Theater Latte Da
Minneapolis, MN

DESCRIPTION

Notice: Audition Call Type: EPA

AUDITION DATE

Monday, March 23, 2026

10:00 AM - 8:00 PM (C)

Breaks 1:00 PM - 1:30 PM & 5:30 PM - 6:00 PM

AND

Tuesday, March 24, 2026

12:00 PM - 9:00 PM (C)

Break 5:30 PM - 6:00 PM

APPOINTMENTS

To schedule an audition appointment, please go to: https://airtable.com/app7QQjEK... . 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.

CONTRACT

SPT

$623 weekly minimum (SPT 6) - Paying $660 weekly.

SEEKING

Equity actors for roles in Theater Latte Da's 2026-27 Season (See breakdown).

Theater Latté Da seeks performing artists for our 2026-2027 season, including roles across 4 mainstage productions (excepting any roles precast), understudies, and performers for workshops and NEXT Festival presentations.

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 we strongly encourage people from historically underrepresented groups and diverse backgrounds and identities to 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 acapella. Please also bring one physical copy of your headshot and resume.

LOCATION

Theater Latte Da

345 13th Ave NE

Minneapolis, MN 55413

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. There are some time restrictions in certain places. They will tow. There is NO parking in the alley.

PERSONNEL

Expected to attend:

Artistic Director - Justin Lucero

Associate Artistic Director - Elissa Adams

Casting Coordinator - Jay Owen Eisenberg

See breakdown for production-specific personnel.

OTHER DATES

See breakdown for production-specific dates.

Callbacks for each production will be in person at a later date.

Performance schedule: 7:30pm performances Wednesday through Saturday; 2:00pm performances Saturday and Sunday

OTHER

For any general audition questions or needs, contact Jay Owen Eisenberg (he/him), Casting Coordinator: [email protected]

An Equity Monitor will not be provided. The producer will run all aspects of this audition.

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. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

Always bring your Equity Membership card to auditions.

Breakdown

Theater Latte Da 2026-27 Season

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 forever changed upon reading Asch’s The God of Vengeance. Lemml exemplifies the belief that theatre can transform our lives and the lives of those around us. Singing and movement required. 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. G2-E3

AVRAM – 20s. Jewish. Male. The Ingénue. Rebellious, ambitious, and passionate. Singing and movement required. Characters include: SHOLEM ASCH, IMIGRANT, MORRIS CARNOVSKY, EUGENE O’NEILL, JOHN ROSEN. 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. 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. 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. 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. 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 was slaughtered in a brutal battle — splattering dragon blood onto Trevor who was soaked 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, cult festival that commemorates the incident, which locals celebrate by wearing lizard costumes. It’s also the one night of the 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 — who Trevor recognizes from his disturbing 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 she predicts they will perish in a violent apocalypse — in only a few hours, 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) and stylized comic-book antics and references to blood.

SEEKING:

TREVOR – he/him. Reclusive and high-strung singer-songwriter whose youthful, sometimes naïve 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 MT tenor.

CARY – he/him. Charismatic and 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 MT tenor.

SIREN – she/her. Magnetic and weird singer-songwriter. We meet her jaded and resigned but soon see the terrifying drive simmering beneath the bleach-blonde hair and all the tattoos. Any race. Also a MUSICIAN performing the score (originally ukulele, piano, guitar, egg shaker, glockenspiel, wood block, tambourine, and other various percussion). Indie-rock MT 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 from the creators of TWELVE ANGRY MEN: A NEW MUSICAL uses an American folk score to chronicle the life of Dolores Price, who conceals her pain, and herself, 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. The story’s complex 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 and 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 we are committed to creating a rehearsal environment that does not perpetuate weight stigma.

SEEKING:

DOLORES – 35-ish. Fiercely bright and emotionally volatile whose biting wit and deep vulnerability mask a profound longing to be seen, loved, and freed from the shame she carries. The role depicts Dolores from age 7 through 35 on a harrowing coming-of-age journey of trauma, loss, significant weight fluctuation, and healing. Low alto to high belt pop/rock.

MA (BERNICE) – 27 to 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 quietly compassionate “whale of a man” whose steady presence and emotional honesty offer Dolores a rare glimpse of tenderness and stability. Strong, soulful pop/vocal baritone.

GRAMMA (THELMA) – 55 to 65. Bernice’s mother, a warm, sharp-tongued, quietly resilient matriarch with pragmatic love and unvarnished wisdom to offer Dolores. Alto.

ROBERTA – 55 to 65. Dolores’ saucy, loyal, and streetwise friend whose blunt humor and unapologetic self-possession provide her both a mirror and a lifeline during her most turbulent years. Brassy alto.

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

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

JACK / CAB DRIVER / OTHERS – 20s to 40s. Ensemble track includes the handsome Jack Speight, young Dolores’ adult crush-turned-predator. Bari-tenor balladeer with strong falsetto. Volatile and two-timing father. Baritone (up to an E). Jack Speight

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

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

RITA / KIPPY / OTHERS – 20s to 40s. Ensemble track 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

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 classic play by Frank Wedekind. It is Germany, 1891, a world where the grown-ups hold all the cards. Young Wendla explores the mysteries of her body and wonders aloud where babies come from… until Mama shuts it down. Elsewhere, the fearless young Melchior interrupts a mind-numbing Latin drill to defend his buddy, Moritz, a boy so traumatized by puberty that he can’t concentrate on anything. One afternoon, in a private place in the woods, Melchior and Wendla meet by accident and soon find within themselves a desire unlike anything they’ve ever felt. Moritz, meanwhile, flounders and fails out of school and is left so distraught that he can’t hear the promise of life offered by his outcast friend, Ilse. The Headmasters waste no time in pinning the “crime” of Moritz’s suicide on Melchior to expel him, as Mama learns that her little Wendla is pregnant. Now the young lovers must struggle against all odds to build a world together 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 to 50s. A variety of rigid adult roles. Characters include: FRAU BERGMAN, Wendla’s mother; FRAULEIN KNUPPELDICK; FRAULEIN GROSSEBUSTENHALTER; FRAU GABOR, Melchior’s mother; and FRAU BESSELL, Martha’s mother. D3-A4

ADULT MAN – 40s to 50s. A variety of rigid adult roles. Characters include: HERR SONNENSTITCH, the boys’ teacher; HEADMASTER KNOCHENBRUCH; HERR NEUMANN, Ilse’s father; HERR RILOW, Hanschen’s father; HERR STEIFEL, Moritz’s father; FATHER KAULBACH; DOCTOR VON BRAUSEPULVER; HERR GABOR, Melchior’s father; and SCHMIDT. D3-F4A

WENDLA – Adolescent. Innocent. With every passing day, she grows more curious about the world around her and her changing body. Both vulnerable and a willing participant in her evolution. Explores her newly-found sexuality with Melchior. E3-E5 (Role requires simulated sex scene and staged abuse with Melchior.)

MELCHIOR – Adolescent. A headstrong boy who refuses to bow down to society’s rules. An atheist and radical student. Struggles with his intense feelings for Wendla and his awakening sexual urges. G2-B4 (Role requires simulated sex scene and staged abuse with Wendla.)

MORITZ – Adolescent. Melchior’s best friend, a troubled student. He desperately tries to please his father but always seems to disappoint him. His haunting sexual dreams and academic failures eventually drive him to dark existential thoughts. C3-A4 (Role requires onstage portrayed suicide with a prop gun.)

MARTHA – Adolescent. A schoolgirl who faces constant physical abuse from her father. She harbors a secret crush towards Moritz. E5-E3

THEA – Adolescent. Wendla's best friend. A schoolgirl who tries to stay innocent and pure. E5-E3

HANSCHEN – Adolescent. A rather narcissistic schoolmate of Melchior's. He is comfortable with his own sexuality and uses his looks and intelligence to captivate Ernst. D5-Ab2

ANNA – Adolescent. A German schoolgirl and Martha's best friend. Optimistic and a bit naive, she has a difficult time understanding Martha's trials. C5-E3

ERNST – Adolescent. A schoolmate of Melchior's. Naive and easily manipulated, which allows him to fall in love with Hanschen. A2-Ab2

ILSE – Adolescent. Martha's sister, who was also abused and has run away from home to live in an artists' colony. She reaches out to her old friend Moritz in the last moments of his life. E5-E3

GEORG – Adolescent. A clumsy schoolmate of Melchoir's. He is overcome with his feelings for his piano teacher. D5-Ab2

OTTO – Adolescent. A classmate of Melchior's. He struggles with feelings he considers inappropriate. D5-Ab2

SALARY

SPT $623 weekly minimum (SPT 6) - Paying $660 weekly.

UNION

AEA