakespeare Company). Ms. Freifeld is a graduate of Brandeis University, and currently resides in Newtonville.
JIYOUNG HAN (Scenic Designer) returns to New Repertory Theatre after designing Assassins. Boston area credit includes Doubt (Stoneham Theatre); Our Class (Boston Center for American Performance); Much Ado about Nothing (Arts After Hours); Chicago (Reagle Musical Theatre); Owen Wingrave, The Cracking Hour, Il Matrimonio Segreto, Intimate Apparel, The Learned Ladies, God’s Ear (Boston University). She will return to New Repertory Theatre to design Golda’s Balcony in March. She received an MFA in Scenic Design from Boston University. She is originally from Seoul, Korea.
MEGAN MILLS (Co-Costume Designer) makes her New Repertory Theatre debut. Other works include Cosi fan tutte and The Seven Deadly Sins (Boston University Opera Institute); La Cenerentola (Bay View Music Festival); and the upcoming Memorial and Faithless (Boston Playwrights’ Theatre). Ms. Mills is a third year MFA Costume Design candidate at Boston University. Originally from Seattle, she now resides in the South End.
THEONA H. WHITE (Co-Costume Designer) makes her New Repertory Theatre debut. Design credits include Rosmersholm (Boston University); and Assistant Design credits include The Adding Machine, Wit, and The Human Comedy (Boston University). Other local credits include Assistant Designing King Lear (Commonwealth Shakespeare Company) and Designing La Boheme (North End Music and Performing Arts Center). After spending many years in Orange County, CA, she is back in her hometown attending Boston University’s Costume Design MFA Program.
BRIDGET K. DOYLE (Lighting Designer) returns to New Repertory Theatre after designing Baltimore. Previous design credits include The Birds and the Bees (Sleeping Weazel); Don’t Ask Me (Concord Academy); Rosmersholm, Rabbit Hole, and Vinkensport (Boston University); Twelfth Night and Metamorphoses (Gordon College); Cabaret and Dog Sees God (Salem State University); A Behanding in Spokane and Betrothed (Wellfleet Harbor Actors Theater). Assistant design credits include The Merry Widow (Boston Lyric Opera); Can You Forgive Her? (Huntington Theatre Company); Saturday Night Fever, Dreamgirls, Les Miserables, and Chicago (North Shore Music Theatre). She earned her Associate’s Degree from Cape Cod Community College, BFA from Salem State University, and is now pursuing her MFA at Boston University. Ms. Doyle will next assistant design Greek (Boston Lyric Opera); and design Aurora Borealis (Boston University). Originally from the Cape, she now resides in Somerville.
AUBREY DUBE (Sound Designer) makes his New Repertory Theatre debut. Previous credits
include Vinegar Tom, Monster, Serious Money, Pentecost (PTP/NYC); Big Love, The Imaginary Invalid, In the Next Room, and Man of La Mancha (Middlebury College); A Taste of Honey (Boston Center for American Performance); and Delirium, Daddy Issues, and The Hothouse (Boston University).
*member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States
◊ member of the Stage Directors and Choreographers Society
October 29 following 3pm matinee
How can we work together through dialogue to understand what motivates and fuels the opinions, concerns and hopes on all sides of the issues that matter to us? What would you want others to consider or know about the values and experiences that inform your thinking on these issues?
Join us for a special post-show conversation in our intimate third floor rehearsal hall, following the 3pm matinee on October 29. As a group, we will work together to examine these questions through the lens of the deeper themes and issues in our production of CP Taylor’s Good.
Sunday October 9 following the 4pm performance
Free and open to the public!
The following performances are followed by a talkback discussion with members of the cast and New Rep staff:
Friday 10/14, 8pm
Sunday 10/16, 2pm
Saturday 10/22, 8pm
Sunday 10/23, 2pm
Thursday 10/27, 2pm
Sunday 10/30, 2pm