MUSIC & LYRICS BY STEPHEN SONDHEIM
BOOK BY JAMES LAPINE
BASED ON THE FILM PASSIONE D’AMORE DIRECTED BY ETTORE SCOLA
DIRECTED BY JUSTIN LUCERO
MUSIC DIRECTION BY JASON HANSEN
MOVEMENT DIRECTION BY EMILY MICHAELS KING
JUN 4 - JUL 13, 2025
Artistic Director JUSTIN LUCERO
Managing Director ELISA SPENCER-KAPLAN PRESENTS
Music & Lyrics by STEPHEN SONDHEIM Book by JAMES LAPINE
Based on the film PASSIONE D’AMORE Directed by ETTORE SCOLA
Music Direction by JASON HANSEN† Movement Direction by EMILY MICHAELS KING Directed by JUSTIN LUCERO**
Scenic & Lighting Designer PAUL WHITAKER^
Wig, Hair & Makeup Designer EMMA GUSTAFSON
Costume Designer AMBER BROWN
Props Designer & Supervisor MADELAINE FOSTER
Associate Lighting Designer ANDREW VANCE
Director of Production ALLEN WEEKS
Sound Designer PETER MORROW
Fight Director AARON PREUSSE
Assistant Director ZACH CHRISTENSEN
Technical Director BETHANY REINFELD
With gratitude to our Production Partner RITA OLK
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.
Lieutenant Torasso Fosca
Clara Giorgio Doctor
Private Augenti & Understudy Giorgio
Sergeant Lombardi &
Understudy Colonel & Doctor
Colonel Ricci
Major Rizzoli
Lieutenant Barri
UNDERSTUDIES
PHINEHAS BYNUM
ERIN CAPELLO
ISA CONDO-OLVERA
DYLAN FREDERICK*
BRADLEY GREENWALD*
THEO JANKE-FURMAN
RILEY McNUTT
ERIC MORRIS*
RODOLFO NIETO*
ADÁN VARELA* for Fosca & Clara HOPE NORDQUIST
for Torasso, Barri, Rizzoli, Augenti & Lombardi
WESLEY FRYE
Conductor & Piano Winds
Double Bass
Violin
Cello
STAGE MANAGEMENT
Stage Manager
SHELBY REDDIG*
Assistant Stage Manager
JOELLE COUTU*
Jason Hansen†
Ryan Golden†
Greg Hippen†
Renata Steve†
Diane Tremaine†
Production Stage Manager
Associate Production & Company Manager & Stage Management Swing
Casting Supervisor
Lighting Supervisor & Light Board Operator
Audio Supervisor & Sound Board Operator
Costume Supervisor
Costume Shop Assistant & Dresser / Wardrobe
Head Scenic Carpenter
Lead Carpenter
Scenic Charge
Carpenters / Props Artisans
Lead Scenic Artist
Scenic Artists
Head Electrician
Electricians
Shelby Reddig*
Christian Erben
Sheena Janson Kelley
Andrew Norfolk
Corinne Steffens
Amber Brown
Ash Kaun
Matthew Smith
Whitley Cobb
Sara Herman
Alana Duffy, Halle Pelfrey, Kris Schmidt
Erika Soukup
Taury Himmerich, Abbey Ortiz
Dante Benjegerdes
Sasha Blinnikova, Lane Bode, Kevin Champion, Wesley Cone, Shannon Elliott, Paul Epton, Andy Glischinski, Bevibel Harvey, Zach Staad, Tristan Wilkes
Audio Technician Stitchers
Stage Management Swing
Julie Zumsteg
Caroline Amaral Zaltron, Laura Jones
Rachael Rhoades*
Stephen Sondheim and James Lapine’s Passion is often called one of the most divisive works in the American musical canon. It’s certainly among the most emotionally daring. This is not a traditional love story—it’s a meditation on obsession, vulnerability, and the aching rawness of human need. Adapted from a 19th-century Italian novel by way of an Italian film, the musical strips love of its sweetness and sentimentality. What remains is something hauntingly elemental: desire that destabilizes, longing that unsettles, and love that leaves scars.
Our production reimagines Passion as a memory play—less a linear tale than a psychological landscape. The story unfolds in fractured recollection, triggered by a final letter received by Giorgio, our protagonist. What follows is not reality, but Giorgio’s reconstruction of events: moments looping, collapsing, bleeding into one another like memories do. The dreamlike theatricality of a memory filter aligns perfectly with noir structure in that they are both fragmentary, out of time, and seemingly unreliable—yet hindsight ultimately brings the most clarity. Noir’s intentional nonlinearity and muddled universes undercut conventional notions of love and fate. We are inside Giorgio’s mind, where past and present swirl together, where sense is fleeting, and where love and trauma are indistinguishable.
Seen through this lens, every character is trapped—by illness, by beauty standards, by patriarchy, by delusion. Most of all, by love. Fosca, the character who has long polarized audiences, emerges not as a monster but as a deeply human figure. Her relentless need, her unfiltered emotional intensity, and her vulnerability are disturbing not because they are unnatural, but because they are recognizable. Today, we see her through the language of trauma, of mental health, of emotional honesty. She demands to be seen fully—and in doing so, she holds up a mirror to us all.
Passion contains no irony, no tidy resolution. Its score pulses with arioso intensity, like obsession itself—continuous, saturated, and unsparing. This is a show that doesn’t ask to be liked; it asks to be felt. In the end, it’s about transformation—the terrifying, beautiful kind that comes when we allow ourselves to be truly seen. That’s the risk. That’s the reward. And that’s the Passion
Justin Lucero Director
As the curtain rises on PASSION, I find myself filled with deep gratitude—and more than a little awe. This production marks the culmination of my first full season as Artistic Director, and it just so happens to be Theater Latté Da’s 99th production.That number—99— feels heavy with meaning: a reflection of the company’s extraordinary legacy, and a thrilling signal that our 100th is just over the horizon.
And what a season this has been. From the bold to the intimate, the revelatory to the joyous, this has been one of the most successful seasons in our company’s history—measured not just by ticket sales or accolades (though those certainly came), but by the conversations in the lobby, the standing ovations, the gasps of recognition, the silent tears, and the music that stayed in your head long after the lights dimmed. You showed up. Again and again. And for that, I am deeply thankful.
To close this deeply personal season with Stephen Sondheim’s PASSION feels especially resonant. This is the 12th Sondheim piece produced by Theater Latté Da, following landmark productions of Sweeney Todd, Into the Woods, Assassins, Sunday in the Park with George, Company, A Little Night Music, Merrily We Roll Along, and more. No other writer appears more frequently in our history—and it’s not hard to see why. Sondheim’s work is rigorous, unflinching, and deeply human. His work dares to ask the hardest questions about love, time, memory, morality, and meaning—and it does so with wit, honesty, and breathtaking craft.
PASSION may be his most emotionally naked piece. It’s a love story, yes—but a twisted, raw, and ultimately redemptive one. In choosing this work to conclude my first season, I was drawn to its intensity, its intimacy, and its uncompromising commitment to the power of feeling. What better way to end a season rooted in bold, music-driven storysharing than with a piece that sings— literally and figuratively—of obsession, vulnerability, and the terrifying beauty of surrender?
As we stand on the edge of our 100th production—and the 100th anniversary of our home at the historic Ritz Theater—I hope you’ll join us again next season. Subscriptions are on sale now, and trust me, you won’t want to miss what’s coming. We’ll celebrate the past, yes—but we’ll also charge boldly into the future, with a lineup that honors our legacy while pushing the boundaries of what music theater can be. We’ll revisit the classics, embrace the experimental, laugh loudly, feel deeply, and—as always—sing.
Thank you for being here for this unforgettable moment. Thank you for making this season a success. And thank you—sincerely—for letting me begin this journey with you. I can’t wait for what’s next.
Justin Lucero Artistic Director
Theater Latté Da is in our 27th season of presenting original and reimagined musical theater.
Theater Latté Da is the leading nonprofit professional theater in the Twin Cities that exclusively produces musical theater. Since our inception, TLD has presented 98 Mainstage productions, including 17 world premieres and 17 area premieres. Each has garnered critical acclaim and earned its artists and TLD a host of awards, including: seven IVEY Awards for overall excellence, National Endowment for the Arts, the Gabriel Award for Broadcast Excellence, the American Theater Wing National Theater Company Award, and the 2019 Drama Desk Award for Unique Theatrical Experience.
Theater Latté Da creates new and impactful
connections between story, music, artist, and audience—exploring and expanding the art of musical theater.
We believe in work that is bold, inclusive and collaborative; we act with integrity and gratitude.
BOLD We make bold choices in support of our mission and vision, both on and off stage. By illuminating the unseen, giving voice to the unheard, and empathizing with the unknown, we open eyes, ears and hearts.
INCLUSIVE We believe in creating an environment where a diverse group of voices are welcomed to fully participate. We are inspired and strengthened through equitable partnerships. We actively work to make musical theater accessible to everyone.
COLLABORATIVE We believe musical theater to be the most collaborative of art forms, incorporating music, drama, poetry, dance and design. We are inspired and strengthened through inclusive partnerships with artists, organizations and our diverse community, and embody a collaborative spirit in all we do.
INTEGRITY We hold ourselves to the highest standards of artistic and fiscal integrity. We are committed to honesty, equality and transparency in all aspects of our administration and art.
GRATITUDE We are grateful for our artists, audiences, donors, board and staff. We recognize that each individual plays an important role in this organization’s success, and we actively seek out opportunities to acknowledge each person’s contribution.
Theater Latté Da is committed to recognizing, addressing, and opposing racism and discrimination in our work, art, community, and industry. We affirm our resolve to actively create an anti-racist arts organization demonstrating our commitment through action. We believe in the power and impact of equitable, inclusive environments and value the lived experiences of our collaborators. We will hold each other accountable to honor this commitment, in the rehearsal room, the office, the theater and the board room.
The Ritz Theater sits on the ancestral homelands of many First Nations Tribes, including most recently the Dakota, and the Anishinabe People. We gratefully, and humbly acknowledge the Native Peoples on whose Ancestral Homelands we gather, as well as the diverse and vibrant Native Communities who make their home here today.
Scan the QR code to learn more about Theater Latté Da’s commitment to IDEA (Inclusion, Diversity, Equity, and Access).
Target Workshop
Passion, music and lyrics by Stephen Sondheim and book by James Lapine, opened on Broadway on May 9, 1994. It was awarded three Tony Awards, including Best Musical, Best Book and Best Score. The musical ran a total of 280 performances, making it the shortest-running musical ever to win the Tony Award for Best Musical.
The article below is excerpted from the New York Times article of the same name by Michiko Kakutani
“Passion is about how the force of somebody’s feelings for you can crack you open,” says Stephen Sondheim, “and how it is the life force in a deadened world.”
Based on Ettore Scola’s brooding neo-romantic movie Passione d’Amore (1981) (which in turn was based on Fosca, an 1869 Italian novel by Iginio Tarchetti), Passion deals, on the surface, with a man’s relationship with two women. Through these two women -- whom James Lapine, the show’s librettist and director, sees as embodying opposing principles of light and dark, order and chaos -- Giorgio will be forced to explore his own deepest feelings and fears.
The show, as Mr. Lapine says, is “sort of about being naked. It reminds you of those moments in life, which we’ve all had, where we were obsessive or possessive or out of control.”
Though Mr. Sondheim’s work has always eschewed the simplistic, Pollyannaish conceits of the old-fashioned musical-comedy romance, the vagaries of passion and commitment have been favorite subjects throughout his long and innovative career. Ambivalence, self-consciousness, fear of caring too much, fear of intimacy and hurt, uncertainty and yearning and regret -- these are the animating emotions of songs as varied as “Send In the Clowns,” “Sorry-Grateful” and “With So Little to Be Sure Of.” Love in Passion is a very different creature indeed. Love in this musical is “an intoxication,” “a great blindness,” “a disease that would cripple us all.” Love, Giorgio will discover, is a rude, cathartic “religion” that possesses the power to indelibly shatter or redeem his life. He will discover a love “Without cause,/ Without sense,/ Without laws.”
When Mr. Sondheim first saw the Scola movie in 1983, he says he had an immediate visceral response, and instantly seized upon the idea of turning it into a musical. Initially, the composer and Mr. Lapine -- his collaborator on Sunday in the Park With George (1984) and Into the Woods (1987) -conceived of pairing Passion with another one-act show called Muscle, which dealt with a weight lifter’s efforts to create a perfect body, and touched upon some of the same ideas of beauty and obsession. As work on Passion progressed, however, it evolved into a complete evening in itself, and plans to do it with Muscle were shelved.
“There was some personal connection clearly,” says Mr. Sondheim of his first reaction to the Scola movie. “I think it’s about a desire to open up, a desire to be like Giorgio.” Although Mr. Sondheim told Time magazine in 1987 that he had never been in love, he says his life “has changed a lot” recently, “and it’s one of the coincidences that that happened while I was writing Passion and vice versa.”
At 63 (in 1994), Mr. Sondheim says, “I’m happier now personally than I have ever been.” “It was after a struggle,” he says, “and after a lot of pain -- just the way Giorgio has to struggle a long time.” Twenty-five years of analysis, he believes, helped lay the groundwork for the richness he now feels in his life: “It’s not entirely luck,” he says. “I think you have to be ready for things.” Because Mr. Sondheim’s songs have tackled groundbreaking subjects (political assassination, phenomenology, urban malaise, cultural decline), because they are written for complicated, frequently conflicted characters, because they evince a taste for the experimental and unexpected, critics have often characterized his body of work as cerebral and cold -- “all mind, no heart,” as a character put it in “Sunday” -- when in fact its virtuosic brilliance cloaks both extraordinary passion and a dazzling array of emotional moods. Indeed, if Mr. Sondheim resembles any composer, it is probably George Gershwin -- not only in his ability to combine American and European influences, classical and popular idioms, but also in simple terms of his music’s ambition and emotional pull.
In the case of Passion , Mr. Sondheim has created a lush, romantic score that mirrors the heightened, operatic nature of the story. Less a series of individual songs than a hypnotic net of music, the show’s score traces the shifting, kaleidoscopic emotions of the characters, even as it draws the audience into the dreamlike world of their fevered passions. Its highly patterned use of motifs to build emotional resonance recalls Sunday in the Park with George while its harmonic language is reminiscent of such soaring ballads as “Johanna” and “The Barber and His Wife” in Sweeney Todd
The composer’s literary and musical love of precision, his perfectionism, his fondness for puzzles and mystery stories, even what he calls his Germanic taste for organization -- all are manifestations, in Wallace Stevens’s words, of the artist’s “blessed rage for order.” Just as composing, for him, is about organizing music for a listener’s ear, designing it architectonically to hold together through various rhythmic and harmonic devices, so is writing a way of reinventing and transcending the tumultuous emotions of his childhood, a way of lending the random, messy business of life a sense of harmony and form.
“The analyst I went to had a particular interest in the relationship between creativity and neurosis,” says Mr. Sondheim, “and I spent a lot of time talking to him about how art tries to make order out of chaos, not just the chaos of the world, but the chaos of your own feelings and your own discombobulations.
July 26, 7:30 PM
Roseville Lutheran Church
The University of Minnesota School of Music and the Oratorio Society of Minnesota Chorus present
You’ve enjoyed Stephen Sondheim’s Passion with Bradley Greenwald and Erin Capello. Come hear them again along with works by Leonard Berstein and soloist Sarah Lawrence. The concert will feature 100 plus singers, orchestra and soloists, and the most vibrant works by Bernstein and Sondheim, plus selections from their collaboration, West Side Story.
July 26, 2025, 7:30 PM
Roseville Lutheran Church 1215 Roselawn Avenue West, Roseville, Minnesota Tickets at Oratorio.org
PHINEHAS BYNUM (LIEUTENANT TORASSO) THEATER LATTÉ DA: Christmas at the Local, All is Calm, Candide, NEXT Festival. THEATER: Artistry: Tick, Tick...Boom!, The Sound of Music. OPERA: MN Opera: Edward Tulane, Carmen, The Anonymous Lover, La traviata, Silent Night, La rondine, Thaïs, Rigoletto, Dead Man Walking, Don Pasquale, Don Giovanni; Mill City Summer Opera: Così fan tutte, Carmen, Sweeney Todd; Skylark Opera: The Most Happy Fella, Don Giovanni. TRAINING: B.A., St. Olaf College
ERIN CAPELLO (FOSCA) THEATER LATTÉ DA: Johnny Skeeky, Next to Normal, NEXT Festival (She’s Come Undone, Johnny Schicchi), Puttin’ on the Ritz, Steerage Song, Light in the Piazza, Evita. THEATER: Artistry: Waitress; History Theatre: I am Betty, A Servants’ Christmas (2003, 2022), The Christmas Schooner; Stages Theatre Company: Jack and Rochelle; MN Opera: The Elephant Man; Chanhassen Dinner Theatres: Swing!; Gilbert and Sullivan Very Light Opera Company: The Sorcerer; Cardinal Theatricals: Rocky Horror Live!
ISA CONDO-OLVERA (CLARA) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella. THEATER: Ten Thousand Things: Iphigenia at Aulis, Ten Thousand Voices; Guthrie Theater: A Christmas Carol, The Tempest; An Opera Theatre: The Cradle Will Rock, Dido & Aeneas; Yellow Tree Theatre: Toil and Trouble; Milwaukee Chamber Theatre: Laughs in Spanish; Illinois Shakespeare Festival: The Book of Will, The Tempest, The Comedy of Errors; Texas Shakespeare Festival: The Music Man, Nell Gwynn, The Taming of the Shrew; Teatro Auditorio Nacional: Don Quijote de la Mancha; Teatro del Pueblo: Voces Latinas. READINGS/WORKSHOPS: Playwrights’ Center, History Theatre, Guthrie Theater, Texas Shakespeare Festival. TRAINING: University of Minnesota Guthrie Theater BFA Acting. IG: isacondoolvera
DYLAN FREDERICK (GIORGIO) THEATER LATTÉ DA: Merrily We Roll Along. BROADWAY: The Inheritance. OFF BROADWAY: Boy Gets Violent (Ars Nova ANTFEST), Summer Valley Fair (New York Musical Theatre Festival). REGIONAL: Assassins (Yale Repertory Theatre). TELEVISION: Poker Face (Peacock). TRAINING: BFA University of Evansville. MFA Yale School of Drama. FILM: American Theater (2025 Slamdance Grand Jury Prize) is currently on a national screening tour. Follow @americantheaterdoc for upcoming engagements. TEACHING: Contact lemonsquareinfo@gmail.com to request information on upcoming workshops and private coaching
BRADLEY GREENWALD (DOCTOR) THEATER LATTÉ DA: Johnny Skeeky (also co-writer, co-director), Christmas at the Local, Twelve Angry Men, La Bohème, A Little Night Music, Steerage Song, Oliver!, C. (also book and lyrics), NEXT Festival. THEATER: Open Eye: The Longest Night, Dear Lenny: Bernstein’s Life in Songs & Letters; Jungle: I Am My Own Wife, The Mystery of Irma Vep; Guthrie: Caroline, Or Change, 1776; History: The Boy Wonder; Ten Thousand Things: My Fair Lady; Children’s Theater Company: A Year With Frog & Toad, The 500 Hats of Bartholomew Cubbins; Park Square: The Pirates of Penzance; Frank: The Threepenny Opera, Cabaret; Minnesota Dance Theatre: Carmina Burana, Rumblings. AWARDS: Minnesota State Arts Board Music Fellowship, McKnight Fellowship for Theater Artists, Ivey Award. ALSO:
libretto for A Wrinkle in Time, opera by Libby Larsen; co-coordinator MacPhail’s Prelude: Singer-Actor Lab for High School Students.
THEO JANKE-FURMAN (PRIVATE AUGENTI & UNDERSTUDY GIORGIO) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella. THEATER: Lyric Arts: 9 to 5, Kinky Boots, Peter and the Starcatcher. TRAINING: Northwestern University. Theo would like to thank Jean Del Santo, Melissa Hart, and Rich Remedios for their guidance and support.
RILEY MCNUTT (SERGEANT LOMBARDI & UNDERSTUDY COLONEL RICCI & DOCTOR)
THEATER LATTÉ DA: Falsettos, Next to Normal, All is Calm: The Christmas Truce of 1914, Hello Dolly!, Twelve Angry Men: A New Musical, A Little Night Music, Six Degrees of Separation, Ragtime; Children’s Theatre Company: Alice In Wonderland; Asolo Repertory Theater: All Is Calm, Twelve Angry Men: A New Musical; Flying Foot Forum: Heaven; Trademark Theater: The Boy and Robin Hood; Artistry: A New Brain, Noises Off, Phantom, Les Misérables, Cabaret, La Cage Aux Folles, Cabaret; Minnesota Orchestra: Carousel; Skylark Opera: Wonderful Town, The Vagabond King, Candide; Ordway Theater: Beauty and the Beast.
ERIC MORRIS (COLONEL RICCI) THEATER LATTÉ DA: Scotland, PA, Falsettos, Assassins. PERFORMING: Guthrie Theater: Guys & Dolls; Artistry: Waitress, The Pajama Game, The Bridges of Madison County; History Theatre: A Servant’s Christmas, Runestone, Lord Gordon Gordon; Nautilus Music-Theater: Twisted Apples; The Barn Theatre: Million Dollar Quartet, Seven Brides, The Wedding Singer, 9 to 5, The Who’s Tommy, Big River. DIRECTING/DESIGN: Artistry: Love & Baseball; VocalEssence: Kristina; Old Log Theatre: A Gentleman’s Guide to Love & Murder, Ghost, Tenderly, The Play That Goes Wrong, Escape to Margaritaville; Theatre L’Homme Dieu: Once, Beautiful: The Carole King Musical; The Barn Theatre: SpongeBob SquarePants: The Musical; Lakeshore Players: I Am My Own Wife, The Three Musketeers. TRAINING: B.F.A. in Musical Theatre from Ithaca College. Come buzz with us at The Hive Collaborative in St. Paul! We’ve got Musical Theater Bingo every month! www.eric-morris.com & www. thehivecollaborativemn.com.
RODOLFO NIETO (MAJOR RIZZOLI) THEATER LATTÉ DA: Hello, Dolly!, La Bohème, Candide, A Little Night Music, Assassins, Man of La Mancha, All Is Calm (2017 National Tour, 2018 Off-Broadway, 2019-2021 Ritz), Puttin’ on the Ritz. THEATER: Artistry: The Sound of Music, A New Brain; MN Opera: Cruzar la Cara de la Luna; Asolo Rep: Man of La Mancha; Mixed Precipitation: The Odyssey, The Magic Flute; Park Square Theatre: Riddle Puzzle Plot; History Theater: Dirty Business. During the self-isolation of 2020 Rodolfo began writing and performing his own music, producing pieces such as “The Minnesota Beer Song”; and “Un Despertar / An Awakening”, a bilingual concert of Spanish and English songs recorded at The Ritz Theater. www.rodolfo-nieto.com; YouTube: @rodolfonieto8604
ADÀN VARELA (LIEUTENANT BARRI) THEATER LATTÉ DA: Twelve Angry Men: A New Musical, NEXT Festival. THEATER: Asolo Repertory Theatre: Twelve Angry Men: A New Musical; Artistry: Sweet Charity, Les Misérables, Carousel; Children’s Theatre Company: Carmela Full of Wishes; History Theatre: Christmas of Swing, Not For Sale; Ordway Center: In the Heights; FRANK Theatre: Good Person of Setzuan, The Visit; Second City: Realish Housewives of Edina (Seasons 1 & 2); Lyric Arts: Evita, The Mystery of Edwin Drood. OPERA: MN Opera: Cruzar la Cara de la Luna, Silent Night, Roberto Devereux, Anna Bolena, La bohème, Flight, Barber of Seville; An Opera Theatre: In Media Res. DIRECTOR: Morris Park Players: Ragtime; Mixed Precipitation: Hit the Wall, #Matter; Gadfly Theatre: Lobstermen in Love.
HOPE NORDQUIST (UNDERSTUDY FOR FOSCA & CLARA) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella. THEATER: The Duluth Playhouse: Peter and The Starcatcher, The Sound Of Music, Young Frankenstein, Kinky Boots, Into The Woods, Footloose; Lakeshore Players: Anything Goes; The History Theater: The Defeat Of Jesse James. Park Square Theater: The Rocky Horror Show. TRAINING: The Stella Adler Studio.
WESLEY FRYE (UNDERSTUDY FOR TORASSO, BARRI, RIZZOLI, AUGENTI & LOMBARDI)
THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella. THEATER: Lyric Arts: Peter and the Starcatcher, A Chorus Line, The Wedding Singer; Lakeshore Players: La Cage aux Folles, Singin’ in the Rain. Also music director and freelancer for numerous high schools throughout the Twin Cities. UPCOMING: Lyric Arts: Big Fish; Park Square Theatre: Goosebumps: The Musical, A Chorus Line. TRAINING: B.A. in Voice Performance, Luther College; M.M. in Voice Performance, University of Minnesota - Twin Cities. IG: @wesgeorgtenor
SHELBY REDDIG (PRODUCTION STAGE MANAGER) THEATER LATTÉ DA: Fun Home, School Pictures, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Jelly’s Last Jam, La Bohème, Puttin’ on the Ritz. THEATER: Children’s Theatre Company: How the Grinch Stole Christmas!, Snow White, The Hobbit, Corduroy; MN Opera: Albert Herring; Mixed Blood Theatre: Prescient Harbingers, The Mermaid Hour: Remixed; Perseverance Theater: A Christmas Carol; Jungle Theater: Fly By Night: The Musical; Stages Theatre: Charlotte’s Web. TRAINING: BA in Theater and English from St. Olaf College.
JOELLE COUTU (ASSISTANT STAGE MANAGER) THEATER LATTÉ DA: Stage Manager: Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, NEXT Festival 2023 & 2024, Stage Manager Swing: Next to Normal, Christmas at The Local, Stones in His Pockets, The Color Purple, Fun Home. THEATER: Lyric Opera of the North: The Radio Hour, Cavalleria Rusticana; Skylark Opera Company: Three Decembers, Eugene Onegin, Amahl and the Night Visitors; Illusion Theater: Red and the Mother Wild, We Take Care of Our Own, Present; History Theatre: Runestone! A Rock Musical, Not in Our Neighborhood; Gilbert and Sullivan Very Light Opera Company: Pirates of Penzance. TRAINING: B.A in Theater and Television Design, Valparaiso University.
RYAN GOLDEN (WINDS) THEATER LATTÉ DA: La Bohème, lnto the Woods. THEATER: Ordway: The Little Mermaid. History Theatre: Glensheen, Beyond the Rainbow. Artistry: Pajama Game, Guys and Dolls, Hairspray, Les Misérables, Candide, The Music Man, Sunday in the Park with George, On the Town, Gypsy, Cabaret, 42nd St, City of Angels, King and I, Into the Woods, Little Shop of Horrors, Sweet Charity, The Drowsy Chaperone, Carousel, Oklahoma!, Phantom of the Opera, Fiddler on the Roof, Kiss me Kate, Singing in the Rain, The Secret Garden, La Cage Aux Folles. TRAINING: M.M. in clarinet, University of Minnesota - Twin Cities. B.M. in clarinet, DePaul University
GREG HIPPEN (DOUBLE BASS) Jazz, opera, classical, R&B, bluegrass, and good ol’ rock’n’roll . . . you name it, bassist Greg Hippen has probably played it. A 45-year career as a freelance bassist in the Twin Cities area has encompassed performances with the Minnesota Opera, The Saint Paul Chamber Orchestra, A Prairie Home Companion, VocalEssence, Music Saint Croix, Theater Latté Da, the Rose Ensemble and Broadway musicals at the Orpheum Theater in Minneapolis and the Ordway Theater in St. Paul.
RENATA STEVE (VIOLIN) THEATER LATTÉ DA: Johnny Skeeky, La Bohème, MacBeth and the Weïrd Sisters (workshop). THEATER: Freelance violinist around Minnesota. TRAINING: B.M. in Violin Performance, Butler University; M.M in Violin Performance, Boston Conservatory.
DIANE TREMAINE (CELLO) THEATER LATTÉ DA: Into the Woods, The 25th Annual Putnam County Spelling Bee, Parade. THEATER: Guthrie: Into the Woods, West Side Story, Secret Fall of Constance Wild, Caroline or Change, A Christmas Carol, 1776, Sunday in the Park With George, Pirates of Penzance. History Theatre: Glensheen, Fireball. Illusion Theatre: My Ántonia. Park Square Theatre: Into the Woods. Chanhassen Dinner Theatre: Newsies, I Do I Do, Oklahoma!. Ordway: The Secret Garden, The King and I, The Sound of Music, Fiddler on the Roof, My Fair Lady. Orpheum: Miss Saigon, Evita. TRAINING: B.M. in cello performance, studied under János Starker, Indiana University
STEPHEN SONDHEIM (MUSIC & LYRICS) was an American composer and lyricist whose brilliance in matching words and music in dramatic situations broke new ground for Broadway musical theater. Precocious as a child, Sondheim showed an early musical aptitude among other wide-ranging interests. Under the tutelage of a family friend, Oscar Hammerstein II, he studied musical theater. He also studied music at Williams College, Williamstown, Massachusetts, and wrote college shows there. When he graduated in 1950, he received the Hutchinson Prize for composition, a fellowship. He then studied further in New York City with the composer Milton Babbitt. In the early 1950s Sondheim wrote scripts in Hollywood for the television series Topper. After returning to New York City, he wrote incidental music for the play The Girls of Summer (1956). He made his first significant mark on Broadway, though, as the lyricist for Leonard Bernstein’s West Side Story, which opened in 1957. He then wrote the lyrics for Gypsy (1959; music by Jule Styne). A Funny Thing Happened on the Way to the Forum—based on comedies by the Roman playwright Plautus—opened on Broadway in 1962, with music
and lyrics by Sondheim. It ran for 964 performances and won the Tony Award for best musical. Two years later, however, his Anyone Can Whistle closed after only nine performances. After contributing lyrics to Do I Hear a Waltz? (1965; music by Richard Rodgers), Sondheim focused solely on shows in which he wrote both music and lyrics. He won Tony Awards for best score for Company (1970), on contemporary marriage and bachelorhood; Follies (1971), a tribute to early 20th-century Broadway that includes many pastiche songs; A Little Night Music (1973; film 1977), based on Ingmar Bergman’s film Smiles of a Summer Night (1955); and Sweeney Todd: The Demon Barber of Fleet Street (1979; film 2007), a macabre tale set in Victorian-era London. All were either produced or directed by Harold Prince, as were Pacific Overtures (1976), in which Sondheim looked to Japanese Kabuki theater for stylized effects, and Merrily We Roll Along (1981), adapted from a 1934 play by George S. Kaufman and Moss Hart. Sondheim next collaborated with playwright-director James Lapine to create Sunday in the Park with George (1984), a musical inspired by the painting Sunday Afternoon on the Island of La Grande Jatte by pointillist Georges Seurat. Sondheim and Lapine paired again for Into the Woods (1987; film 2014), which deconstructs and interweaves the plots of familiar fairy tales, and Passion (1994), a melodramatic romance based on the Italian film Passione d’Amore (1981). Both shows won the Tony Award for best score. Assassins (1990) explores the lives of nine historical characters, such as John Wilkes Booth, who either assassinated U.S. presidents or attempted to do so. Later Sondheim works include Bounce (2003; retitled Road Show in 2008), about the colourful adventures of a pair of early 20th-century American entrepreneurs. Sondheim’s acerbic lyrics hit responsive chords with many theatergoers. Most critics agree that his work marked a break from more traditional and sentimental musical comedies of the earlier decades of the century. Several revues of his work were staged, among them Side by Side by Sondheim (1976), Putting It Together (1992), and Sondheim on Sondheim (2010). In 2000 he received the Japan Art Association’s Praemium Imperiale prize for theater/film, and in 2008 he was honored with a special Tony Award for lifetime achievement in the theater. The book Finishing the Hat (2010) is a collection of Sondheim’s lyrics, with his own commentaries on them. Sondheim, an enthusiast for games and puzzles, cowrote two nonmusical mysteries: the film The Last of Sheila (1973), with Anthony Perkins, and the play Getting Away with Murder (1996), with George Furth. He also notably wrote five songs for the movie Dick Tracy (1990), winning an Academy Award for “Sooner or Later (I Always Get My Man).” The HBO documentary Six by Sondheim (2013) chronicled his life and artistic process. In 2015 he was awarded the Presidential Medal of Freedom.
JAMES LAPINE (BOOK) has written the book for and directed Stephen Sondheim’s Sunday in the Park with George, Into the Woods, Passion and the multi-media revue Sondheim on Sondheim. He also directed Merrily We Roll Along as part of Encores! at New York City Center. With William Finn he has collaborated on March of the Falsettos and Falsettoland, later presented on Broadway as Falsettos, A New Brain, Muscle and Little Miss Sunshine at Second Stage Theatre. On Broadway, he has also directed David Henry Hwang’s Golden Child, The Diary of Anne Frank, Michel Legrand’s Amour, and The 25th Annual Putnam County Spelling Bee. He directed Jenny Allen’s solo piece I Got Sick and Then I Got Better with Darren Katz. Lapine directed the 2012 Broadway revival of Annie. He co-produced and directed the HBO documentary Six By Sondheim. In 2014, Lincoln Center Theater produced his stage adaptation of the Moss Hart memoir Act One. Lapine has also directed several productions off-Broadway as well as three films. He is the recipient of three Tony Awards, five Drama Desk Awards and
the Pulitzer Prize. In 2011, he was inducted into the Theater Hall of Fame. Lapine is a member of the Dramatist Guild Council and for the last twelve years has been a mentor for TDF’s Open Doors Program. He is also on the board of Ars Nova Theatre. He currently lives in New York City.
JUSTIN LUCERO (DIRECTOR) Prior to serving as Artistic Director for Theater Latté Da, Justin was a professor of Directing and Associate Chair for The John Wells Directing Program at Carnegie Mellon University and Artistic Director for El Paso Opera for eight of his fourteen seasons there. He is the recipient of prestigious engagements such as a Directing Fellowship with Asolo Repertory Theatre (Florida), a Stage Directors and Choreographers Foundation Observership at South Coast Repertory (Los Angeles), a FAIR Assistantship with Oregon Shakespeare Festival, and a Directing Attachment at Regent’s Park Open Air Theatre (London’s West End). He was named to the 2021-2022 BIPOC Leadership Circle by artEquity/David Geffen School of Drama at Yale, is a 2022-2023 Theatre Communications Group Rising Leaders of Color awardee, and was selected as a member of the 2023 OPERA America Leadership Intensive cohort, a highly selective program which identifies and develops “leaders who will move opera forward for years to come.” He served on the Blue Ribbon Panel with The American Theatre Wing and the Broadway League to select the 2023 Tony Award winner for Excellence in Theatre Education, and continues to be a grants evaluator for the Texas Commission on the Arts, the National Alliance for Musical Theatre, and the National Endowment for the Arts. In addition, Justin served as a member of TCG’s board-level governance in the inaugural Next Generation Taskforce, is Co-Chair of NAMT’s New Works Committee, and is now among NAMT’s Board of Directors. Training: London’s East 15 Acting School (MFA in Directing with Distinction.
JASON HANSEN (MUSIC DIRECTOR, CONDUCTOR & PIANO) THEATER LATTÉ
DA: Fun Home, Rodgers + Hammerstein’s Cinderella, The Color Purple, Stones in His Pockets, Falsettos, Next to Normal, Hello, Dolly!, Christmas at the Local, Merrily We Roll Along, Jelly’s Last Jam, Bernarda Alba, Hedwig and the Angry Inch, A Little Night Music, Once, Assassins, C., Into The Woods, Our Town, Aida; NEXT Festival: She’s Come Undone, The Last Babushka, A Child’s Christmas In Wales; THEATER: Children’s Theatre Company: An American Tail, Cinderella, Dr. Seuss’ How The Grinch Stole Christmas!, Dr. Seuss’ The Sneetches; Guthrie Theater: A Christmas Carol, Little Shop Of Horrors, Into The Woods, Guys and Dolls, Othello; Mixed Blood Theatre: Passing Strange, Next to Normal, Avenue Q; History Theatre: Blended Harmony, I Am Betty, Sweet Land; Stages Theatre Company: Once on This Island, Tuck Everlasting; Theater Mu: Twelfth Night, A Little Night Music; Chanhassen Dinner Theatres: Newsies; Ten Thousand Things: Romeo and Juliet; Arkansas Repertory Theatre: The Gift Of The Magi; Northern Sky Theater, Illusion Theater, Artistry, TigerLion Arts, Open Eye Figure Theatre, Jungle Theater, the MN Fringe Festival, the Hennepin Theatre Trust; Alive & Kickin’; AWARDS: 2018 MN Theater Award (Latté Da’s Assassins).
EMILY MICHAELS KING (MOVEMENT DIRECTOR) THEATER LATTÉ DA: Falsettos. CHOREOGRAPHY: Guthrie Theater: Emma, A Midsummer Night’s Dream; Playmakers Repertory Company, Denver Center for the Performing Arts, Kansas City Repertory Theatre: Emma; Actors Theatre of Louisville, The Moving Company: Love’s Labour’s Lost; 7th House Theater: Hair, Jonah and the Whale (also co-director). CREATION: Solo Performance (selected): Magic Girl, Digital, In Person, Chicken Wing, Star Keeper; E/D: The Show, Animus, Lewis/Clark; Walker Art Center’s Choreographer’s Evening: Start Select, We Are Crafty; Trademark Theater: The Hollow; many shows with Live Action Set including The 7 Shot Symphony. TRAINING: University of Minnesota; The Ailey School. Emily is a 2025 McKnight Fellow. www.emilymichaelsking.com IG: @emilymichaelsking
PAUL WHITAKER (SCENIC & LIGHTING DESIGNER) THEATER LATTÉ DA: Next to Normal, Twelve Angry Men: A New Musical, Sweeney Todd, Evita, The 25th Annual Putnam County Spelling Bee, The Light in the Piazza, Lullaby. New York credits include work at The Public Theater, MCC Theater, Playwrights Horizons, Second Stage Theatre, Atlantic Theater Company and others. Regional credits include The Guthrie, The Alley, Yale Repertory Theatre, The Denver Center, The Geffen Playhouse, South Coast Repertory, La Jolla Playhouse, The Children’s Theatre Company, The Long Wharf Theatre, The Huntington Theatre Company, Center Stage, Hartford Stage, Dallas Theater Center, MN Opera, San Diego Opera, and others. Paul is a Partner for Schuler Shook, a lighting design and theatre planning firm. www. schulershook.com www.paulwhitakerdesigns.com
AMBER BROWN (COSTUME DESIGNER) THEATER LATTÉ DA: We Shall Someday, Christmas at the Local; MN Opera: Double Bill; Pillsbury House Theatre: What Washed Ashore Astray, bull-jean, Great Divide II: Plays on the Politics of Truth, Almost Equal To, The Great Divide: Plays for a Broken Nation; Illusion Theater: Groucho Marx Meets T.S. Eliot, We Take Care of Out Own, Five Minutes of Heaven; Old Log Theatre: The Play That Goes Wrong, The Emperor’s New Clothes; Park Square Theatre: Aubergine; Mixed Blood Theatre: Interstate, Autonomy, Corazón Eterno, Agnes Under the Bigtop
PETER MORROW (SOUND DESIGNER) THEATER LATTÉ DA: Stones in His Pockets, Next to Normal, Lullaby. SELECTED FAVORITES: Pillsbury House Theatre: What to Send Up When It Goes Down, Passage; Ten Thousand Things: Iphegenia in Aulis; Children’s Theatre Company: Locomotion; Park Square Theatre: Baskerville, Marie & Rosetta; Stages Theatre Company: The Miraculous Journey of Edward Tulane, The Hobbit, Iron Hearted Violet, Hidden Heroes; Wonderlust Theatre: Capital Play Project, Incarceration Play Project; Yellow Tree Theatre: The Curious Incident of the Dog in the Night-Time, Sherwood; The Guthrie Theater: Solo Emerging Artists, Stories from the Drum. TRAINING: BA MSISS & MA Music & Media Technology from Trinity College Dublin.
EMMA GUSTAFSON (HAIR & MAKEUP DESIGNER) THEATER LATTÉ DA: Fun Home, Scotland, PA, Johnny Skeeky, The Color Purple, Next to Normal, Hello, Dolly!, Merrily We Roll Along. THEATER: MN Opera: Barber of Seville, The Snowy Day, Elixir of Love, Cruzar la Cara de la Luna, Song Poet, Daughter of the Regiment, Rinaldo, Anonymous Lover; Geva Theatre Center: Little Women, A Christmas Carol; Park Square Theatre: Holmes/Poirot; Theater Mu/ History Theatre: Blended Harmony; Jungle Theater: Cambodian Rock Band; Open Eye Figure Theatre: The Chinese Lady; Ten Thousand Things: Emilia, Thunder Knocking On The Door; Children’s Theatre Company: Diary of a Wimpy Kid, Bina’s Six Apples, Annie; Mixed Blood: Roe. TRAINING: B.A. in Theatrical Design, Augsburg University; Wig Apprentice, Santa Fe Opera; Cosmetology License, Aveda Institute Minneapolis
MADELAINE FOSTER (PROPS DESIGNER/SUPERVISOR) THEATER LATTÉ DA: Fun Home, School Pictures, Rodgers + Hammerstein’s Cinderella, Scotland, PA.
THEATER: Peninsula Players: I Oughta Be In Pictures, The Angel Next Door, Million Dollar Quartet, Mary’s Wedding, The Stranger; Indiana Repertory Theatre (Assistant Prop Supervisor and Carpenter): Little Shop of Horrors, The Folks at Home, Fannie, A Christmas Carol, Frankenstein, Clue, Shakespeare’s Will, Oedipus, Flyin’ West, Sense and Sensibility, The Paper Dreams of Harry Chin, The Reclamation of Madison Hemings, Fahrenheit 451, The Book Club Play, The House That Jack Built, Mrs. Harrison, Cyrano, No. 6, Tuesdays with Morrie, This Wonderful Life, Murder on the Orient Express, The Watsons Go to Birmingham - 1963, Morning After Grace, And So We Walked, The Little Choo-Choo That Thinks She Can; Theater at Monmouth: The Story of My Life, An Iliad, Richard II, The Importance of Being Earnest, As You Like It. TRAINING: B.A. in Theatre, William & Mary.
AARON PREUSSE (FIGHT DIRECTOR) THEATER LATTÉ DA: Debut. THEATER: Guthrie: Over 25 productions including Dial M for Murder, Vietgone, Sweat; Children’s Theatre Company: Alice in Wonderland; Ordway: The Pirates of Penzance; MN Opera: Carmen; Park Square Theatre: Hamlet; Lakeshore Players: Misery, Commonweal Theatre Company: Deathtrap; Red Bird Theatre: Buried Child; Gremlin Theatre: Dial M for Murder; Theatre Pro Rata: The Illusion; Lyric Arts: Superior Donuts; Exposed Brick Theatre: Muyehpen; Theatre in the Round: The Three Musketeers; Old Log Theatre: The Play That Goes Wrong. FILM/ TELEVISION Stunt Coordinator: The Fence and the Fox, Profile of a Killer; Utility Stunts: Marmalade, Body Language, Christmas Break-In, Thin Ice. www.fakefighting.com
ANDREW VANCE (ASSOCIATE LIGHTING DESIGNER) THEATER LATTÉ DA: The Color Purple. THEATER: Theatre in the Round: The Seagull; Morris Park Players: Ragtime; SOAR: Grease; Washington & Lee: Speech & Debate; Naples Players: Blithe Spirit; Alley Theatre: An Act of God; Omaha Playhouse: The Whipping Man, Biloxi Blues; 4th Wall Theatre Company: As You Like It, A Midsummer Night’s Dream; AD Players: To Kill a Mockingbird, Godspell, The Miracle Worker, The Diary of Anne Frank, Arsenic & Old Lace. Also, assistant for many lighting designers in Minneapolis and across the country. Theatres include the Guthrie Theater, Children’s Theatre Company, Oregon Shakespeare Festival, Alley Theatre, Goodman Theatre. Instagram: @av.ld
ZACH CHRISTENSEN (ASSISTANT DIRECTOR) THEATER LATTÉ DA: Scotland, PA, Falsettos. THEATER: Guthrie Theater: Richard II, Henry IV, Henry V; Playwrights’ Center: The Lion Tamer; Frank Theatre: The Resistible Rise of Arturo Ui; Six Points Theater: Survivors; Jackdonkey Productions: Henry V, 503, The Dumb Waiter (MN Fringe Audience Choice Award), A Drug Play (STL Fringe Artistic Innovation Award), Far Away, Assassination of Ferdinand, The Complete Works of William Shakespeare abridged, The Zoo Story, Dock Work, Working Act; Flying Foot Forum: Shuffle Off to Split Rock. TRAINING: BFA Acting at North Dakota State University, Guthrie Actors Lab, Dell’Arte International. www.zachchristensen.com @zach_christensen_
ADAMS (DRAMATURG) THEATER LATTÉ DA: C., Lullaby, Assassins, Five Points, Underneath the Lintel, Once, A Little Night Music, Hedwig and the Angry Inch, To Let Go And Fall, Chicago, Bernarda Alba, Jelly’s Last Jam, Twelve Angry Men: A New Musical, Merrily We Roll Along, Christmas At The Local, Hello Dolly!, Next to Normal, Falsettos, Stones in His Pockets, The Color Purple, Johnny Skeeky, Scotland, PA, Rodgers + Hammerstein’s Cinderella, School Pictures, Fun Home, NEXT Up & NEXT Festival (Producer). THEATER: Director of New Play Development at Children’s Theatre Company (1998- 2017); Sundance Theatre Lab; Playwrights’ Center; TRAINING: MFA in Dramaturgy, UC San Diego.
BETHANY REINFELD (TECHNICAL DIRECTOR) describes Technical Direction as “Building worlds for characters to come to life in”. She has done 30 plus productions and 5 NEXT Festivals with Latté Da. She holds a M.F.A in Theater and Drama with a specialization in Technical Direction from UWMadison. She also has a B.F.A. in Design Tech with an emphasis in Technical Direction and Scenic Design from UMD. She has worked with Mixed Blood Theatre, Normandale Community College, Yellow Tree Theatre, Jungle Theater and Sesame Street Live/VEE Corporation to list a few.
SHEENA JANSON KELLEY (CASTING SUPERVISOR) THEATER LATTÉ DA: 2023-2024 Season (The Color Purple, Stones in His Pockets), 2024-2025 Season (Cinderella, Fun Home, Passion) THEATER CASTING: Artistry: Godspell, Shrek: The Musical; Children’s Theatre Company: Casting Director 20142018; Ordway Center for Performing Arts: 42nd Street, Smokey Joe’s Café, Dolly Parton’s Smoky Mountain Christmas Carol (staged reading); OTHER: A Queen’s Ball: A Bridgerton Experience (Netflix, Shondaland).
CORINNE STEFFENS (AUDIO SUPERVISOR & SOUND BOARD OPERATOR) Corinne currently works all across the Twin Cities as a freelancer in all things theater tech, with an emphasis on sound and musical theater. Credits include: Theater Latté Da: Fun Home, School Pictures, Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, The Color Purple, Christmas At The Local, Falsettos, Hello, Dolly!, Jelly’s Last Jam; US National Tour: All Is Calm, Emojiland the Musical; Guthrie Theater: Little Shop Of Horrors, Into The Woods, Vietgone; Lyric Arts: The Rainmaker, Peter And The Starcatcher. Corinne is also the Tech Director for the MN Fringe Festival.
ANDREW NORFOLK (LIGHTING SUPERVISOR & LIGHT BOARD OPERATOR) THEATER LATTÉ DA: Fun Home, School Pictures, Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!. OPERA: The Santa Fe Opera: Carmen, The Barber of Seville, Falstaff, Tristan und Isolde, M. Butterfly. LIGHTING DESIGN: Lyric Arts: The Pavilion, 9 to 5 - The Musical; UMD Theatre: MAXA - The Maddest Woman In The World, The Little Prince; Stage 2 Theatre Company: Firebringer, The Spoon River Project, The Trail to Oregon. TRAINING: B.F.A. in Theatre, Lighting Design Emphasis, University of Minnesota - Duluth.
ASH KAUN (COSTUME SHOP ASSISTANT, WARDROBE MAINTENANCE & DRESSER SWING)
THEATER LATTÉ DA: Fun Home, Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, La Bohème, To Let Go and Fall. THEATER: Guthrie: Shakespeare’s History Plays; Exposed Brick Theatre: Muyehpen; Jungle Theater: 5, Christmas at Pemberley (series); Mill City Summer Opera: Carmen; North Hennepin Community College: She Kills Monsters; Park Square Theatre: Airness, Jefferson Township Sparkling Junior Talent Pageant, Romeo and Juliet, The Agitators; Penumbra Theatre: Benevolence, This Bitter Earth; Ten Thousand Things Theater: Thunder Knocking on the Door; Theater Mu: Fast Company. TRAINING: B.F.A. in Directing/Design/Playwriting, Augsburg University.
SARA HERMAN (SCENIC CHARGE) THEATER LATTÉ DA: Fun Home, School Pictures, Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, La bohème, Jelly’s Last Jam, Chicago, Peter and the Starcatcher THEATER: Minnesota Opera: Dinner At 8; Mill City Opera: Così fan tutte; Jungle Theater: Fly By Night; Circus Juventas: Twisted, Hugge, Steam, Nordrsaga, Alice in Wonderland, 1001 Nights. TRAINING: B.A. University of MN Morris, Colbalt Studios.
CHRISTIAN ERBEN (STAGE MANAGEMENT SWING) THEATER LATTÉ
DA: Heaven Can Wait - Workshop (Stage Manager); Scotland, PA (Stage Management Swing); School Pictures (Stage Management Swing); NEXT Festival 2024 (Production Manager). THEATER: Ordway Center for the Performing Arts: Beauty & the Beast (Covid Safety Manager & Company Management Assistant); Artistry MN: The Sound of Music (Assistant Stage Manager); Theater Mu: Again - A New Musical (Assistant Stage Manager); Lyric Arts: A Taste Of Things To Come (Stage Manager), The Servant of Two Masters (Assistant Stage Manager); Lakeshore Players: She Loves Me (Stage Manager); Anything Goes (Stage Manager). UPCOMING: Jackdonkey Productions: Henry V (Stage Manager & Production Manager); Lyric Arts: Big Fish (Assistant Stage Manager). TRAINING: B.A. in Theatre, Southwestern University in Georgetown, TX. christianerben.com
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Donate today to support original and re-imagined music theater.
Theater Latté Da is one of only a few theaters in the country dedicated solely to producing and presenting new and adventurous musical theater that speaks to contemporary audiences and advances the art of musical theater. We truly could not do this without the generosity of our many individual and institutional donors. Thank you for your commitment.
Theater Latté Da’s mission is to create new and impactful connections among story, music, artist, and audience by exploring and expanding the art of musical theater. We are guided by our values that our work be bold, inclusive and collaborative, and strive to act with integrity and gratitude both on and off the stage. By illuminating the unseen, giving voice to the unheard, and empathizing with the unknown, Theater Latté Da strives to open eyes, ears, and hearts.
Please consider a tax-deductible contribution to Theater Latté Da today and join us in bringing great musical theater to life.
Learn more about support opportunities at latteda.org/ways-to-give or email Director of Development Sara Huelle sarahuelle@latteda.org for more information.
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*In remembrance
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Brock Obee
Ben Olk III and Kris Berggren
Philip Oxman and Harvey Zuckman
Marcia and Russ Palma
Mary Ann Palmer
Jaime Pedraza and Stephen Gronewold
Naomi Perman
Daniel Peterson and Mark Nelson
Karlyn Peterson and Gavin Wilkinson
Jim Pfau and Denise Kania
Pike Willett Family Fund
Patti Pinkerton
Maureen and Paul Pranghofer
Debra and Lawrence Que
John and Elizabeth Quinn
Quiring Family Fund of The Minneapolis Foundation
Fred Quirsfeld and Linda Campbell
Pat and Gene Radecki
James and Susan Ramlet
Megan Reardon
Sadie Reiners
Jonathan Riehle and Angela M. Bohmann
Barbara Roen
Kenneth and Beth Roering
Jaime A. Roman and Jim Bernier
Robert Rosenbaum and Maggie Gilbert
Tom and Molly Rothstein Family
Peggy and Bill Roush
Allison Rupp
Susan and John Ryan
Kenneth and Kathy Sabota
Mary and Peter Sandberg
Mark Sateren
Noel Schenker
Paul Schumann
The Schwantes Family Singers
Judy Schwartau
Kathryn Sherwood
Steven and Karen Sonnenberg
Roxanne and Bill Soth
George Spaulding and Mary Kay Fortier
Spalding
Ann and Eldon Spencer
Lynne Stanley
Anne Steinfeldt
Marcia and John Stout
Dana and Stephen Strand
Marcia Sullivan
Kari Groth Swan
Ron and Margaret Tabar
Rabindra Tambyraja, MD
Lezlie and Louis Taylor
Jean Taylor
Tammy Taylor
John and Jennifer Urbanski
Libby and John Utter
Daniel Vogel
Jeanne Voigt
Michael Wagner
Cathy and Stan Waldhauser
David C. Warner
Margaret Weber
Corliss Weeks
Daniel Weninger
Dorene and Alan Wernke
Sue and Jim Westerman
Jim and Martha Williams
Travis Wilson
David Young and Edward Williams, Jr.
Jodi and Jim Young
Jane Zilch
Abby Zimmer and Sean O’Brien
Nancy Zingale and Bill Flanigan
Anonymous (3)
Tom and Cindy Adamson
Albrecht Family Foundation
Nancy Arnison
Dan Avchen and David Johnson
Kurt Bachmayer and Lisa Dalke
Paul and Mary Bacigalupi
Mary Bahneman
Daniel Barnes and Elaine Wilson
Daniel Baseman and Raymond J. Ottman
Judy Bearman and Ken Kaffine
Timothy Beekman
Joan Berg
Darcy Berglund
Brad Betlach and Peter Carlson
Tim and Beth Beutell
Chris Bewell
Rosanne Borscheid
Annemarie Bossert and Thomas Lovett
Sheryl and Mike Burkhardt
Kathryn and Winston Cahill
Clara Caruso
Angela and Neil Christy
Patricia Contag
Kenneth and Gwen Crabb
Audrey Dammer and Jim Boyer
Kathryn and Larry Decker
Virginia and John Dell
Dennis and David Delude-Nafus
Holly Denis
Sunny Didier
Sandy Doll and Ron Christenson
Kate Donaldson
George Dow
Tina Edstam
Marsha Eisenberg
Matt Erickson
Chris Estee
John J. Feigal
Dr. Patricia Ferrieri
Brad and Kathy Fisher
Chad Fitch and Denisea Fitch-Elsola
Sarah Fjelstul
Kim Ford
Ron and Barb Fraboni Family Fund
Iris Freeman
Heather and Bill Froehlich
David Gardner and Ronda Willsher
Patrick and Heidi George
Donna H. Gies and Richard Hamer
Jerry Girton
Barbara Golden
John and Joanne Gordon
James Grathwol
Karen and John Gray
Dolores Gutierrez
Mark and Mary Jo Hallberg
Dr. Jo-Ida C. Hansen
Jessi Held
John and Diane Herman
Jean Housh
Hugh Huston
Diane and Paul Jacobson
Mark and Jeanne Jacobson
Donald and Pamela Jakes
Bonita Janda
Suzanne Jebe
Martin Johansen
Paul Amann and Cory Johnson
Jeremiah and Pamela Kearney
Dodie and John Kostishack
John and Nanciann Kruse
Pat Laulainen
Susan Law
Cindy Leach
Judy and Steve Lewis
Kathleen S. Lindblad
Heather Logelin and Marc Prokosch
Dennis Louie
Scott Lykins and Jacob Sirek
Beth and Mike MacDonald
Zoreh Mahdavi
Ruth B. Markowitz
Kimberly McDevitt
Margaret R. McGonagle
Cheryl McIntyre
Peg McKee and Dean Adams
Kathleen McLaughlin and Daryl Skobba
Lisa McLean
Laurie and Dave Mech
Laura Migliorino
David and Leni Moore Family Foundation
Laurie Mount
Bonnie Mulligan and Charlie Greenman
Katie Nelsen
Joan Nelson
Diane Paulu
Sandra, Andrew, and Rick Penning
Tim Peterson
David Pote and Linda Tapsak
Nick and Judy Priadka
Anne Pudas
Bonnie Reiland
Sue Salmela and Paul Burnett
Carol B. Schirmers
Bradley Schmeling
Betsy Schmiesing
Barbara Schmitt
Trish and Ralph Scorpio
Miriam Seim
Nicole Sexe
Gale Sharpe
Margaret Shreves
Tonia and Mike Shupien
Stephen Silberfarb
Greg and Amanda Simpson
Pamela Sjodin
Deborah Thorp
the pros from SLP
Susan Snyder and Tom Westlund
David Soli and William Margolis
Rosemary Soltis
Paul Stein and Peg Powers
Lisa Stevens and Jeffrey Hatcher
Suzanne Stock
James Stolz
Michele Stowers
Tim Strand
Sulasalmi Fund of The Minneapolis Foundation
Craig and Janet Swan
Javen Swanson and Oby Ballinger
Hildy Swedean
In honor of Stephen Bubul and Lee Lewis
Julie Bubul
In honor of Kevin Zahler
Paul Dorn
In honor Justin Lucero
Robert Frame
In honor of Lane 3 at Latté Da’s Local Legends Bowling Classic
Reece Gray
In honor of Fremajane Wolfson
Dean Greenburg
In honor of the Latté Da Board of Directors
Sara Huelle
In honor of Bridget Morehead
Medtronic
Christie Morehead and Alan Zimmerman
In honor of Addie Gorlin-Han
Jodi and Mike Mooney
In honor of Sandy Hey
Sally Parks
In honor of Peter Rothstein
Tom and Molly Rothstein
In honor of Cara Sjodin
The Schwantes Family Singers
In honor of Rita Hattouni
Tonia and Mike Shupien
Julie A. Sweitzer
Jennifer, Daniel, Raina, and Zoey Tenenbaum
Teresa and Mike Tennis
Charlaine Tolkien
Katherine and Martijn van de Ruijtenbeek
Jennifer Van Wyk
Carolyn Vanous
Tammi Veale
Lynn and Chuck Wallin
Lisa Weisman
Elisabeth Wierum and Steve Gerde
Missy and Kent Wilson
Sally Wingert and Tim Danz
Jan Withiam
Jeanette Woessner
Donna and Mike Wolsted
Carol A Woodbury
Lisa Young
Wayne Zink and Christopher Schout
In honor of Adam Yust
Rachel Stassey
In honor of Timothy Thomas
Cheryl Thomas
In honor of Judy Tischleder
Ka Vang
In memory of William A. Velte
Mary Lee B. Blomgren
In memory of David Norris
Paul Kaefer
In memory of Vicki Lutz
Keith Lutz
In memory of Mary Holland
Laurie and Dave Mech
In memory of Peter Rothstein’s mother,
Jean Elizabeth Ryan Rothstein
Gretchen Albert Mellies
In memory of Dorris Rose
Jesseli Moen
Carol Peterson
In memory of Pamela Espeland
John Whiting
In memory of Bill Withiam
Jan Withiam
We gratefully recognize the following individuals who have chosen to include Theater Latté Da in their estate plans. These estate gifts will sustain our artistic excellence and fiscal health for years to come:
Mary Anne Ebert and Paul Stembler
Stephen Fischer Joyce G. Gordon*
Dr. Jo-Ida C. Hansen
John Hemann
Dr. Tom Knabel and Kent Allin
Carol Lichterman
Patti Pinkerton
Bill Venne and Douglas Kline
Kevin Winge and Kevin Shores
Jane Zilch
If you have included Theater Latté Da in your estate plans but are not listed here, or if you would like to learn more about legacy giving to Theater Latté Da, please contact Development Director Sara Huelle at sarahuelle@latteda.org.
Theater Latté Da was envisioned by Co-Founder Peter Rothstein as a home for the future of the American musical. Latté Da has lived this vision since our beginning, with 15 of our 26 mainstage seasons including world premieres.
Theater Latté Da is embarking on an ambitious milestone: supporting the development of 25 new musicals or plays with music by 2025. Through NEXT 25x25, we will invest in the future of the great American Musical and its playwrights, composers, and lyricists through world premieres, the annual NEXT Festival, our NEXT Up development program, and NEXT Generation commissions.
To make a gift in support of NEXT 25x25, please contact sarahuelle@latteda.org
Elissa Adams and Michael Margulies
Addicks Hoch Fund of The Minneapolis Foundation
Nancy Agneberg
Theresa Alewine
Jan and Greg Aplin
John Arechar
Abby Areshenko
Peter Bachman
John Bale
Oby Ballinger
Les Bendtsen and Rick Buchholz
Ray DeSpiegler and Michael Birch
David Bjork and Jeff Bengtson
Betsy Bonestroo
Chris Boppre
Jeffrey D. Bores and Michael Hawkins
Andrea Brennan
Dawn Brintnell and Andrew
Wattenhofer
Jeffrey Brockman and Shane Swanson
Cynthia Brown
Jimmy Burnett
Suzanne Butzow
William and Andrew CollisPrather
Margie Commerford
Anita Cook
Tiffany Cooper-Allen and Torrie Allen
Carol and Kim Culp
Ingrid and Chris Culp
Pam and Tim Dagoberg
Audrey Dammer and Jim Boyer
Fran and Barb Davis
Michael DiMucci
Gerald Dove
Charla and Jeffrey Eccles
Matt Erickson
Kittie Fahey
David Ferris
Stephen and Lynn Filipas
Gloria Freeman
Mary Freeman
Ron Frey and Steven Thompson
Matt Fulton
Patrick Gage
Jim and Sonja Gindorff
Bradley Greenwald and John Novak
Nancy Guldberg
Roger and Pam Hamilton
Kath Hammerseng and Mo
Kennedy
Ryan Hanson
Jay Harkness and Jean Storlie
Marlys and Norman Harris
Jean and Jim Hartman
James Haskins
Peter and Emily Hebig
Kim Heckmann
John Hering and Matt Vonk
Sandy and John Hey
Lisa and Dan Hoene
Wyn Huynh and Bob Zehrer
Birdie Jackson
Mary Jacobson
Sandi and Jim Jensen
Martin Johansen
Jim Johnson
Bill Jones
Kathryn Culp Kerfoot and Mike Kerfoot
Paul Kluge
Dr. Tom Knabel and Kent Allin
Allison Knigge
Jonna Kosalko and Dan Rabin
Mark Kraus
Rebecca and Andrew Lahl
Christine Larsen and Scott Peterson
Kate and Greg Lawson
Ariane Laxo
Roger J. and Yvonne E. Leick
Jeff Lin and Sarah Bronson
Elisabeth Loeffler
Mary Lundberg-Johnson
Pat and Sara Mack
Mary and Mark Maher
Kristin and Jim Matejcek
Kevin Mayo
Penny Meier
Jennifer Melin Miller and David Miller
Gretchen Alberts Mellies
Douglas and Cindy Merrigan
Barb and Kevin Minnerath
Beth Mitchell
Laurie Mount
Mark Nelson
Nancy Nelson
Glyn Northington and Stan Kolden
Sharon O’Connor
Rita and Ben* Olk
Ben Olk, III and Kris Berggren
Cindy Olk
Mary Olk
Michael Ostrem
Jim Payne
Daniel Peterson
Shannon Pierce and Rachael Kroog
Maria and David Reamer
Jaime A. Roman and Jim Bernier
Peter Rothstein and Omar
Guevara Soto
Kristin and Harps Singh
Mary Rothstein
David and Liz Rudrud
Jean Ryan
Sheryl Saterstrom
Rachel Schachter
Bradley Schmeling
Judy Schwartau
Gayle Severson
Daniel and Emily Shapiro
Wendy Short Hays
Jacob Sirek
Cara Sjodin and Scott Stensrud
Hilary and Peter Smith
Jim Smith
Susan Snyder and Tom Westlund
George and Mary Kay Fortier
Spalding
Russell Kaplan and Elisa Spencer-Kaplan
Neil Neumann and Sandy Spidel
Neumann
Ann and Tom Stanley
Lorri Steffen and Paul Zenner
Cheryl Stever
Tim Strand
John L Sullivan Fund of the Minneapolis Foundation
Brian and Carrie Svendahl
Kari Groth Swan
Dennis Tkach
Christine Tommerdahl *In remembrance
Christine Tommerdahl
Chris Van Klei
Kathryn Vann
Erin and Mark Vannelli
Carolyn Vanous
Jennifer VanWyk
Bill Venne and Douglas Kline
The LTC Janis Verruso Charitable Fund
Carol Wahl
Daniel Weninger
Beth Wiggins
Frank and Frances Wilkinson
Jim and Martha Williams
Laurie Windisch
Kevin Winge and Kevin Shores
Gayle Woodbury
Ameriprise Financial
CenterPoint
Crowe Consulting
Dorsey & Whitney
General Mills
Intel Foundation
Medtronic
Microsoft
NewRez
RBC
UnitedHealth Group
US Bank
Voya Financial
Wells Fargo
David Young and Edward Williams, Jr.
Adam Yust
Josh Zenner
Peter Zenner
Cornerstone Copy Center
Stagetime Productions
Listings reflect donations made between between June 1, 2024 to June 1, 2025. Please accept our apologies for any errors or omissions.
Glyn Northington, Chair
Les Bendtsen, Secretary
Bridget Morehead, Treasurer
Theresa Alewine
Tiffany Cooper-Allen
John Arechar
Marcia Aubineau
Ethan Berke
Stephen Bubul
Jimmy Burnett
Tanner Curl
Carol Chomsky
Toya Stewart Downey
Keith Ford
Judy Jossi
Tom Knabel
Jeff Lin
Justin Lucero, ex-officio
Elisa Spencer-Kaplan, ex-officio
Lezlie Taylor
Ka Vang
Fremajane Wolfson
Adam Yust
Justin Lucero Artistic Director
Elissa Adams Associate Artistic Director & Director of New Work
Allen Weeks Director of Production & Operations
Production
Amber Brown
Costume Supervisor
Whitley Cobb Carpenter
Christian Erben Associate Production & Company Manager
Sara Herman Scenic Charge
Ash Kaun Costume Shop Assistant
Andrew Norfolk Lighting Supervisor
Shelby Reddig Production Stage Manager
Bethany Reinfeld Technical Director
Corinne Steffens Audio Supervisor
Accounting Chris Hagen
Legal Counsel Michael Sinder
Co-Founders
Peter Rothstein
Denise Prosek
Elisa Spencer-Kaplan
Managing Director
Maxwell Bolton Director of Marketing
Sara Huelle Director of Development
Marketing & Guest Services
Naomi Brecht Box Office Manager
Morgan Gray Marketing Associate
Tre’ Miller
Front-Of-House Associate
Madeline Schulz House Manager
Jeremiah Stich Guest Services Manager
Kathleen Sullivan Concessions Lead
Connor Berkompas, Casey Haeg, Jennica Kruse, Janet Lewis
Courtney Rust, and Luciana Stich Concessionaires
Development Gillian Constable
Development Associate & Access Coordinator
Lori Weaver Grant Writer
We have fully remodeled our lobby to include All Gender restrooms. Each contains five fully private stalls with ADA accessible facilities.
Accessible Seating: Accessible seating is available at the Ritz Theater in Row E, Sidebar P, and Sidebar Q. All other seating requires stairs for access.
Courtesy Wheelchairs: Courtesy wheelchairs are available for use for patrons who may have mobility challenges. Please see our House Manager or Box Office Manager for use.
Bariatric Chairs: Bariatric chairs are available at the Ritz Theater in Sidebars P and Q.
ASL Interpreted Performances: We offer ASL-interpreted performances for every production during our season. These performances are usually offered the second Thursday in each production.
Audio Described Performances: Professional audio describers provide narration of on-stage action, costumes, and scenery during the performance. Listening devices are available for patrons to use during the AD scheduled performances.
Open Caption Performances: We offer open captioning for select weekend performances. Captions of the text are displayed on a screen near the stage, more easily read from our sidebar seats. Check the performance calendar for the open captioning dates or call the Box Office at 612.339.3003 for details.
Assistive Listening Devices: We offer assistive listening devices for all performances. Please stop at the Box Office to check one out for use during the performance.
Braille Programs: Please see an usher or our Guest Services Manager to request a braille program for any performance.
Large Print Programs: Large print programs are available upon request. Please see the Box Office or request a copy from an usher.
COVID-19 Policy: As of the start of this season at the Ritz Theater, we are no longer requiring proof of vaccination or a negative COVID-19 test result. Masks are welcome but optional, EXCEPT for select Sunday matinee performances when they are required. This policy is subject to change.
Photos & Video: Photos of the set are allowed before or after the show and during intermission, but not when artists are onstage. Video or audio recording of any kind is strictly prohibited.
Phones: The ringing of cellular phones or texting is highly disruptive during a performance. These devices should be turned off during the performance.
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