Basic Information
| Field | Details |
|---|---|
| Full Name | Kate Armstrong Ross |
| Also Credited As | Katie Ross, Kate Armstrong |
| Profession | Actress, Writer |
| Born | 1987 (Los Angeles, California) |
| Nationality | American |
| Known For | Keep the Gaslight Burning (2018), Trew Calling (2016), The Frogmarch (2015), Bar Tools (2016), theatre work in NYC |
| Years Active | 2010s–present |
| Theatre Affiliations | Ensemble Studio Theatre, SoHo Repertory, Labyrinth Theatre |
| Parents | Markie Post (1950–2021), Michael A. Ross |
| Siblings | Daisy Ross (also known as Daisy Schoenborn) |
| Maternal Grandparents | Marylee Armstrong Post (1925–2012), Richard F. Post (1918–2015) |
| Public Presence | Instagram @armstrongross; professional reels and pages on casting platforms |
| Notable Themes | Indie filmmaking, ensemble theatre, character-driven storytelling |
A Portrait in Motion
Kate Armstrong Ross moves through the industry like a steady flame—quietly persistent, illuminating the corners where intimate stories live. Born into a family where scripts and call sheets were part of the household vocabulary, she carved her own path across New York stages and indie-film sets, building a résumé that values craft over spectacle. Her career touchstones include festival-circuit shorts, a handful of independent features, and theatre work with influential New York companies known for nurturing bold, contemporary voices.
In the 2010s, Ross’s name began appearing on screen in projects like The Frogmarch (2015) and Trew Calling (2016), followed by a string of short films that played at festivals. One of the most resonant moments in her filmography came in 2018 with Keep the Gaslight Burning, a haunting short that paired her on screen with her mother, beloved television actor Markie Post. The film became a poignant family collaboration and found receptive audiences on the short-film circuit, drawing attention to Ross’s ability to hold the camera with understated force.
Her work carries the texture of ensemble training—measured beats, attentive listening, and the kind of character-building that grows richer in close quarters. Whether in a workshop at Ensemble Studio Theatre, a gritty downtown run at SoHo Rep, or a Labyrinth Theatre collaboration, she channels the city’s independent spirit. On screen, she gravitates to pieces where the stakes are personal and the worlds are specific, a throughline connecting her film and theatre lives.
Family Ties and Creative DNA
The name Armstrong in Kate’s full name is more than a middle note; it is a thread back to her mother’s lineage. Her mother, Markie Post—iconic for roles in Night Court, The Fall Guy, and Hearts Afire—remains a lodestar in American television history. Her father, Michael A. Ross, is an actor, writer, and producer, making the family dinner table a place where story arcs and character notes likely felt as natural as the salt and pepper.
Kate’s younger sister, Daisy Ross (also known by her married name, Daisy Schoenborn), keeps a lower public profile but is frequently acknowledged in family remembrances. The maternal line extends into science and letters: her grandfather, Richard F. Post, was a distinguished physicist associated with significant research work in the 20th century; her grandmother, Marylee Armstrong Post, is likewise remembered with affection in family records and obituaries. Further back, the family tree traces to Freeman Post and Miriam Jocelyn Colcord—names that hint at a longer American lineage, with multiple generations engaged in public life and intellectual pursuits.
Career Snapshot: Stage and Screen
- Theatre roots: New York City was a proving ground. Appearances and collaborations with Ensemble Studio Theatre, SoHo Rep, and Labyrinth Theatre gave Ross a practical foundation in character work and new-play development.
- Early screen presence: Around 2014–2016, she logged credits in short films and indie projects, including The Frogmarch (2015), Trew Calling (2016), and Bar Tools (2016).
- Festival circuit: In 2018, she appeared in Keep the Gaslight Burning, a stylish, gothic-tinged short that paired her with Markie Post and veteran artist Rick Baker. The film found a home at genre and short-film festivals and gathered accolades along the way.
- Writing and indie collaboration: Ross is credited as both actor and writer on select projects, underscoring her interest in story-building from the ground up.
Selected Credits (Highlights)
| Year | Title | Medium | Role/Notes |
|---|---|---|---|
| 2015 | The Frogmarch | Short/Indie | On-screen role |
| 2016 | Trew Calling | Feature (Indie) | On-screen role |
| 2016 | Bar Tools | Short | On-screen role |
| 2018 | Keep the Gaslight Burning | Short (Festival Circuit) | Principal role alongside Markie Post |
| Various | Rack & Ruin (pilot/episode) | TV/Short-Form | Credited appearance |
Family Lineage at a Glance
| Name | Relation to Kate | Lifespan/Notes |
|---|---|---|
| Markie Post | Mother | 1950–2021; television and film actor |
| Michael A. Ross | Father | Actor, writer, producer |
| Daisy Ross (Daisy Schoenborn) | Sister | Private figure; publicly acknowledged in family notices |
| Marylee Armstrong Post | Maternal Grandmother | 1925–2012 |
| Richard F. Post | Maternal Grandfather | 1918–2015; noted physicist |
| Freeman Post | Maternal Great-Grandfather | Earlier generation |
| Miriam Jocelyn Colcord | Maternal Great-Grandmother | Earlier generation |
Timeline: Milestones and Moments
- 1987: Born in Los Angeles, the elder of two sisters.
- 2000s: Training and theatre development; early New York stage experiences seed long-term creative partnerships.
- 2014–2016: Accumulates on-screen credits in shorts and indie features including The Frogmarch and Trew Calling, while maintaining theatre commitments.
- 2018: Appears in Keep the Gaslight Burning, a festival-circuit short that underscores both family legacy and personal craft.
- 2019–2024: Continues to assemble a working actor’s portfolio—reels, casting pages, social updates, and new indie collaborations—while honoring her mother’s legacy publicly in 2021.
Style and Voice
Kate Armstrong Ross favors the precision of ensemble work and the intimacy of character-driven narratives. Her performances often feel like carefully tuned instruments—never over-amplified, always harmonious with the story’s needs. On stage, this shows up in the give-and-take of new-play environments; on camera, it reads as a quietly magnetic presence. She builds people, not poses.
Presence and Platform
Ross maintains an active professional footprint: reels and casting profiles, an Instagram account where she shares snapshots of acting life and outdoor moments, and periodic video uploads that reflect ongoing work. Rather than cultivating celebrity sparkle, she aims for professional transparency—credits, clips, and collaboration updates that help casting teams and creative partners see the work clearly. Financial disclosures are not part of her public record; her profile is defined by credits and collaborations rather than lifestyle headlines.
FAQ
Who is Kate Armstrong Ross?
Kate Armstrong Ross is an American actress and writer with roots in New York theatre and credits in independent film and short-form work.
How is she related to Markie Post?
She is the elder daughter of Markie Post and writer-producer Michael A. Ross.
What projects is she best known for?
Her highlights include the short film Keep the Gaslight Burning (2018) and indie features like Trew Calling (2016) and The Frogmarch (2015).
Does she have a social media presence?
Yes, she maintains a public Instagram account under @armstrongross and professional reels on casting platforms.
Has she received major awards?
Her projects have appeared on the festival circuit and earned recognition there; she is not primarily associated with major industry award shows.
What is known about her family background?
Her sister is Daisy Ross, and her maternal grandparents include the physicist Richard F. Post and Marylee Armstrong Post.
Is her net worth publicly known?
No, there are no authoritative public disclosures of her personal net worth.
