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

Theater Latté Da 2026–27 Season — Minneapolis, MN

AUDITION DATE

LOCATION

Notice: Audition Call Type: EPA

Date: Tuesday, March 24, 2026

Location: Theater Latté Da, 345 13th Ave NE, Minneapolis, MN 55413

Times: 12:00 PM – 9:00 PM (call). Additional times: 5:30 PM – 6:00 PM (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, but make sure to check the signs. Some places have time restrictions and will tow. 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 16. 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

SPT

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

SEEKING

OTHER DATES

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

INCLUSION

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.

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 sheet music clearly marked; 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 its 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, and ages, as well as performers with disabilities, to attend every audition.

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 by: Spencer Chandler

Rehearsals begin: August 17, 2026

Tech begins: September 8

Previews begin: September 16

Opening: September 19

Closing (including possible extension): October 25

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, all 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 changed upon reading Asch’s The God of Vengeance. Singing and movement required. Vocal range: F#2–E3.

CHANA – 20s. Jewish. Female. The Ingénue. Passionate, adventurous, and smart. Singing (solo vocalist) 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, and unconcerned with politics. Singing (solo vocalist) 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 spoken: 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 by: Justin Huertas

Directed by: Joey Miller

Rehearsals begin: January 4, 2027

Tech begins: January 26

Previews begin: February 3

Opening: February 6

Closing (including possible extension): March 7

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; it was chased by soldiers to a school playground and slaughtered — splattering dragon blood onto Trevor, soaking him head to toe. In the aftermath, Trevor's skin turned green and scaly. Feeling ashamed of his body, Trevor hid from the world and became an urban myth: “the Lizard Boy of Point Defiance.”

Tonight is Monsterfest — the annual city-wide festival that commemorates the incident, when locals wear lizard costumes. It’s also the one night a year Trevor can leave his home undetected. After awakening from an unsettling dream, Trevor takes his chances on a dating app and agrees to a night out with Cary, a newcomer to Seattle. Trevor and Cary go to a rock concert headlined by Siren, a mysterious and magnetic singer Trevor recognizes from his dream. As the evening unfolds, Trevor grows closer to Cary, and Siren’s true identity is revealed: she has had a recurring vision of the dragons’ return and predicts they will perish in a violent apocalypse at dawn. She begs Trevor to join her in fighting them. Dawn approaches. Will Trevor be able to save the world — and his first date?

NOTE FROM THE PLAYWRIGHT

The characters’ gender pronouns are as listed but they may each be played by actors of any and all genders.

CONTENT TRANSPARENCY

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

SEEKING

TREVOR – he/him. Reclusive, high-strung singer-songwriter whose youthful optimism masks his pain. Has green lizard skin. POC. Shares a kiss with Cary. Also a MUSICIAN performing the score (originally guitar, cello, and ukulele). Indie-rock musical theater tenor.

CARY – he/him. Charismatic, confident singer-songwriter who is goofy, charming, emotionally literate, and a bit squeamish around blood. White. Performs some scenes in underwear only. Shares a kiss with Trevor. Also a MUSICIAN performing the score (originally guitar, ukulele, piano, egg shaker, and glockenspiel). Indie-rock musical theater tenor.

SIREN – she/her. Magnetic and weird singer-songwriter, jaded and resigned with a terrifying drive beneath her bleach-blonde hair and tattoos. Any race. Also a MUSICIAN performing 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 by: Michael Holland

Directed by: Justin Lucero

Rehearsals begin: March 1, 2027

Tech begins: March 23

Previews begin: March 31

Opening: April 3

Closing (including possible extension): May 9

SYNOPSIS

World Premiere. A Theater Latté Da commission adapted from Wally Lamb’s acclaimed novel. This new musical uses an American folk score to chronicle the life of Dolores Price, who conceals her pain behind an addiction to food, her wit, and a fictional life of her own devising. A darkly funny and ultimately redemptive journey of Dolores from adolescence through heartbreak, betrayal, self-destruction, and hard-won healing. SHE’S COME UNDONE is a story of resilience, accountability, and the radical act of learning to love the person staring back in the mirror.

CONTENT TRANSPARENCY

SHE’S COME UNDONE traces one woman’s path from adolescence through profound trauma toward healing and self-reclamation. Themes, depictions, and references 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; actors should be comfortable undertaking (rehearsing, performing, witnessing) such material. We are committed to a trauma-informed, consent-forward rehearsal environment with clearly structured staging for all physical storytelling. Casting will endeavor to be body-inclusive and to create a rehearsal environment that does not perpetuate weight stigma.

SEEKING

DOLORES – 35-ish. Fiercely bright and emotionally volatile; biting wit and deep vulnerability mask a longing to be seen, loved, and freed from shame. Role depicts Dolores from age 7 through 35, including significant weight fluctuation. Low alto to high belt pop/rock.

MA (BERNICE) – 27–37. Dolores’ mother who shares a complicated bond with her daughter. High alto with high belt.

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

GRAMMA (THELMA) – 55–65. Bernice’s mother, a warm, sharp-tongued, resilient matriarch. Alto.

ROBERTA – 55–65. Dolores’ saucy, loyal friend with blunt humor and unapologetic self-possession. Brassy alto.

MR. PUCCI – 50–60. Dolores’ sweet, charismatic, and boundary-blurring high school guidance counselor. Bari-tenor.

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

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

DR. PHINNY / ROY / OTHERS – 20s–40s. Ensemble includes young Dolores’ blunt 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-turned-roommate. Alto to high rock soprano.

RITA / KIPPY / OTHERS – 20s–40s. Ensemble includes Jack’s wife and Dolores’ potential extra-perky college roommate. Soprano.

SPRING AWAKENING

Music by: Duncan Sheik

Lyrics & Book by: Steve Sater

Directed by: Justin Lucero

Choreographed by: Carl Flink

Music Direction by: Jason Hansen

Rehearsals begin: May 4, 2027

Tech begins: May 25

Previews begin: June 2

Opening: June 5

Closing (including possible extension): July 18

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 the German Expressionist play by Frank Wedekind. Set in Germany, 1891, young Wendla explores the mysteries of her body and wonders aloud where babies come from — until her mother shuts it down. Elsewhere, the fearless Melchior defends his buddy Moritz, a boy traumatized by puberty who can’t concentrate. In a private place in the woods, Melchior and Wendla meet and discover a desire unlike anything they’ve felt. Moritz flounders and fails out of school, and the Headmasters pin the “crime” of Moritz’s suicide on Melchior to expel him, while Wendla’s pregnancy comes to light. The young lovers must 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. Actors should be comfortable undertaking (rehearsing, performing, witnessing) such material. An intimacy director will be engaged, and all physical storytelling will be rehearsed using consent-based practices, transparency, and care.

SEEKING

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

ADULT MAN – 40s–50s. A variety of rigid adult roles (Herr Sonnenstitch, Headmaster Knochenbruch, Herr Neumann, Herr Rilow, Herr Steifel, Father Kaulbach, Doctor von Brausepulver, Herr Gabor, Schmidt). Vocal: D3–F4A.

WENDLA – Adolescent. Innocent and curious; explores newfound sexuality with Melchior. Vocal: E3–E5. (Role requires simulated sex scene and staged abuse with Melchior.)

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

MORITZ – Adolescent. Troubled student, Melchior’s best friend. Vocal: C3–A4. (Role requires onstage portrayed suicide with a prop gun.)

MARTHA – Adolescent. Schoolgirl who faces physical abuse from her father and harbors a secret crush on Moritz. Vocal: ranges E5–E3.

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

HANSCHEN – Adolescent. Narcissistic schoolmate comfortable with his sexuality; captivates Ernst. Vocal: D5–Ab2.

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

ERNST – Adolescent. Naive schoolmate who falls for Hanschen. Vocal: A2–Ab2.

ILSE – Adolescent. Martha's sister, abused and run away to an artists' colony; reaches out to Moritz. Vocal: E5–E3.

GEORG – Adolescent. Clumsy schoolmate of Melchior's, overcome with feelings for his piano teacher. Vocal: D5–Ab2.

OTTO – Adolescent. Classmate of Melchior's who struggles with inappropriate feelings. Vocal range: D5–Ab2.

GENERAL QUESTIONS

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