*IMPORTANT NOTE: Some of the cast/crew has leaned into the absurdist theme and tone of the play and have elected Joshua Jon to write their bios (For better or worse).
They in no way reflect the immense professionalism, talent, dedication, passion, talent, and craft they have brought to this production.
Luke Sayler (Caligula)
This is Luke Sayler’s first production with Arouet. Recent roles include Bottom in A Midsummer Night’s Dream, Proteus in The Two Gentlemen of Verona, and Malcolm and the Witches in Macbeth with GreenStage and Larry in Truth Like The Sun at Book-It. Later this summer he will be in Sound Theatre Company’s production of One Man, Two Guvnors as well as teaching one of Greenstage’s Shakespeare day camps. Luke
is a 2009 graduate of Cornish College of the Arts.
Danielle Daggerty (Caesonia) Previously living in L.A and New York, she is proud to now call the Emerald City her home. Most recently she was seen in Challenger at the Pocket and across the water in Hair at Bainbridge Performing Arts. Previous credits include …and Jesus Moonwalks the Mississippi, (Sound Theater) Game Show! (Theater Schmeater), Team of Heroes, C. 1993, The Tale of Jemima Canard (Annex), Sally and Thor Save the World (Balagan), and various 14/48 projects including Theater Annonymus. She thanks her mom for her endless love and support!
Richard Sean Glen (Helicon) has three first names, a BFA in Theatre Arts from the University of Idaho, and a handful of theatre credits. He last walked the boards covered in Spandex and foam as the lovable work-bot, Strongman, in Copious Love Production’s Codename: Kansas, Witch Hunter. And he last performed with Arouet as part of their ArtsCrush event, Conversations We Have, under the direction of Chris Martinez, with whom he gets to share the stage this time around. When he’s not performing, Richard seeks out opportunities to let his friends and family know how much he loves them, including (but not limited to) thanking them in his bio. Thanks guys!
Christopher Martinez (Cherea/Fight Choreographer) This is Christopher’s first on stage production with Arouet. He has been mostly backstage with the team assisting in fight choreography for Don Juan in Chicago and The Children’s Hour. Christopher has been working as an actor and occasional playwright for Playlist Seattle. Christopher can be seen in July in Bainbridge as Leonato in Much Ado About Nothing. Christopher is honored to tell this story with the amazing people in this cast and crew. He is grateful for the support and love of his friends, family, and the friends that have become family.
Benjamin Wippel (Scipio) is excited to tackle this unfortunately timeless story. He was last seen playing Charlie in A Charlie Brown Christmas at Taproot, and most recently dialect coached Taproot’s Cotton Patch Gospel. Benjamin is co-founder of the theater group Broken Cage Collective and received his BFA in Theatre from Cornish College of the Arts, where he assists with teaching.
Michael Byron-Ingersoll (Senectus)
After a 30-year break from the Seattle theatre scene, Michael is pleased to return to work again with the Caligula cast. He is best remembered for his appearances in ACT’s record breaking productions of You’re A Good Man Charlie Brown (Charlie Brown) and Godspell (Jeffrey). He has also performed at the Lyric Theater, The Empty Space, The Skid Road, Utah Repertory Dance Theatre and other landmark regional theatres, along with television and film credits. He is a proud company member of Charles Waxberg’s Theater 9/12.
Caitlin Macy-Beckwith (Metellus/Co-Choreographer )
Caitlin is absolutely thrilled to be making her debut with Arouet! A native southern Californian, she migrated to Seattle to spend 5 wonderful years performing with Taproot Theater’s Road Company, which tours bullying prevention plays to 150+ schools/year. Taproot mainstage credits: Chaps!
(Mabel Halliday) and The Matchmaker
(Ermengarde). Regional: Importance of Being Earnest
(Lady Bracknell), Guys and Dolls
(Sarah Brown u/s), Cabaret
(Kit Kat Girl, Fraulein Kost u/s). B.A. Vanguard University of Southern California. All love to friends and family near and far.
Maxwell Levit (Mucius) Maxwell is a California born, New England educated actor, playwright, and mathematician. A subsequent Seattle transplant, he is pursuing as much theater as the area can offer before beginning graduate school in the fall. His recent acting credits include Mercutio, in Romeo and Juliet, Demetrius, in A Midsummer Night’s Dream, and the eponymous Thom Pain, each across the Sound in Kitsap county.
Amber Wagner (Octavius)
is a belty fireball hailing from Idaho, where she was forced to labor endlessly in the potato mines and developed a bad case of the tater lung. After her eventual escape using only a pair of tweezers, some twine, and a MacBook Air, she found herself in a new kind of indentured servitude working for the All Seeing Siren (She’s always watching). When the Tuber Captains of Boise discovered she could not tap dance for their amusement, she found her voice in her voice. Which is truly amazeballs. This is her second show with Arouet, having just performed in The Paddle, Justice Vs. Forgiveness
at The Pocket. The rest of her resume is too hot to handle… but it does include The Lady of the Lake
in Spamalot and both of the whacky female characters in an experimental The Odd Couple
. She should also probably mention that she did not write this if she wants to keep her job (Much love to The Siren and her ghastly crew).
Madelline Nutting (Lepidus)
is a gem, like the power emeralds in Sonic the Hedgehog. She’s here to kick asses, truth be
told, and she does… oh how she does. She’s also kicked asses in a wheelchair as Pooty in Reckless (Fantastic Z.).
She kicked asses when she was in the Seattle Opera. She’s kicked asses at Greenstage. So much ass kicking that it should really be a felony. So much ass kicking they feel it in the Grand Canyon and people have to demand refunds because of tired donkeys. Madelline has been humbled in this life probably from past lives of extravagance. She’s an old soul, and radiates a hippie wisdom without words wherever she goes like a profane scent that does not offend. Madelline will stare through all your baloney and into the construct of your soul without judgement. She is shining Athena returning from glorious conquest when she rides her bicycle, the breeze spilling joy upon her face, a smile that smites bastards and heals the wounded of heart.
Heidi Cheyennen (DJ Sexy Secret Service/Mereia/Wife of Mucius)
holds a Bachelor of Fine Arts in Theatre Performance from the University of Idaho. Since moving to Seattle in June she has been privileged to work with a host of amazing people, including Bainbridge Performing Arts, Ghost Light Theatricals, Studio 4 Seattle, Swinging Hammer Productions, Arouet, and a number of independent and student films. She isincredibly
grateful for a year of wonderful acting work in this beautiful city. In her spare time she can be found barista-ing, coming up with new words (like barista-ing), and training for the upcoming Seattle Marathon. Cheers!
Christopher Williams (Translator)
Born in Sydney in 1959, Chris has been a working professional in the Australian performing arts industry for many years; initially as a stage actor then later as a drama tutor and director. During the 1980s he studied extensively with noted Aboriginal actor & director Brian Syron (Syron was a protégé of respected American acting teacher Stella Adler). Chris was one of six non-Aboriginal actors invited to participate in the First National Aboriginal Playwrights Conference held at the Australian National University in Canberra in 1987. After a period of travel through Europe and working with social services in Portsmouth, England Chris returned to Australia, settling in Adelaide in 1998. In Adelaide, Chris presented workshops for secondary schools on the plays of Bertolt Brecht and Tennessee Williams. He also participated in two Adelaide Fringe Festivals; the first in 2004 running drama workshops with the Festival’s Youth Education Program, the second in 2006 performing in a production of Shakespeare’s Lear. It was while directing at a tertiary drama college in Adelaide in 2005 that he began translating the plays of Albert Camus, starting with Le Malentendu (The Misunderstanding). In 2006 he translated Cal
igula and the following year his book The Misunderstanding and Caligula was published. Subsequently, Chris continued to work as an independent editor in the South Australian publishing sector.
Joshua Jon (Producer/Director) is the new Artistic Director of Arouet. He also used to be Mormon, but then he got better. This rigid upbringing had a deep impact on his psyche, and therefore certain impact on the selection and direction of this play. Recent directing credits include Blue Paint (Copious Love), Sidewinders (Fantastic Z), and Don Juan in Chicago (Arouet).
Maren Comendent (Stage Manager)
is an actor/musician-turned-stage manager making her Arouet debut. Since transplanting to Seattle she has been privileged to work on and off the stage with Civic Rep, Annex, STAGEright, Ghostlight Theatricals and Seattle Theatre Works, among others, and is a founding member of Studio4Seattle. She is thrilled to be collaborating on this project. Many thanks to her magnificent cast and artistic team for the opportunity
Kathryn Badley (Assistant Stage Manager/Understudy)
is ecstatic to being working
with Arouet for the first time. Graduating high school this year, she is so grateful to be working alongside this incredibly talented and inspiring cast and crew. After this fantastic learning experience, Kate
plans to study theatre and social justice at University of San Francisco next year. If she’s not working on a show, you can catch her cooking, eating food, or training for a half-marathon.
Sarah Pappin (Production Manager)
hates a lot of things, and this cat is her Patronus. She does has a fondness for that awful cop show where they put keys in an unlocked car then wait for someone to steal it then pull them over. It’s basically entrapment but whatever, this is America dawg. If PBR cans were flashy 1920’s women in flapper dresses, her apartment would look like a Great Gatsby party. She is no nonsense in a nonthreatening but powerful young feminist nanny style, and likes to keep her hair as intimidating as possible. The more she looks like an assassin, the more comfortable she feels. Leather. This is her second show with Arouet, having stage managed The Long Road
Mariajose Barrera (Assistant Director) Born and Raised in Guatemala, leaving my country as a young adult was not easy, leaving friends and family behind. I moved to the US permanently in 2001 to a small city called Bayonne, in New Jersey, across the River from New York City, there I started my professional road working in retail and moving up the ranks quickly. I visited my family in Seattle, and totally fell in love with the city and it’s people. In 2005 I moved permanently to Seattle, exploring this diverse, active city and having the opportunity to work side by side with people whom I admire, building personal and professional relationships that seem to flourish and grow stronger as time passes. At the end of Summer of 2011 I got assigned the task of writing a short monologue and in October of the same year I got assigned the task of present it. That was my introduction into the theater as an “active” member. During 2012, I was part of Anna in the Tropics and later that summer I was invited to work in the production of Lawfully Wedded. As a small business owner, a female and an art’s lover I am exited to be a part of this company and to be working with such talented inspiring group of people who like me want to make this world a better place for all
Zanna Paulson (Lighting Designer) has recently joined the Seattle theatre community, having spent the previous 10 years lighting stages across the country. She vaunts a wide variety of experience in venues and technology, but is particularly proud of her efforts in tailoring original plays and musicals. Some of her favorite collaborators include Arouet, Forward Flux Productions, Empty Spaces Theatre Co., PB&J Theatre Factory, Orlando International Fringe Festival and Milwaukee Repertory Theatre. Zanna also enjoys experimenting with light in photography and volunteering her skills for companies such as Equity against Aids (Broadway across America), Phillips Lighting and local educational centers.
Jordan Gerow (Set Designer)
currently serves as the season ATD for SPU. Recent design credits
include Still Life
and Green Whales
(sound designer) both with Forward Flux Productions. The Illusion
(sound designer), 2015 Student Directed David Ives One Acts
(sound and scenic designer), Lost in Yonkers
(sound designer), and Tomato Plant Girl
(sound designer) all at SPU. Upcoming productions include Talley’s Folly
(sound designer). Thanks to all the people.
Samantha Gilworth (Costume Designer)
has been seen onstage in Seattle at Renton Civic, Theater Schmeater, Ghostlight Theatricals and SecondStory Repertory. She served as the Education Director for SSR and Pensacola Little Theatre in Pensacola, FL. Locally she has worked as a director and stage manager at Lungfish Productions, SSR, Broadway Bound, Village KIDSTAGE, Ghostlight, and Wilder Elementary School. As a seamstress/wardrobe mistress her work has been seen in The Robbie Turner Revue, Live Wires!, Seattle Musical Theatre, SSR, Seattle Gilbert & Sullivan Society. BA Theatre, Florida State University. Program Certificates, Theatre Academy London and UW PCE Directing For Stage & Screen. Love to her brand spankin new husband Matthew.
Tom Wiebe (Sound Designer, Original Music) is a sound designer, composer, producer, and multi-instrumentalist. This is his first collaboration with Arouet. Past works include “Nevermore” (Blood Ensemble), “BOXED” (Lungfish Productions), “As You Like It” (Ghost Light Theatricals), “All In The Timing” (StageRIGHT), coming soon, “Creature” (Theater Schmeater). He lives in Seattle with his talented wife, Emily Harvey, their dog Khali, and two comedians.
Ramon Gutierrez (Props Designer/Production Assistant)
is a prodigious stoner and psychonaut. His moment of spiritual clarity came in the form of a dark entity that spoke to him about the mysteries of the universe, then proceeded to try to separate Ramon’s soul from his body. Ramon wasn’t ready for transfiguration, however, and he was returned to his body whilst the entity vanished. According to some responses he got on Reddit, this manifestation was either an actual inter-dimensional being, or a subconscious projection of his Jungian shadow. Ramon previously worked with Arouet as the writer of Undead Ted
in The Paddle: Justice Vs. Forgiveness.
He also acts as a pillar of support for the company; doing whatever he can to help make the productions happen and cuddling Joshua Jon through his panic attacks.