Kathryn Erbe is an American actress known for her role as Detective Alexandra Eames on Law & Order: Criminal Intent, a spin-off of Law & Order, and death row inmate Shirley Bellinger in the HBO series Oz.
Kathryn Erbe Age
Kathryn Elsbeth Erbe was born in Newton, Massachusetts, U.S. on July 5, 1965. She is 53 years as of 2018.
Kathryn Erbe Family
Kathryn Elsbeth Erbe was born in Newton, Massachusetts. She is the daughter of Elsbeth and Richard Erbe. Her father is a research geneticist. She graduated from New York University (NYU) in 1989.
Kathryn Erbe Husband
Erbe was previously married to actor Terry Kinney, who also starred in Oz. Together have two children, daughter Maeve (born October 26, 1995) and son Carson (born October 15, 2003) She currently resides in Brooklyn, New York.
Kathryn Erbe Height
She has a lavish body and its obvious to be curious about her body measurements. Her height is 5 feet 2 inches (1.57m). However, her other measurements are still under review but will be updated as soon as they are clear.
Kathryn Erbe Career
While an undergraduate student at NYU, Erbe was cast as the daughter of Lynn Redgrave’s character on the sitcom Chicken Soup. She later became a member of Steppenwolf Theatre Company. She has starred in many of their productions, including A Streetcar Named Desire, Curse of the Starving Class, and The Grapes of Wrath, which ran for six months and won the 1990 Tony Award for Best Play.
Erbe earned a Tony Award nomination in 1991 for her portrayal of Mary in The Speed of Darkness.
Erbe starred in such films as What About Bob?, Stir of Echoes, Rich in Love, and the independent films Dream with the Fishes, Love from Ground Zero, and Entropy. She played opposite David Caruso in Kiss of Death. Also, she portrayed Shirley Bellinger on the HBO series Oz, to critical acclaim, and made a guest appearance on Homicide: Life on the Street in 1997. From 2001 to early 2010, she starred as Detective Alexandra Eames on the NBC/USA Network series Law & Order: Criminal Intent, alongside Vincent D’Onofrio.
In 2010, both Erbe and D’Onofrio left Criminal Intent. She signed on to repeat the role of Detective Eames for the eight-episode final season of the series, joining Vincent D’Onofrio, who had already signed up to return as Detective Robert Goren. Additionally, she has reprised the role in guest appearances on Law & Order: Special Victims Unit. In 2014, Erbe appeared in an episode of Last Week Tonight parodying her role on Law & Order. She also recently played Fay Ambrose, the wife of Detective Harry Ambrose, in the USA Network’s The Sinner.
Kathryn Erbe Net Worth
Kathryn is an American actress who has a net worth of $8 million dollars.
Kathryn Erbe, Star of Stage & Screen
She became a familiar face in America’s living rooms with her 10 years on Law & Order: Criminal Intent, but since that TV series ended in 2011, Kathryn Erbe has returned to her first love, theater.
She is currently portraying one soldier’s mother–and another’s hallucination, or perhaps his salvation–in Afghanistan, Zimbabwe, America, Kuwait, the new off-Broadway play (AZAK for short) written and directed by Daniel Talbott, artistic directory of Rising Phoenix Repertory.
Now in previews and set for a June 9 opening, AZAK is presented by Rattlestick Playwrights Theater, not at the company’s usual home on Waverly Place but in the Gym at Judson (Memorial Church), also in Greenwich Village. It’s the third Rattlestick play–and the second costarring Seth Numrich–that Erbe’s done since hanging up her badge as NYPD detective Alexandra Eames, partner of Vincent D’Onofrio’s Det.
Robert Goren. Last year she starred as a bisexual artist battling addiction in Rattlestick’s Ode to Joy, opposite Arliss Howard and Roxanna Hope. Her other post-Law & Order theater credits include Nikolai and the Others at Lincoln Center Theater and Vineyard Theatre’s Checkers.
How’d your collaboration with Rattlestick start?
The first play that I did with them was Daniel Talbott’s Yosemite. An actress dropped out at the last minute. My agent is Seth’s agent and is very good friends with Daniel, and he suggested me for the part, and I had a blast and really fell in love with Daniel’s writing. I feel like his perspective is different from anybody else’s, and the way that he articulates things is in so many ways exactly what I want to hear on a deep level. The way he talks about love, the way he talks about humanity.
So I couldn’t wait to work with him again. After that show, [Rattlestick artistic director] David Van Asselt said, “I’m going to find something else for you,” and that’s how I ended up doing Craig Lucas’ play Ode to Joy, which was a two-year, life-changing journey for me. That was also the fifth play I did in 2½ years, and I needed to take a break. Just from being away from home the way you are when you do theater–missing bedtimes and stuff–so I basically swore off plays.
And then I found myself in the audience of Tina Landau’s production of Big Love. That play made me feel (A) like I wanted to be in love again and (B) I had this little voice that said, “Hm, maybe I’d really like to do a play again.” And Daniel called me, if not the next day, two days after. I have a very hard time saying no to him.
What was “life-changing” about Ode to Joy?
Playing that character, Adele, became very close to my heart. Just her life struggle, playing a complicated character like that, but mainly just what happens when you work on something with people over a long period of time–the friendships that develop. It’s really special, this work in the theater when you’re all sort of in the trenches together. It can be a really fulfilling experience, and working with Craig and Arliss and Roxanna, we all were of the same sort of mindset, and it felt blessed. The first time we read it, we did a public reading at the Cherry Lane, and that went over so well. I’m a company member of Atlantic, I’ve been trying to find something to do over there for years, and Neil [Pepe, Atlantic AD] was hoping possibly we’d do it at Atlantic. It took a while for the slot to open up at Rattlestick, so we did readings of it.
Do you especially enjoy acting in new plays as opposed to revivals?
I just go where the work is. I love what Rattlestick stands for in terms of supporting new work and doing work that other people maybe wouldn’t be brave enough to do, and it feels like it’s about the work more than it is about anything else. Working with Daniel and working with Rattlestick exposed me to a whole community of young playwrights and directors and actors in New York which I felt completely cut off from doing Law & Order.
I really didn’t do anything besides Law & Order when I was doing that job. Daniel has this huge community with Rising Phoenix and the stuff they do at Jimmy’s. His philosophy of you can make theater anywhere with anything for no money, you can do a play in a day, that it’s for the people, by the people, of the people, I really love that. I want to support him in whatever way I can, whether it’s doing site-specific work in somebody’s backyard on Long Island, or this.
Did Law & Order feel theatrical in any way?
We got to work with so many amazing New York theater actors. And Vincent, obviously, is just a hugely talented actor, hugely creative, and was always coming up with theatrical ways of doing that job. And it’s not on paper–a lot of that came out of his own head and collaboration between him and Rene [Balcer, co-creator of the series]. The scenes I had a lot of fun with were where we were putting on characters to catch a criminal, where we’d really get to skewer people.
Would you ever do episodic television again?
Sure I would. It was nice to have a steady job, and a family, so to speak, of a crew that we worked with for 11 years. It scares me to think about just because of what it does mean for your life, and I hopefully would be choosy in what I do. Once I got over the sort of shock of the life change that [doing a TV series] is, I cried. Every day I would cry, missing my daughter–she was 5 when we started [Law & Order] , and I was gone for 18 hours five days a week, would come home as the sun was coming up on a Saturday morning.
I think during that time I felt very much like a worker bee: go and punch the clock, do my job, go home, try to have as much of a home life as I could.
You got your first professional job while still in college, so you’ve had a long career at this point. Does it ever feel like you’ve been at it too long?
Sometimes I wonder because the business has changed so much. I’m almost 50. I refuse to get plastic surgery of any kind. I don’t tweet, I don’t have a website. I don’t even own my name [as a URL]; someone else bought it, so I’d have to buy it from someone if I wanted to create a website with my name.
I’m not willing to adapt in the way that a lot of people are, and that’s been my case really from the beginning. I’ve always put my kids and my family first. So those choices have maybe affected my opportunities. Now in my “old age”–my middle age–I just want to be happy, and enjoy being home when I’m home and enjoy working when I’m working.
I used to spend a lot of time in the not-so-distant past worrying about work and what other people are doing and why am I not doing it, and I don’t want to do that anymore. I really am so happy with the opportunities that come my way, and I love being home. I have a really full life–dogs, kids… My daughter’s at Bennington and my son is 11. He’s going into sixth grade, so there’s a lot still to be done at home.
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