Kathrynne Wolf (formerly Kathrynne Ann Rosen) realized at a very early age that she would need the right kind of training to grow up to be either Wonder Woman or Kitty Pryde.  In her early years there was a bit of Taekwondo and Fencing, along with some study of languages, voice, logic, and super-mutant battle techniques (that last item studied mostly through comic books). In college she majored in acting (minors in pre-law and computers), and there she expanded her formal studies of movement training to include a variety of disciplines such as Tai Chi, Feldenkrais, Alexander Technique, and Stage Combat, among others.

She acted in several plays in and around the Chicago area before she joined up with Babes With Blades Theatre Company, finally putting some of her super-hero training to use. She appeared in numerous shows with the company and without for several years, while continuing her studies with instructors from around the globe via workshops. It was through some of these workshops that she met the man who would become her husband and take her to the other side of the world.  She spent two years living in New Zealand, and traveling with her husband. During that time she continued her studies as well as teaching voice and stage combat (even doing a little directing) in New Zealand, Australia, England, and Italy.

Kathrynne returned to Chicago in 2008 and almost immediately appeared in Babes With Blades Theatre Company’s first all-female production of Shakespeare (Macbeth) as the title character. She followed that with their world première of A Gulag Mouse by Arthur M. Jolly, and then struck out on her own, appearing in Dracula: A Tragedy by Mark Mason at Redtwist Theatre Company, and the physical-theatre storytelling productions of The Weaver’s Tales with Fifth House Ensemble. She then returned to her old theatre company as an emeritus member, to appear in the world première of The Double by Barbara Lhota, playing a female fight choreographer in golden-era Hollywood (and the entire Spanish army). She also appeared as the eponymous character in the world première of L’Imbecile. From there she went to playing 3 tormented souls in an evening of Beckett’s short plays, followed by an evening of adapted short stories by Edgar Allan Poe, with Mary Arrchie Theatre Co. and The Mammals, respectively. She then appeared as a devout Christian mother of 6 in Keys of the Kingdom with Stage Left Theatre Company, immediately followed by playing the enigmatic Captain Nemo in Strawdog Theatre’s 20,000 Leagues Under the Sea.  After THAT, she accepted the offered position of Co-Artistic Director of Babes With Blades Theatre Company, appeared in their production of Promise of a Rose Garden, and helped to form and launch their record-breaking 20th Anniversary season (2017-18).

Prior to leaving Chicago back at the end of ’05, she had appeared as Mama Virginia in Hillbilly Antigone with Lookingglass (understudy, with two weeks of performance), Annie Bailey in Bloody Bess (After Dark Award – Outstanding Ensemble) at Red Hen, Zillah in A Bright Room Called Day at Mary Arrchie (Jeff Nomination – Best Actress in a Supporting Role), The Baker’s Wife in Into the Woods with Buffalo Theatre Ensemble, Suzy in Wait Until Dark at Pheasant Run, roles in Xena, Live! Episodes 1 & 2, Ariel in The Tempest at First Folio Shakespeare Festival’s inaugural season, and in multiple runs (and touring!) with BWBTC, among others. She has also done a little mocap for video games, recorded voiceovers for TV & radio commercials, industrials, video games, and a pinball machine, and she can be seen in indie feature film, “Sword of Hearts” and short film “The Lovecraft Syndrome“, both with Sword & Cloak Productions, indie short “My Story 1” with Warsaw Warrior Productions, a Bartitsu documentary (available on DVD Click here!), and two seasons, each, of Dark Age: The Web Series, and The Scarlet Line.