Markus was recently honored with an Outer Critics Circle Award nomination, and the New York Times Critics' pick for NewYorkRep's production of Stalking The Bogeyman at New World Stages. He is the Producing Artistic Director of NewYorkRep, and served as Interim Artistic of Theatre Aspen. He has recently directed at The Portland Stage Company, Weston Playhouse, New Jersey Rep, London's Southwark Playhouse (Off-West End Award nomination for Best Production and Best Direction), and the New World Stages production of Church and State (off-Broadway Alliance nomination for best new play). As a former actor he spent several seasons with The Guthrie Theatre, Denver Center, Long Wharf Theatre, the tour of Death of A Salesman with Christopher Lloyd, Berkeley Rep. ACT and many more.  Markus was on the producing team that brought the Arena Stage production of Eric Cobble's The Velocity of Autumn to Broadway, starring Estelle Parsons, who received a Tony Award nomination.

Markus received his MFA from Columbia University, where he worked closely with Anne Bogart and Kristin Linklater for many years. He a Professor of Theatre at the University of Kansas and has taught around the country at University of Minneapolis/Guthrie Theatre’s BFA program, The National Theatre Conservatory/Denver Center MFA program, Adelphi University, American Musical and Dramatic Academy of Arts, and The New Hampshire Institute of Art where he served as mentor to the MFA playwrights.

Markus is from the San Francisco Bay Area, where he was raised by his mother who emigrated from Germany, and his step-father, a civil rights activist and Montford Point Marine, who was recently awarded by the White House, the Congressional Gold Medal for “outstanding perseverance and courage that inspired social change in the Marines.”

The New York Times called Potter’s work “Breathtaking chilling and dynamic”, giving Stalking the Bogeyman the heralded critic’s pick.  Rex Reed of the New York Observer described Potter’s direction as “Potent stuff that never soft soaps the issues and leaves you stunned.  HIGHLY RECOMMENDED."

New York Theatre described Potter’s direction as “Impeccable in it’s stage craft & elaborately detailed.” The Huffington Post declared it as “Careful and cogent direction.”  The Bergen Record called a production “An intense drama presented with an unfussy simplicity and clarity”, naming it the “10 best plays of the year.”  Neil Genzlinger, of The New York Times described Potter’s production as “Compelling. till thinking about it 24 hours later.” 

                                                                        Equity, Diversity, and Inclusion

I had an extraordinarily rich childhood growing up in a multi-racial family. My Mother is white and my stepfather who joined our family when I was young was black. His children were black and Native American. His oldest son married a Japanese woman. His youngest daughter married a Hispanic man. 

My family also has diverse cultural ideology.  My maternal grandfather and birth father served on opposite sides in WWI. My birthfather’s parents were Russian Jews while my mother was born in Nazi-controlled Germany during WWII.

My step-father, who raised me, was a civil rights activist, and the first African American to move into an all-white neighborhood of Concord, CA.  He was among the first African Americans to serve in the Marines.  He and the rest of the Montford Point Marines were recently presented with the Congressional Gold Medal in 2012 for, “outstanding perseverance and courage that inspired social change in the Marines”. 

As a child, I saw him breaking barriers, reject the status quo, and demand Equity. He taught me that we cannot possibly understand the depth of the human experience, if we do not study the world from a diverse perspective.  

I acknowledge that as a white male, I belong to two categories that are traditionally considered privileged. Growing up with my father, I learned about some of the challenges he faced. Schools were still segregated when he was young. He had to walk past the white school to the poorly supplied black school. When he reached adulthood, his father advised him to leave the state because he didn’t believe his son would have any future in Texas.  When he joined the Marines, his enlistment was delayed because the postman refused to deliver his acceptance letter because he didn’t believe the Marines would want a black man.

My father inspired me to bring awareness, understanding, and fair play to all members of society. I have never forgotten my roots nor my privilege, and as a result, I possess a deep sense of gratitude and social responsibility in my work, and will continue to advocate for an American Theatre that represents a daring, diverse and inclusive body of work.