Company Bios
Cast:
Kasper Cergol (he/him): Kasper is an actor, model, singer, and cellist based in Seattle, WA. His most notable acting roles include All New Cells (The Shattered Glass Project) and Tenderness (Annex Theatre). His theatrical focus lies in new works, with experience as a literary manager for We Need New Plays and a recurring actor with Parley Productions.
Katie Dreessen (she/her) is so excited to make her Latitude debut in this fun spooky show! Since graduating from WWU in 2023, Katie has been acting, teaching, and dialect coaching all around the Puget Sound area and beyond. Most recently she was seen playing Katherine in Taming of the Shrew and Helena/Titania/Snug/Egeus in A Midsummer Night’s Dream with GreenStage’s Back Yard Bard company. Love to Mom and Dad, and all of you all for supporting new, local theatre! @katie.grace.d
Sommer Harris grew up playing on the stages of Whidbey Island. She was last seen in Whidbey Island Center for the Arts’(WICA) Falstaff in Love (2023). Sommer performed in OutCast Production’s Pandemonium, Life During the Pandemic (2020) and Slowgirl (2018). She directed Fiddler on the Roof Jr. (2018) at Whidbey Children’s Theater, and performed as Molly in WICA’s Peter and the Starcatcher (2017). Sommer is a lifelong acting student, training at Haven Acting Studio in Vancouver, BC from 2022 to 2024 and currently studying at Freehold Theatre. She spends her free time singing, dancing, and exploring the interplay between technology, nature, and the arts. She would like to thank her awesome co-performers for being so much fun to work with!
Joshua Holguin is a California-born Pacific Northwest-raised actor and stage combatant. His last production was a collaboration between Intiman/Sojourn Theaters, The Race 2020, over Zoom in Texas. He is enthusiastic and grateful to participate in Framing Device: The Edvard Munch Plays! Love you family, love your neighbors, peace.
Thurman Kellogg - To prepare for the role of James, Thurman Kellogg spent considerable character study time in coffee shops, bars, and other public spaces to observe lone figures lurking in the corners by themselves. Thurman decided these people crave company while carrying a general distain for people, thus being forever trapped in an attraction/aversion limbo. As James, Thurman aims to take these internal struggles and channel the brave decision to reach out to a stranger in despite being restrained in a self-imposed comfort zone. Thurman encourages you to introduce yourself to another theater-goer tonight and see where your conversation takes you. It's a choice to roll the dice, put yourself out there and maybe make a friend. Let Thurman know how it goes.
Ali Kidder-Mostrom (she/her) is a forensic scientist by day and theatre person by night. She is also a proud member of Latitude Theatre's Artistic Ensemble. Sometimes Ali works behind the scenes and sometimes she treads the boards. Most recently, she was seen on stage as Dr. Elizabeth Garrett Anderson in Latitude’s production of Miss Holmes. Off stage, she most recently served as the costumer for As If Theatre’s Cry It Out. She also made a couple of appearances as an understudy in this past summer's production of Ingvar! A Musical Furniture Saga. When not making theatre, favorite past roles have included Igor in Latitude’s production of Monstrous Regiment, Sheila in Hair, marja' and 'emlI' in A Klingon Christmas Carol and a wide variety of interactive theatre characters.
Dorothea Koetje is from Edmonds, WA, and recently graduated with a B.F.A. in Musical Theatre from Pacific Lutheran University. Her recent credits include Alyssa Greene in The Prom (PLU), Lilith in She Kills Monsters (PLU), and Ensemble/Amelie Understudy in Amelie (PLU). She would like to thank her family and her partner Glen for their unending support.
Tagen Mathews is thrilled to make his Seattle stage debut with Latitude Theatre. Since graduating from Cornish (Not Seattle U) in 2024 with a BFA in Acting and Original Works, Tagen has occupied himself with immersive theatre, touring shows for young audiences and teaching Axe Throwing on Capitol Hill. Huge thanks to all of you audience members for finding your way here to see our show.
Jessica Marvin-Romero (she/her) is a Mexican-American actor and poet. Past credits include Cornelia's Visitors (Ese Teatro), Cowboys with Questions (WET), and Carmilla (Shattered Glass Project). She is never not playing a little game on her phone.
Chloe Payne is an accomplished actor, singer, and writer with over fifteen years of theatrical credits. They obtained their BA in Musical Theater Performance from Columbia College Chicago. As a local who recently moved back to his favorite city after years of travel, Chloe made his Seattle theater debut this past June starring in Here & Their, A Nonbinary Musical. Performing in this building was a bucket list goal for Teenage Chloe who used to drive in from the suburbs for auditions, so yay for making that lil guy proud :) For socials, busking adventures, silly YouTube videos, or commissioning Chloe to write you a song, visit www.ChloeThePayne.com.
Ronan Pirkle is a Seattle-based actor and holds a BA in Drama from the University of Washington. Recent credits include Drowned Cats (Blue Hour Theatre Group), Twelfth Night (Rainy Day Artistic Collective), and 301 Repair (Parley Productions). Outside of the theatre, you can find Ronan going for long walks and gushing about the Muppets.
Monty Rozema is a queer multidisciplinary artist born and raised in Seattle, WA. They were a part of Latitude’s inaugural Victorian Christmas Cards in 2023, VCX2 in 2024, and are delighted to return for Framing Device: The Edvard Munch Plays. They tour as a children’s theatre actor with Taproot Theatre’s Road Company and are a stagehand and designer around town. Recent wardrobe credits include Exotic Deadly: or the MSG Play (Pork-Filled Productions), Cowboys with Questions (Washington Ensemble Theatre), Tenderness (Annex), and Our Dear Dead Drug Lord (W.E.T.). Boo! (Eek!)
Dan Ruiz Salvatura has pretty much been living inside of an Edvard Munch painting for his entire adult life (until he finally got his meds calibrated correctly a few weeks ago), so this all feels eerily familiar. He’s done some pretty cool stuff with Driftwood Players, GreenStage, Yun, Reboot, and Annex Theatres in the last few years; and now he’s having a lot of fun with Latitude. When he’s not acting on the stage, he’s playing the role of a lifetime as a High School Teacher and Career Counselor.
Playwrights:
Max Koh (they/them) is thrilled to be working with Latitude Theatre for the first time! Max is a patch of sun-kissed grass on a warm Autumn afternoon. Some decades ago, Max made a deal with a loving snail to become human and work in Seattle as a playwright, director, and sound designer. It was a great mistake, as being human has come with a crippling adoration for soup-based noodle dishes. Recently, Max’s work has been seen at Epheverie Theatre Company, Kitchen Sink Theatre Company, Pork-Filled Productions, and the Beyblade Colosseum hidden under SODO.
Sirius Linton (he/him and she/her) is excited to be making their Latitude Debut as a writer for Bathing Boys. Sirius' first play to be published and worked on was a collaborative project with SPU, a play called Held Together in 2020 regarding the pandemics across history. Sirius has written many works before primarily in the horror or thriller genre and was excited to dip their toes into a comedic/melodrama style for Edvard Munch's 'Bathing Boys!' Sirius is also a local actor in town and recently was in Bainbridge Performing Arts production of Macbeth. Sirius aims to create works that give queer actors a spotlight within a world that wishes for them to hide.
Hannah Lund is a Seattle-born theatre artist, currently based in England. Their work has been performed in short play festivals at Shorewood High School and Shoreline Community College. They co-wrote Held Together for Seattle Pacific University, alongside fellow Framing Device: The Edvard Munch Plays playwright, Sirius Linton. They have a BA in Theatre Performance from Seattle Pacific University, and are working towards their MFA in Contemporary Directing Practice at Rose Bruford College.
Audree McGee (she/her) is delighted to be making her Latitude debut with Framing Device: The Edvard Munch Plays. She is a holistic theatre artist from Colorado who moved to Seattle in 2024. Audrey was one of the founding directors of Colorado Springs Young People Theatre Troupe, which produced original, family-friendly works from 2020-2022. Her writing often explores themes of mental health, cross-cultural experiences, and mortal reflections of the eternal and divine.
1 Cor 10:31
1 Cor 10:31
Wayne Rawley - Plays include Live! From the Last Night of my Life (2012 Gregory Award for Outstanding New Play), Christmastown (Seattle Public Theater 2013 – 2023), 1984 (adaptation, Empty Space Theater), Attack of the Killer Murder of Death! (SPT, Theater Schmeater), and Beating Up Bachman (BASH Theater). His short plays Controlling Interest and The Scary Question are published by Playscripts, Inc and performed all over the world.
Miriam BC Tobin (she/her) is a Seattle-based playwright, theatre artist, and educator. She has performed on stages and taught drama across the US and Europe. Honors include a Hedgebrook residency, PEN Writing Scholarship, and London Dramatic Academy Fellowship. Recent performances and readings have been with Drunken Owl Theatre, Edmonds Driftwood Players, and The Shattered Glass Project, and she is a 2025 semi-finalist for the Bay Area Playwrights Festival. Miriam also runs SCRiB LAB, a playwriting organization aimed at community. www.mirbct.com, www.scriblag.org
Directors:
Jacq Babb (they/them) originally hails from Fresno, CA ("Smile when you say that!"), succumbing to a four year stint in LA as a singer-songwriter before wandering to the greater Seattle area and eventually secreting away in the fae wilds of Whidbey. They have a BA in Theatre and Acting, an MFA in Creative Writing and Poetics, and a DIY in Tiny Living. Jacq is a Latitude Ensemble Member who previously acted in our inaugural production (Monstrous Regiment) and choreographed the movement interludes (Frogs!) for Victorian Christmas Cards (2023). Primarily a performer themself, some of their favorite roles include Maladict in Monstrous Regiment, Lucius in Titus Andronicus, and—most recently— Mercutio in Romeo and Juliet and Minette in Bold Stroke for a Husband.
Stacey Bush is a Latitude Theatre Ensemble member and is honored to a be first-time director for this iteration of Framing Device. Stacey is an actor, costumer, and fight director around town with credits for Latitude Theatre, Seattle Repertory Theater, StrawShop, MAP Theatre, Macha Theater Works, Macha Monkey Productions, Annex Theatre, Theater Schmeater, and 14/48 Productions. She wants to thank her great cast for coming along with her on their musical adventure and to thank Wayne for such a fun story to play with. Much gratitude and love to her mentors, family and friends.
Caitlin Frances is predominantly seen on stage in the Pacific Northwest, but she also values engaging in collaborative projects with theater artists in many other ways. As a director, Caitlin has helmed productions such as Deathtrap by Ira Levin, The Nerd by Larry Shue, Blithe Spirit by Noel Coward, and Arsenic and Old Lace by Joseph Kesselring. She curates a series of short story readings at Seattle Public Theater and is part of Sugartime a jazz/pop trio. Painting is one of Caitlin's favorite hobbies along with gardening and reading.
Montse Garza is a Latina director, actor, and lighting designer hailing from la frontera (the Texas-Mexican border). She earned both her Bachelor’s in Theater Arts and Computer Science from MIT, relocating to Seattle shortly after. In the two years she’s lived in Seattle, Montse has designed and performed with several companies including Latitude Theatre, Shattered Glass Project, Yun Theatre, Dacha, Verbooom, and many others. Most recently, she directed Cornelia’s Visitors with eSe Teatro, a local Latine theater company. Currently, Montse is producing and writing for eSe Teatro’s Quinceañera event coming up in November to celebrate its 15th anniversary and Seattle’s Latine theater community!
Henry Ives is excited to make his directorial debut as part of Latitude’s Framing Device: The Edvard Munch Plays festival. Primarily a Stage Manager, it’s been eye opening for him to set aside the familiarity of stage managing, and work some of his creative muscles. He can’t think of a better introduction to directing than with a piece like Bathing Boys. While not a uniquely trans* narrative, Bathing Boys does what few others do, by calling for only transmasculine actors to tell its sensitive, familiar story. Now more than ever, trans* voices deserve and demand space in every rehearsal room and on every stage, whether it’s to tell our own stories, or ones that are age-old and familiar to all. In addition to directing for Framing Device: The Edvard Munch Plays, Henry is currently stage managing Hanna Eady’s Almonds Blossom in Deir Yassin with Dunya Productions, running October 23 – November 15.
Lillie Wirth is thrilled to be a part of this directing team for their first production with Latitude Theatre! Lillie is a recent graduate of Sarah Lawrence College, where they studied directing and sound design, among a smattering of other liberal arts. You may have previously seen their sound design work on Blue to Blue and The Game Show at Annex Theatre, or their scenic creations in July's 14/48 festival. They also recently directed Sleepover Play, a new one-act, with Three Winks Productions. You can catch them next spring at Annex, directing a staged reading of Deadheading by Miranda Mars. Lillie has had a mild obsession with Munch's paintings for a while now and could not be happier to be bringing his worlds to life. They hope you enjoy the show!
Production Crew:
Sam Williamson is delighted to be returning to stage manage another show with Latitude! Previously, she has stage managed Ingvar! A Musical Furniture Saga (2025), Monstrous Regiment (2023) and is a part of the Artistic Ensemble. Other notable shows include: Lewis & Tolkien (2025), Sister Act (2024), How to Write a New Book for the Bible (2024), As It Is In Heaven (2023), Black Coffee (2022), and The Bishop's Wife (2018) all with Taproot Theatre. Thank you for coming to the show!
April Zhao is thrilled to be collaborating with Latitude Theater for the first time. She is a Seattle-based lighting designer, director, and computer science professional. A graduate of the Claremont Colleges in California, her design credits include Thunderstorm, Goodbye Mr. Loser, and Sorrow of Comedy with Chinese theater communities in Seattle. April looks forward to contributing to this production and continuing to grow her creative practice within Seattle’s vibrant theater scene.
Skye Farrell (he/they) is an actor/musician from the Seattle area. He graduated with his BA (hons) acting degree from the Institute of the Arts Barcelona in 2022, and has since returned to Seattle. He is a member of Latitude Theatre's Artistic Ensemble, He has performed in Victorian Christmas Cards (2023) and Ingvar! A Musical Furniture Saga; as well as having designed props for their production of Miss Holmes.
Hattie Mae Calloway discovered her love for theater in fourth grade at Hazel Wolf K-8, where her drama teacher, Ms. Bernet, created a welcoming space to perform, explore, and grow. She appeared in productions such as Seussical the Musical, Freaky Friday, and Help! I’m Trapped in a Musical before discovering her true passion behind the scenes. By eighth grade, Hattie was stage managing productions, leading crews, and ensuring shows ran smoothly. A favorite memory from that time was backstage on closing night, balancing the chaos of calling places while helping a friend with her hair—proof that no challenge could shake her dedication. In high school, Hattie continued her technical theater journey, working on Hello, Dolly! As well as serving as assistant stage manager for You Can’t Take It with You and lead stage manager for Peter and the Starcatcher. For Hattie, theater is more than a stage—it’s a home, a community, and a place where collaboration thrives.
