Theater Latté Da 2026-27 Season Equity Principal Actors - Theater Latte Da Auditions

AUDITION DATE

LOCATION

Monday, March 23, 2026 — Theater Latté Da
345 13th Ave NE, Minneapolis, MN 55413
10:00 AM – 8:00 PM (central)
Breaks: 1:00 PM – 1:30 PM & 5:30 PM – 6:00 PM

Auditions will be held at The Ritz Theater – Rehearsal Hall. Audition entrance via the theater’s Stage Door through the alley, left of the front doors.

PARKING: There is plenty of free street parking around The Ritz; please CHECK THE SIGNS. Some areas have time restrictions and vehicles may be towed. There is NO parking in the alley.

To schedule an audition appointment, please sign up at
https://airtable.com/app7QQjEK3PTljYtN/pagCt2Fab97F94crH/form. Sign-up deadline is March 16th. You will be contacted by a member of Latté Da staff after the submission deadline (03/16) to confirm your audition appointment.

PERSONNEL

Expected to attend:
Artistic Director – Justin Lucero
Associate Artistic Director – Elissa Adams
Casting Coordinator – Jay Owen Eisenberg

CONTRACT

SPT: $623 weekly minimum (SPT 6) — Paying $660 weekly. See production-specific breakdowns for personnel details.

SEEKING

OTHER DATES

Equity actors for roles in Theater Latté Da's 2026–27 season (see production breakdowns for specific dates). Callbacks for each production will be in person at a later date.

NEXT

Festival presentations: Saturday and Sunday performances. Performance schedule for mainstage productions is typically 7:30 PM Wednesday through Saturday, and 2:00 PM Saturday and Sunday.

OTHER

We value inclusion, equity, diversity, and access in all areas of our work, including casting. We seek to see and hire actors who reflect our world and strongly encourage people from historically underrepresented groups and diverse backgrounds and identities to audition. An Equity Monitor will not be provided; the producer will run all aspects of this audition.

For any general audition questions or needs, contact Jay Owen Eisenberg (he/him), Casting Coordinator:
casting@latteda.org

PREPARATION

Please prepare 16 bars of a musical theater song that shows your vocal range, and one contemporary monologue no longer than 2 minutes. An accompanist will be provided; please bring clearly marked sheet music (do not sing a cappella). Please also bring one physical copy of your headshot and resume. Always bring your Equity Membership card to auditions.

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. Equity encourages performers of all ethnicities, gender identities, ages, and performers with disabilities to attend auditions.

ABOUT THEATER LATTÉ DA

Founded in 1998, Theater Latté Da is in its 28th season of presenting original and reimagined music theater. Theater Latté Da creates new and impactful connections between story, music, artist, and audience—exploring and expanding the art of music theater. We believe in work that is bold, inclusive and collaborative; we act with integrity and gratitude. These values are integral to the organization’s health and drive the discussion at every stage of decision-making. Through productions that transcend the conventional, the organization helps solidify the Twin Cities’ reputation as a place where progressive art plays a vital role.

INDECENT

Written by: Paula Vogel
Music composed & arranged by: Lisa Gutkin & Aaron Halva
Directed by: Pirronne Yousefzadeh
Music Direction: Spencer Chandler

SYNOPSIS

INDECENT, by Pulitzer Prize–winning playwright Paula Vogel, is a deeply moving play inspired by the true events surrounding the controversial 1923 Broadway debut of Sholem Asch’s God of Vengeance — a play about a forbidden lesbian romance seen by some as a seminal work of Jewish culture, and by others as an act of traitorous libel. INDECENT charts the history of an incendiary drama and the path of the artists who risked their careers and lives to perform it. Note: This is a play with music.

Note: The characters in INDECENT make up “The Dead Troupe.” When speaking their native language, characters speak in perfect English; when not speaking in their native language, they speak English with an accent. All characters speak and sing in English, Yiddish, and German. We encourage actors of the Jewish diaspora to audition, and we are committed to informed dramaturgy and culturally aware practices.

CONTENT TRANSPARENCY

INDECENT centers Jewish artists and the history of a Yiddish play suppressed for its portrayal of same-sex love. The production engages directly with antisemitism, homophobia, censorship, and Holocaust-era persecution. Rehearsals and performances may include same-sex intimacy, partial nudity (role dependent), and stylized depictions of violence and discrimination. Because the work is culturally and historically specific, we are committed to a trauma-informed, consent-forward rehearsal environment, with clearly structured staging for all physical storytelling.

SEEKING

LEMML – 30s. Jewish. Male. The Stage Manager. A kind-hearted country tailor whose life is forever changed upon reading Asch’s The God of Vengeance. Believes theatre can transform lives. Singing and movement required. Vocal range: F#2–E3.

CHANA – 20s. Jewish. Female. The Ingénue. Passionate, adventurous, and smart. Solo vocalist; singing and movement required. Characters include: Rifkele, Madje, Elsa, Immigrant, Ruth/Reina, Virginia McFadden, Bagelman Sister. Vocal range: G2–E3.

AVRAM – 20s. Jewish. Male. The Ingénue. Rebellious, ambitious, and passionate. Singing and movement required. Characters include: Sholem Asch, Immigrant, Morris Carnovsky, Eugene O’Neill, John Rosen. Vocal range: F#2–E3.

HALINA – 30s. Jewish. Female. The Middle. Sophisticated, frank, unconcerned with politics. Solo vocalist; singing and movement required. Characters include: Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, Bagelman Sister. Vocal range: D2–E3.

MENDEL – 40s. Jewish. Male. The Middle. Traditional and conservative. Singing and movement required. Characters include: Nakhem, Immigrant, Harry Weinberger, Officer Benjamin Bailie, Rabbi Joseph Silverman. Additional languages: short lines of French, Spanish, and Chinese. Vocal range: F#2–E3.

VERA – 50s. Jewish. Female. The Elder. Protective, witty, with a strong bite. Singing and movement required. Characters include: Sarah, Mrs. Peretz, Immigrant, Esther Stockton, Madje. Vocal range: G2–E3.

OTTO – 50s. Jewish. Male. The Elder. Cultured, educated, traditional, and cynical. Singing and movement required. Characters include: Yekel, Peretz, Schildkraut, Immigrant, Bartender, Judge McIntyre, Sholem Asch. Vocal range: F#2–E3.

BALSAM – 20s–50s. Jewish. Any gender. Onstage actor-musician (klezmer clarinet, clarinet & bass clarinet, etc.). Movement required.

FRIEDMAN – 20s–50s. Jewish. Any gender. Onstage actor-musician (klezmer violin, violin). Movement required.

LIZARD BOY

Midwest Premiere
Book, Music & Lyrics: Justin Huertas
Directed by: Joey Miller

SYNOPSIS

Trevor looks like a lizard and feels like a freak. When Mount St. Helens erupted twenty years ago, a dragon emerged from the ashes, was chased by soldiers to a school playground, and was slaughtered — splattering dragon blood onto Trevor. His skin turned green and scaly; he became an urban myth: “the Lizard Boy of Point Defiance.” Tonight is Monsterfest, the one night Trevor can leave home undetected. After an unsettling dream, Trevor tries a dating app and agrees to a night out with Cary. They go to a concert headlined by Siren, a mysterious singer Trevor recognizes from his dream. As the night unfolds, Trevor grows closer to Cary and learns Siren’s vision: the dragons will return and perish in a violent apocalypse at dawn. She begs Trevor to join her in fighting them. Dawn approaches — will Trevor save the world and his first date?

CONTENT TRANSPARENCY

LIZARD BOY includes same-sex kissing and stylized comic-book antics and references to blood.

SEEKING

TREVOR – he/him. Reclusive, high-strung singer-songwriter. Green lizard skin. POC preferred. Shares a kiss with Cary. Also a musician in the score (originally guitar, cello, ukulele). Indie-rock musical theater tenor.

CARY – he/him. Charismatic, confident singer-songwriter. White. Performs some scenes in underwear. Shares a kiss with Trevor. Also a musician in the score (originally guitar, ukulele, piano, egg shaker, glockenspiel). Indie-rock musical theater tenor.

SIREN – she/her. Magnetic and weird singer-songwriter, jaded but driven. Any race. Also a musician in the score (originally ukulele, piano, guitar, egg shaker, glockenspiel, wood block, tambourine, and other percussion). Indie-rock musical theater soprano.

SHE’S COME UNDONE

World Premiere
Book by: Darrah Cloud & David Simpatico
Music & Lyrics: Michael Holland
Directed by: Justin Lucero

SYNOPSIS

World premiere commission adapted from Wally Lamb’s novel. This new musical uses an American folk score to chronicle the life of Dolores Price, who conceals pain and herself behind an addiction to food, her wit, and a fictional life. A darkly funny and ultimately redemptive journey from adolescence through heartbreak, betrayal, self-destruction, and hard-won healing. A story of resilience, accountability, and learning to love the person staring back in the mirror.

CONTENT TRANSPARENCY

SHE’S COME UNDONE traces one woman’s path through profound trauma toward healing and self-reclamation. Themes and depictions include body image, fatphobia and weight stigma, emotional abuse, death and loss, sexual assault, suicide, pregnancy loss, and mental health treatment. Some material may be emotionally demanding. We are committed to a trauma-informed, consent-forward rehearsal environment with clearly structured staging; casting will endeavor to be body-inclusive and avoid perpetuating weight stigma.

SEEKING

DOLORES – 35-ish. Fiercely bright and emotionally volatile. Depicts Dolores from age 7 through 35, including significant weight fluctuation and healing. Low alto to high belt pop/rock.

MA (BERNICE) – 27–37. Dolores’ mother. High alto with high belt.

DR. SHAW / THAYER – 40-ish. Dolores’ psychotherapist; Thayer Kitchen is a guarded yet compassionate man. Strong, soulful pop/baritone.

GRAMMA (THELMA) – 55–65. Warm, sharp-tongued matriarch. Alto.

ROBERTA – 55–65. Dolores’ saucy, loyal friend. Brassy alto.

MR. PUCCI – 50–60. Sweet, charismatic, boundary-blurring high school guidance counselor. Bari-tenor.

DADDY (TONY) / POLICE / OTHERS – 20s–40s. Ensemble includes Dolores’ volatile father. Baritone (up to an E).

JACK / CAB DRIVER / OTHERS – 20s–40s. Ensemble includes Jack Speight, Dolores’ adult crush-turned-predator. Bari-tenor balladeer with strong falsetto.

DR. PHINNY / ROY / OTHERS – 20s–40s. Ensemble includes young Dolores’ doctor and adult Dolores’ nightschool teacher. Tenor.

ROSIE / TRUCK DRIVER’S WIFE / ALLYSON / OTHERS – 20s–40s. Ensemble includes young Dolores’ elementary school enemy and adult Dolores’ confident pregnant nightschool friend/roommate. Alto to high rock soprano.

RITA / KIPPY / OTHERS – 20s–40s. Ensemble includes Jack’s wife and possible college roommate. Soprano.

SPRING AWAKENING

Music by: Duncan Sheik
Lyrics & Book by: Steve Sater
Directed by: Justin Lucero
Choreography: Carl Flink
Music Direction: Jason Hansen

In collaboration with the University of Minnesota.

SYNOPSIS

The landmark Broadway musical is an electrifying fusion of morality, sexuality, and rock and roll, based on Frank Wedekind’s German Expressionist play. Set in Germany, 1891, young Wendla explores the mysteries of her body; Melchior defends his friend Moritz, who is traumatized by puberty and cannot concentrate. Melchior and Wendla meet in the woods and discover desire; Moritz flounders and eventually takes his own life. The adults pin Moritz’s suicide on Melchior; Wendla becomes pregnant. The young lovers struggle to build a world for their child.

CONTENT TRANSPARENCY

Spring Awakening explores explicit and emotionally challenging subject matter, addressing adolescent sexuality, repression, and the consequences of silence, including depictions of sexual violence, suicide, and abortion. The material is emotionally rigorous and requires a high level of maturity. An intimacy director will be engaged; all physical storytelling will be rehearsed using consent-based practices, transparency, and care.

SEEKING

ADULT WOMAN – 40s–50s. A variety of rigid adult roles (e.g., Frau Bergman, Fraulein Knuppeldick, Frau Gabor). Vocal range: D3–A4.

ADULT MAN – 40s–50s. A variety of rigid adult roles (e.g., Herr Sonnenstitch, Headmaster Knochenbruch). Vocal range: D3–F4A.

WENDLA – Adolescent. Innocent, curious about her changing body. Explores newfound sexuality with Melchior. Vocal range: E3–E5. (Role requires simulated sex scene and staged abuse with Melchior.)

MELCHIOR – Adolescent. Headstrong, radical student who refuses to bow to society’s rules. Vocal range: G2–B4. (Role requires simulated sex scene and staged abuse with Wendla.)

MORITZ – Adolescent. Troubled student whose haunting sexual dreams and failures lead to dark existential thoughts. Vocal range: C3–A4. (Role requires onstage portrayed suicide with a prop gun.)

MARTHA – Adolescent. Schoolgirl facing physical abuse from her father; harbors a crush on Moritz. Vocal range: E5–E3.

THEA – Adolescent. Wendla's best friend; tries to stay innocent. Vocal range: E5–E3.

HANSCHEN – Adolescent. Narcissistic classmate, comfortable with his sexuality; uses looks and intellect to captivate Ernst. Vocal range: D5–Ab2.

ANNA – Adolescent. German schoolgirl and Martha's best friend; optimistic and naive. Vocal range: C5–E3.

ERNST – Adolescent. Naive and easily manipulated schoolmate who falls in love with Hanschen. Vocal range: A2–Ab2.

ILSE – Adolescent. Martha's sister who has run away to an artists' colony; reaches out to Moritz near the end of his life. Vocal range: E5–E3.

GEORG – Adolescent. Clumsy schoolmate overcome with feelings for his piano teacher. Vocal range: D5–Ab2.

OTTO – Adolescent. Classmate struggling with inappropriate feelings. Vocal range: D5–Ab2.