MUSIC BY RICHARD RODGERS
LYRICS BY OSCAR HAMMERSTEIN II
NEW BOOK BY DOUGLAS CARTER BEANE
BOOK BY OSCAR HAMMERSTEIN II
DIRECTED BY JUSTIN LUCERO
CHOREOGRAPHED BY KYLE WEILER
MUSIC DIRECTION BY WESLEY FRYE
NOV 20, 2024 - JAN 5, 2025 •
Artistic Director JUSTIN LUCERO
Managing Director ELISA SPENCER-KAPLAN
PRESENTS
RODGERS + HAMMERSTEIN’S
Music by RICHARD RODGERS
Lyrics by OSCAR HAMMERSTEIN II
New Book by DOUGLAS CARTER BEANE Book by OSCAR HAMMERSTEIN II
Orchestrations by DANNY TROOB
Music Adaptation & Arrangements by DAVID CHASE
Choreographed by KYLE WEILER Music Direction by WESLEY FRYE Directed by JUSTIN LUCERO
Scenic Designer ELI SHERLOCK
Hair, Wigs & Makeup Designer PRISCILLA BRUCE
Costume Designer MATHEW J. LEFEBVRE^
Props Designer & Supervisor
MADELAINE FOSTER
Director of Production ALLEN WEEKS
Lighting Designer MARCUS DILLIARD^
Assistant Choreographer HANNAH BENDITT
Technical Director BETHANY REINFELD
With gratitude to our Production Partners TOM & JULIANNE YOUNGREN
Sound Designer KEVIN SPRINGER
Music Supervisor JASON HANSEN
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.
CINDERELLA is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. www.concordtheatricals.com
Marie / Ensemble
Gabrielle / Ensemble & Understudy Ella
Jean-Michel / Ensemble & Understudy Sebastian
Ensemble & Understudy Jean-Michel
Topher / Ensemble
Ensemble
Ella / Ensemble
Charlotte / Ensemble & Understudy Madame
Sebastian / Ensemble
Ensemble / Fox
Ensemble / Raccoon
Lord Pinkleton / Ensemble
Madame / Ensemble
UNDERSTUDIES
for Marie & Lord Pinkleton
CARNETHA ANTHONY
for Gabrielle, Charlotte & Ensemble
CAMRYN BUELOW
for Topher & Ensemble
CALEB MICHAEL*
DEIDRE COCHRAN
ISA CONDO-OLVERA
PO CUSHMAN
JAMES DELAGE
THEO JANKE-FURMAN
ABBY MAGALEE*+
NAMBI MWASSA*
HOPE NORDQUIST
TOD PETERSEN*
JON MICHAEL STIFF*
GABRIELLA TRENTACOSTE
EVAN TYLER WILSON*
SALLY WINGERT*
STAGE MANAGEMENT
Stage Manager
JOELLE COUTU*
Assistant Stage Manager
AUSTIN SCHOENFELDER*
Assistant Stage Manager AJAH WILLIAMS
Drums
Conductor & Keyboard
Upright Bass
Violin Winds
French Horn
Jarod Bendele† Wesley Frye† Jenessa Iverson†
Aja Majkrzak†
Jenny Slivinski†
Anthony Stanley†
Associate Technical Director
Production Stage Manager
Casting Supervisor
Associate Production & Company Manager
Lighting Supervisor & Light Board Operator
Audio Supervisor & Sound Board Operator
Costume Supervisor
Costume Shop Assistant, Wardrobe Maintenance & Dresser Swing
Lead Carpenter
Scenic Charge
Carpenters
Scenic Artists
Props Artisan
Lighting Design Assistant
Electricians
Wig, Hair, & Makeup Design Assistant
Costume Design Assistant & Draper/Stitcher Stitchers
Dresser
Stage Management Swing Light & Sound Board Operator Swing
Eric Charlton
Shelby Reddig
Sheena Janson Kelley
Christian Erben
Andrew Norfolk
Nicholas Tranby
Amber Brown
Ash Kaun
Whitley Cobb
Sara Herman
Jay Claire, Calvin Friedman, Kris Schmidt
Erika Soukup
Kris Schmidt
Jacqulin Stauder
Lane Bode, Wesley Cone, Bevibel Harvey,
Evelyn Kelly, Jenna Lory, Ada Packiewicz, Kate Peters, Corinne Steffens, Carl Swanson, Tristan Wilkes
Emma Gustafson
Caroline Zaltron
Dakota Blankenship, Hannah Fiedler, Laura Jones, Bronson Talcott
Laura Jones
Chloe Volna-Rich*
Corinne Steffens
RUN TIME: 2 hours including one 15-minute intermission
“Prologue” - Ella & Company
“Me, Who Am I?” - Topher, Sebastian, Lord Pinkleton, Knights
“In My Own Little Corner” - Ella
“Your Majesty” - Lord Pinkleton & Topher
“The Prince Is Giving a Ball / Now Is the Time” - Sebastian, Jean-Michel, Lord Pinkleton, Ella, Crowd
“Fol-de-Rol” - Marie
“In My Own Little Corner (Reprise)” - Ella & Marie
“Impossible / It’s Possible” - Marie, Ella, Company
“Ten Minutes Ago” - Topher, Ella, Company
“Entr’Acte” - Orchestra
“Stepsister’s Lament” - Charlotte & Ladies of the Court
“Call To Arms” - Lord Pinkleton & Topher
“When You’re Driving Through the Moonlight” - Ella, Charlotte, Gabrielle, Madame
“A Lovely Night” - Ella, Charlotte, Gabrielle, Madame
“A Lovely Night (Reprise)” - Gabrielle & Ella
“Loneliness of Evening” - Topher & Ella
“The Prince Is Giving a Ball (Reprise)” - Sebastian, Lord Pinkleton, Heralds
“There’s Music In You” - Marie
“Do I Love You Because You’re Beautiful?” - Topher & Ella
“Eight O’Clock and All Is Well” - Lord Pinkleton
“The Proposal” - Ella, Topher, Company
“The Wedding (Finale)” - Marie & Company
Additional Lyrics By Douglas Carter Beane, David Chase and Bruce Pomahac
CINDERELLA is referred to by many as one of the most recognizable fairy tales in history, one that continues to stand the test of time. Also continuing to stand its own test of time is Theater Latté Da’s tradition of reinventing the musical idiom and championing the artform. Interestingly, as influential as the creators of our musical, Richard Rodgers & Oscar Hammerstein II, were on the trajectory of the medium and the industry, Latté Da has not until now produced any of their canonical work. Latté Da and I gravitate toward work that emphasizes theatricality, imagination, engagement, and the calculated fusion of elements. Rodgers and Hammerstein’s version of CINDERELLA provides a depth of opportunity in all of these. Add to that, Douglas Carter Beane’s fresh take highlights humor and offers contemporary resonance in a libretto stuffed with iconic songs. For these reasons, of course I would elect to make my company and Twin Cities directorial debut with this treasure-work.
When having conversations as a team in crafting our production, we realized that particularly perfect for our theater—and particularly during the holiday season— Cinderella intersects such pertinent themes of magic, transformation, community, and music. These, in isolation or blended together, have the power to create a resonating theatrical experience. Searching for an ideograph that captures the essence of these intersections that could serve as an ever-present, unifying detail, we found ourselves repeatedly drawn to a single, vibrant image: the mirror ball. An iconic symbol that also embodies the magic and joy Cinderella brings to any stage. A mirror ball, with its reflective surfaces, captures the essence of our shared experience —spreading light, color, and celebration.
Also, a mirror ball is theater magic. In my work, I gravitate towards the uniquenesses— the “magic qualities”— inherent to live theater, particularly when it comes to recruiting an audience to activate their imaginations to co-create with us. I often liken what I’m describing to our early experiences of being read a fairy tale and using our mind’s eye to visualize and paint a picture. In true Latté Da form, our brilliant team have taken this approach for this fairy tale, employing a small corps of performers and a few abstract elements (in addition to lights, costumes & movement) to facilitate the journey with suggestion, offering you, our audience, the opportunity to complete the picture—animals, forests, palaces, and everything in between—with your own activated imagination.
Our wink to the mirror ball as a visual embodiment of both theater magic and the magic central to the tale itself, I feel, is a dazzling testament to the power of kindness, the beauty of community, and the enchantment of music. Not to mention the spirit of the season.
I dedicate this performance to every single one of my generous collaborators who have so graciously and trustingly given of themselves and their talents to making the impossible possible.
Yours,
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 95 Mainstage productions, including 17 world premieres and 15 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.
Our Mission
Theater Latté Da creates new and impactful connections between story, music, artist, and audience—exploring and expanding the art of musical theater.
Our Values
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).
On the first day of rehearsal for Theater Latté Da’s production of RODGERS & HAMMERSTEIN’S CINDERELLA, director Justin Lucero shared the following overview of the place Cinderella holds in our cultural imagination.
When we think of “Cinderella” and musical and popular culture infiltration, it’s both Walt Disney and Rodgers & Hammerstein that created what are now considered the quintessentials.
Disney’s now-classic animated feature film was released in 1950 and even included a title screen attributing it as, “Cinderella, from the Original Classic by Charles Perrault”, and of course, famously included songs. Disney turned to Tin Pan Alley songwriters Mack David, Jerry Livingston, and Al Hoffman who wrote in total six songs that were in the film, such as the Oscar-nominated “Bibbidi-Bobbidi-Boo”. The film also marked the launching of the Walt Disney Music Company with its soundtrack and a children’s album which hit number-one on the Billboard pop charts. I’d venture a guess that most Americans conjure an image of the pale-blue-dressed cartoon figure when they hear the name Cinderella.
And then, of course…A mere few years after Disney’s release, the original Rodgers & Hammerstein musical aired on television in 1957.
In his book, Something Wonderful: Rogers’ and Hammerstein’s Broadway Revolution, Todd S. Purdum describes that momentous night. At the stroke of 8:00 p.m. on the rainy Sunday evening of March 31 in a converted vaudeville house on Upper Broadway in Manhattan, timpani rolled, herald trumpets blared a fanfare, and soon a chorus sang out, “The prince is giving a ball!” The crowded old theater at the corner of West 81st Street was the CBS Television Network’s smallest color studio, No. 72, but the program was beaming live over the largest network ever assembled of hundreds of stations coast to coast. Richard & Oscar, the reigning impresarios of the modern musical theater, were also two of the most influential
The evening’s production was Cinderella, a ninety-minute original musical created especially for television, with a massive budget of $385,000, a live orchestra of thirty-three pieces, and an all-star cast. The special broadcast was ballyhooed in full-page newspaper advertisements across the country and even letters were sent to the principals of public schools, urging them to encourage their students to watch the program. This level of interest, attention, and dominance was par for the course for Rodgers and
After all, as we know, this was the team that had revolutionized the American musical theater only 14 years earlier with their blockbuster Oklahoma! in 1943, and then went on to create the beloved and enduring hits Carousel, South Pacific, The King and I, and The Sound of Music
Now in 1957 they were aiming even higher, bringing Cinderella to CBS in an effort to top NBC’s highly successful live production from the previous year of a musical version of Peter Pan, starring Mary Martin. They scored their own casting coup: Julie Andrews, then the hottest star on Broadway, moonlighting from her role as Eliza Doolittle in My Fair Lady.
Hammerstein kept the Cinderella story simple and sweet: no modern touches, no anachronisms. Just rigor of writing and producing, as well as a rigorous rehearsal schedule, including two full-scale dress run-throughs that the producers referred to as the New Haven and Boston out-of-town tryouts. Because of the technical limitations of the time, viewers on the West Coast would not see the full-color production at all, only a black-&-white kinescope shot off a television monitor, which is the record of the evening that survives today. Because videotape had not yet been perfected, the show could never be rebroadcast, but Oscar told journalists he hoped to see it in the legitimate theater one day soon.
The final run-through ended at 4:30 p.m. on the afternoon of the broadcast, which would be, essentially, their closing night.
There were a few glitches, yes. But the audience!!
More people watched Cinderella than had ever collectively watched any event in the history of the planet to that point. At least 107 million people saw part of the program, a viewership that would have filled a typical Broadway theater seven nights a week—for 165 years.
Jump to 1965, when CBS produced an inferior videotaped version of Cinderella starring an 18-year Leslie Ann Warren in the title role, and Ginger Rogers as the Queen, to be rebroadcast annually over the next decade. And then, in 1997, ABC remade R&H’s Cinderella for TV yet again, this time starring Brandy and Whitney Houston as Cinderella and the Fairy Godmother respectively and taking the magic to new heights. Much like the two previous versions it was a significant television musical milestone, but unlike the other two, it was a cultural moment, one that embraced inclusion, diversity, and progress. This version wasn’t just a remake; it was a reimagining that stayed true to the heart of the fairy tale while updating its values to reflect a more contemporary world.
The journey of this production began with Houston, originally set to play the title role. However, by the time the project was greenlit by Disney, Houston felt she had outgrown the part and instead offered it to Brandy. This casting decision, once seen as a risk, became a historic moment, pushing the boundaries of what was then known as “color-blind casting” and redefining what a princess, and a cast more generally, could look like. And although by this point both Rodgers and Hammerstein had passed, it continued the tradition that they’d established with every major project of pushing ideals and making major cultural ripples.
And here they were trailblazing again, even posthumously. The casting was not only groundbreaking, but it also maintained the integrity of the story. James Hammerstein said his father would have wondered why it took so long for such inclusive casting to become a reality.
The Whitney (Houston) / Brandy production was a triumph not only because of its cast but also due to the way it modernized the beloved fairy tale. The screenwriter aimed to make the characters more relevant to the 90s audience. Cinderella was no longer a passive dreamer waiting for rescue; she was a strong heroine seeking independence and standing up for her beliefs. Similarly, the prince was portrayed as more than just a romantic lead—he was a leader who wanted to understand his people, adding depth to the character that resonated with modern viewers.
The changes were subtle yet powerful. The “love at first sight” trope was softened by allowing Cinderella and the prince to meet and converse before the ball, emphasizing that their connection was based on more than physical attraction. This was no fairy tale where a woman’s only goal was to find a prince. As Cinderella herself said, women deserve to be treated “like a person. With kindness and respect.” These feminist undertones were woven throughout the film, offering young girls—and all children—a more empowering message: they have the power to shape their own destinies.
This Cinderella became a ratings juggernaut and it was a commercial and critical success, becoming the most profitable television film of its time, and earning multiple Emmy nominations. More importantly, it left a lasting impact on a generation. For young children of
color, it was a moment of visibility and validation, seeing themselves/ourselves reflected in a classic story that had, for so long, been closed to them/us.
In the years that followed, Rodgers & Hammerstein’s Cinderella continued to inspire. Its legacy was finally seen on Broadway in 2013 with an updated book by the Broadway great, Douglas Carter Beane. An Associated Press review praised Beane’s script and wrote that it “crackles with sweetness and freshness, combining a little Spamalot with some Les Misérables.
Douglas Carter Beane’s version takes the baton of feminism and empowerment, and makes a bold step further into the modern, including the humor and anachronisms Rodgers and Hammerstein seemed to want to avoid. There are a few major changes that particularly excite me, however.
First is the inclusion of the concept of democracy and voting and elected representation. The new character of Jean-Michel, and his romantic subplot with one of the stepsisters, Gabrielle, are brand new and marvelous. And even more welcome is the pronounced commentary on the separation of the haves and have-nots, and the idea that everyone deserves respect and a life of dignity.
The other really great new thing isn’t really new at all, and not Beane’s either. In the 1997 Whitney Houston/Brandy version, songs were altered, including the addition of a song that is NOT a part of the original score. Instead, the team looked to the 900+-title songbook of Rodgers & Hammerstein, for something to feature Whitney with. Few songs were deemed suitable until they re-discovered “There’s Music in You”, a little-known song from the film “Main Street to Broadway” (1953) in which the songwriters play themselves. I remember distinctly, both with the 1997 version and the 2013 Broadway version, finding the song to stick out like a sore thumb. But programming it for us at Latté Da, a company that does “theater musically”, it’s become my favorite. A song that uses music as a metaphor for inner worth and inner capability – outstanding.
The story of Cinderella has been known by many names. Aschenputtel in German, Cendrillon in French, Yeh-Shen in Chinese. Researchers believe there may be over 800 versions of Cinderella around the world, with origins dating back as far as 850
In the Greek story of Rhodopis, which translates to “Rosy-Cheeks,” a Greek slave girl marries the king of Egypt after an eagle steals one of her sandals and drops it in his lap. This version, which dates back to the first century CE, is one of the earliest recorded Cinderella variants.
Yeh-Shen is a Chinese tale that was collected in Youyang zazu by Duan Chengshi during the Tang Dynasty. In the story of Yeh-Shen, the protagonist is persecuted by her stepmother but ends up marrying the king. With some magical assistance, she dresses up for a party-like activity and loses a shoe that only her small feet can fit into.
The story takes place in a village by Lake Ontario, where an invisible being lives. It features three sisters, the youngest of whom is named the Rough-Face Girl because of scars on her face and arms from tending fires. Her two older sisters are beautiful but cruel. The Invisible Being is looking for a wife, and all the girls in the village want to marry him. To win his hand, the women must prove they can see him to his sister. The older sisters fail, but the Rough-Face Girl succeeds by seeing the Invisible Being in nature. The Invisible Being appears to her, reveals her true beauty, and marries her.
Charles Perrault’s 17th Century Cendrillon is the version that still inspires adaptations today. Cendrillon features the fairy godmother who transforms a pumpkin, mice, a rat, and a lizard into carriage and coachman. She also gives Cinderella a magical dress from rags. This version would inspire filmmakers, with Georges Méliès making Cendrillon in 1899, and animators charming audiences with Walt Disney’s Cinderella in 1950.
The Brothers Grimm’s Cinderella, Aschenputtel, features the motherless heroine go from beloved daughter to hated servant when her father takes a new bride. Her father asks what he can bring one day back from the fair, and the two stepdaughters ask for riches, but Aschenputtel only asks for the first branch that knocks her father’s hat. She plants the branch near her mother’s grave, where she weeps so much that a tree grows in the spot. From the tree comes a little white bird who throws down whatever she wishes. The little bird and his friends help her do her chores, and even give her a magnificent dress for the ball. The rest of the Grimms’ Cinderella follows the same pattern as most Cinderella stories, with the prince looking for the maiden who left her slipper – in this story, the slipper is golden, and the stepsisters result to drastic measures to get the slipper to fit.
DEIDRE COCHRAN (MARIE / ENSEMBLE) THEATER LATTÉ DA: Scotland, PA, The Color Purple, Hello, Dolly!, Jelly’s Last Jam. THEATER: Artistry: Some Enchanted Evening, Shrek the Musical, Songs for a New World, The Music Man, Legally Blonde, Mary Poppins; Children’s Theatre Company: Morris Micklewhite and the Tangerine Dress, An American Tail; Theatre Elision: In the Green, Islander, Ruthless; The Hive Collaborative: First Lady of Song: Ella Sings; Ordway: Ordway Cabaret: Rise Up; Old Log Theatre: A Gentleman’s Guide to Love and Murder.
TRAINING: B.A in Acting, Brenau University. Website: deidrecochran.com IG: @deidreonstage
ISA CONDO-OLVERA (GABRIELLE / ENSEMBLE & UNDERSTUDY ELLA) THEATER
LATTÉ DA: Debut. THEATER: Ten Thousand Things: Iphigenia at Aulis, Ten Thousand Voices; Guthrie Theater: A Christmas Carol, The Tempest; An Opera Theatre: The Cradle Will Rock; Yellow Tree Theatre: Toil and Trouble; Wonderlust Productions: Hidden Herald; 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. READINGS/WORKSHOPS: Playwrights’ Center, History Theatre, Guthrie Theater, Texas Shakespeare Festival. TRAINING: University of Minnesota Guthrie Theater BFA Acting. Gracias a mi familia biológica y escogida, and thanks to the Twin Cities theatre community for welcoming this Costa Rican girl with open arms.
PO CUSHMAN (JEAN-MICHEL / ENSEMBLE & UNDERSTUDY SEBASTIAN) THEATER
LATTÉ DA: Debut, Next Festival: She’s Come Undone. THEATER: Artistry: Rent, Newsies; Guthrie: Hamlet; EPE: Rent (Roger); Lyric Arts: A Chorus Line; Pipe Dreams: Cruel Intentions, The Guide to Being Single; Millikin University: Romeo and Juliet (Romeo), Julius Caesar, Medea. TRAINING: B.F.A. Musical Theatre from Millikin University. When Po is not on stage you can find them at art fairs across Minnesota showing their original paintings & drawings. See more @Poliewog
JAMES DELAGE (ENSEMBLE & UNDERSTUDY JEAN-MICHEL) THEATER LATTÉ DA: Debut. THEATER: Ordway Center for Performing Arts: Beauty and the Beast (Ensemble, U/S Gaston); Collide Theatrical: SKOL (Knut); Blue Barn Theatre: Heathers (Ensemble); Creighton University: Bonnie & Clyde (Frank Hamer/Ensemble), Sunday In The Park with George (Ensemble), Cabaret (Bobby). James is grateful to be working with Latté Da for the first time, and wants to thank his family for their support. ig: @jamesdelage
THEO JANKE-FURMAN (TOPHER / ENSEMBLE) THEATER LATTÉ DA: Debut. THEATER: Lyric Arts: 9 to 5, Kinky Boots, Peter and the Starcatcher. TRAINING: Northwestern University. Theo would like to thank Jean Del Santo and Melissa Hart for their guidance and support.
ABBY MAGALEE (ENSEMBLE & DANCE CAPTAIN) THEATER LATTÉ DA: Debut. THEATER: Ordway: Disney’s Beauty and The Beast, West Side Story, In The Heights, Irving Berlin’s White Christmas, Mamma Mia!; History Theatre: Blended (Harmony): The Kim Loo Sisters; Chanhassen Dinner Theatres: Footloose, The Prom; Old Log Theater: The Wedding Singer. Also Broadway Jazz Dance Teacher at Hothouse Studios and certified yoga instructor. TRAINING: B.F.A. in Dance Performance; B.S. in Deaf Studies, Towson University- Baltimore, Maryland.
NAMBI MWASSA (ELLA / ENSEMBLE) THEATER LATTÉ DA: The Color Purple. THEATER: Geva Theatre: The Color Purple; Children’s Theatre Company: Dr. Seuss’ The Sneetches; Ashland Productions: Oklahoma!, All Shook Up!; AMDA College: Ruined, The Pajama Game and multiple cabaret shows. TRAINING: B.F.A. in Performing Arts, AMDA College of the Performing Arts / The American Musical and Dramatic Academy - Los Angeles & New York.
IG: @bambimufasa
HOPE NORDQUIST (CHARLOTTE / ENSEMBLE & UNDERSTUDY MADAME) THEATER LATTÉ DA: Debut. THEATER: The Duluth Playhouse: Peter and The Starcatcher, The Sound of Music, Young Frankenstein, Kinky Boots, Into The Woods, Footloose; History Theatre: The Defeat Of Jesse James; Park Square Theatre: The Rocky Horror Show. TRAINING: The Stella Adler Studio.
TOD PETERSEN (SEBASTIAN / ENSEMBLE) THEATER LATTÉ DA: Merrily
We Roll Along, A Christmas Carole Petersen, Gypsy, A Man of No Importance, King of Hearts, Parade, The 25th Annual Putnam County Spelling Bee, Oh $#!% I’m Turning Into My Mother!. THEATER: Chanhassen Dinner Theatres: The Prom, The Music Man, Footloose, Mamma Mia!; Ordway: The Sound of Music; Children’s Theatre Company: Diary of a Wimpy Kid; Artistry: The Drowsy Chaperone, Spelling Bee; History Theatre: Sweet Land, Teen Idol; Theatre L’Homme Dieu: Once, I’m Proud of You. UPCOMING: History Theatre: Whoa, Nellie!.
JON MICHAEL STIFF (ENSEMBLE / FOX) THEATER LATTÉ DA: Debut.
THEATRE: Guthrie Theater: South Pacific, A Midsummer Night’s Dream, The Government Inspector; The Ordway: Beauty and the Beast; Artistry: Shrek The Musical; Chanhassen Dinner Theatres: The Music Man, Newsies, Mary Poppins, Hello, Dolly!, The Little Mermaid, Fiddler on the Roof; Jungle Theater: Urinetown.
GABRIELLA TRENTACOSTE (ENSEMBLE / RACCOON) THEATER LATTÉ DA: Debut. THEATRE: Collide Theatrical: The Great Gatsby; Lyric Arts: 9 to 5 (Ensemble, u/s Maria and Missy), A Chorus Line (Val, Dance Captain); Artistry: The Pajama Game (Mae, u/s Gladys); Chicago College of Performing Arts: A Chorus Line (Connie); Disney+: Encore! Summer Lyric at Tulane: Pirates of Penzance, James and The Giant Peach; Porchlight Music Theatre: Minnie’s Boys; Jefferson Performing Arts Society: West Side Story. TRAINING: BFA in Musical Theatre (Emphasis: Dance) from Chicago College of Performing Arts at Roosevelt University. Gabriella
is thankful for the endless support of her family and friends. www.gabriellatrentacoste.com IG: @Gabriella.Trentacoste
EVAN TYLER WILSON (LORD PINKLETON / ENSEMBLE) THEATER LATTÉ
DA: Sweeney Todd, C., All is Calm: The Christmas Truce of 1914, Five Points, Assassins, NEXT Festival THEATER: Chanhassen Dinner Theatres: Grease, The Music Man, Footloose; History Theatre: The Boy Wonder; Artistry: A New Brain; Phoenix Theatre: Rent, Spamalot, Hairspray, Gypsy, Les Misérables. Evan has a BM in Musical Theatre from Arizona State University. Proud AEA Member. Evantylerwilson.com
SALLY WINGERT (MADAME / ENSEMBLE) THEATER LATTÉ DA: Cabaret, Sweeney Todd, Master Class, Six Degrees of Separation, Underneath The Lintel, A Little Night Music, Hello, Dolly!, My Antonia (NEXT Festival). Recent work: Guthrie Theater: Murder On The Orient Express, The Importance of Being Earnest; Asolo Rep: Inherit the Wind; The Alley Theater: The Emporium by Thornton Wilder (world premiere); Dorset Theater Festival: Native Gardens. Sally is a proud 42-year member of Actors’ Equity and she is thrilled to be part of Justin Lucero’s inaugural season as Artistic Director.
CARNETHA ANTHONY (UNDERSTUDY FOR MARIE & LORD PINKLETON) THEATER LATTÉ DA: The Color Purple. THEATER: Geva Theatre: The Color Purple; Artistry: Memphis, The Best Little Whorehouse in Texas; Sidekick Theatre: Little Shop of Horrors; Highland Theatre: Hairspray, Avenue Q, Spamalot; Sight & Sound Theatre: Samson; Minneapolis Musical Theatre: Big River, Bare: A Pop Opera, Dirty Rotten Scoundrels, Happy Days; Theatre Under The Stars: Like You Like It; Stages Rep. Theatre: The Toys Take Over Christmas; Virgin Voyages Entertainment: The Foodie & The Bounce; MNSU: The Drowsy Chaperone, Crumbs from the Table of Joy, Rent, Legally Blonde, A Chorus Line. Also an Actor/Educator for C.L.I.M.B. Theatre and Entertainment Host/Performer/Cast on Disney Cruise Lines, Virgin Voyages and Cunard Cruise Line. TRAINING: B.F.A Musical Theatre/Dance, Sam Houston State University. M.F.A. Musical Theatre Minnesota State University Mankato.
CAMRYN BUELOW (UNDERSTUDY FOR CHARLOTTE, GABRIELLE & ENSEMBLE) THEATER LATTÉ DA: Merrily We Roll Along. THEATER: History Theatre: I Am Betty; Artistry: Little Women; Theatre L’Homme Dieu: Beautiful: The Carole King Musical; Sidekick Theater: The Wonderettes; Lyric Arts: Smokey Joe’s Cafe. Also a choreographer and instructor for youth education programs and community theaters. TRAINING: BFA in Musical Theatre and Dance - The University of Minnesota Duluth.
CALEB MICHAEL (UNDERSTUDY FOR TOPHER / ENSEMBLE) THEATER LATTÉ DA: Debut. THEATER: Artistry: Rent (Roger), Godspell, Victor/Victoria. Chanhassen Dinner Theaters: The Music Man, Footloose; Thingamajig: The Who’s Tommy, Jekyll & Hyde, Mamma Mia!; Thunder Bay Theater: The Addams Family, West Side Story, Oklahoma!, Hairspray. SilverSea Cruises. Director at Osseo Senior High School. TRAINING: BFA in Musical Theatre, Viterbo
University. www.calebmichael.org, @calebmichael094
JOELLE COUTU (STAGE MANAGER) THEATER LATTÉ DA: Stage Manager: 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 THEATER: Lyric Opera of the North: Cavalleria Rusticana; Skylark Opera Company: Three Decembers, Eugene Onegin, Amahl and the Night Visitors; Illusion Theater: 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.
AUSTIN SCHOENFELDER (ASSISTANT STAGE MANAGER & DECK CHIEF) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Falsettos, Hello, Dolly!, Christmas At The Local, Merrily We Roll Along, Jelly’s Last Jam. THEATER: Chanhassen Dinner Theatres: (Spotlight Operator) Beautiful: The Carole King Musical, Jersey Boys, The Prom, Footloose, The Music Man; Park Square Theatre: (Asst. Stage Manager) Holmes and Watson, (Run Crew) The Rocky Horror Show.
AJAH WILLIAMS (ASSISTANT STAGE MANAGER) THEATER LATTÉ DA: NEXT Festival 2024, The Color Purple, We Shall Someday, NEXT Festival 2023. THEATER: Artistry (Stage Manager): Rent; Geva Theatre: The Color Purple; Lyric Arts (Stage Manager): The Last Five Years,The SpongeBob Musical; Stages Theatre Company (Stage Manager): The Day You Begin, Once on This Island Jr., Maybe; Theater Mu (Stage Manager): New Eyes Festival 2023; Ten Thousand Things: Iphigenia at Aulis; Yellow Tree Theatre: In the Next Room, Sherwood. TRAINING: B.A. in Theatre, Hamline University.
JAROD BENDELE (DRUMS) THEATER LATTÉ DA: Debut. Theater: Lyric Arts: 9 to 5 the Musical, A Chorus Line, The Wedding Singer; Lake Shore Players Theater: La Cage aux Folles, Singin’ in the Rain; Training: B.M. in Music Performance, Indiana University; M.M. in Music Performance, University of Minnesota.
JENESSA IVERSON (UPRIGHT BASS) THEATER LATTÉ DA: PIT
PERFORMANCE: History Theatre, Theatre L’Homme Dieu, Hidden Gem productions. Jenessa also works locally as an actor, choreographer, and vocal coach. STAGE PERFORMANCE: Old Log Theatre: Escape to Margaritaville, Once Upon a Mattress; History Theatre: I Am Betty; Theatre L’Homme Dieu: Once; MN Opera: Cruzar la Cara de la Luna; Nymphs, Spinners, and Witches (upcoming); Duluth Playhouse: Spamalot. VOCAL DIRECTION: Children’s Theatre Company: The Garden; Theatre L’Homme Dieu: Once. Instructor of private voice with Kramer’s School of Music. CHOREOGRAPHY: Lakeshore Players Theatre, 4CT, CVFT, Theatre L’Homme Dieu. TRAINING: BFA Musical Theatre, University of Minnesota, Duluth. Much love to Kyle and my family for their endless support! jenessaiverson.com.
AJA MAJKRZAK (VIOLIN) THEATER LATTÉ DA: Debut. THEATER:
Artistry: Newsies, The Pajama Game; Lakeshore Players Theatre: Singin’ in the Rain. ORCHESTRA: East Metro Symphony Orchestra: Concertmaster; Sioux City Symphony Orchestra: Section violin. Also performs with Charanga Tropical, Stone Arch String Quartet, is an Artist Member of Thursday Musical, and freelances in the Twin Cities area. TRAINING: B.M. in Music Performance, University of Minnesota - Twin Cities, M.M. in Violin Performance, Louisiana State University.
JENNY SLIVINSKI (WINDS) THEATER LATTÉ DA: Debut. THEATER:
Artistry: Newsies; History Theatre: Blended Harmony; Lyric Arts: 9 to 5 the Musical, A Chorus Line; Lakeshore Players Theatre: Little House on the Prairie the Musical, Singin’ in the Rain, The Little Mermaid; Minnetonka Theatre: Cabaret, Guys and Dolls, Grand Hotel, Chicago, Alive and Kickin’. TEACHING: Sarah Jane’s Music School, K&S Conservatory of Music, St. Paul Conservatory of Music, and MacPhail Center for Music. TRAINING: BA in Music and Business Administration, University of Minnesota Duluth. jswoodwinds.com
ANTHONY STANLEY (FRENCH HORN) THEATER LATTÉ DA: Debut. THEATER: Lubbock
Moonlight Musicals: Suor Angelica, Phantom of the Opera; ORCHESTRA: Civic Orchestra of Minneapolis: Principal; TRAINING: B.M. in Music Performance, Texas Tech University, M.M. in Horn Performance, University of Cincinnati, A.D. in Brass Studies, University of Cincinnati.
RICHARD RODGERS (MUSIC) One of Richard Rodgers’ contribution to the musical theatre of his day was extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, his hits ranging from the silver screens of Hollywood to the bright lights of Broadway, London and beyond. He was the recipient of countless awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. He wrote more than 900 published songs and forty Broadway musicals. Richard Rodgers (19021979) and Lorenz Hart (1895-1943) wrote their first shows together when both were still students attending Columbia University. Their breakthrough came with the score for a 1925 charity show, The Garrick Gaieties, which introduced the classic valentine to their hometown, “Manhattan.” Over the next five years they wrote fifteen musical comedies for Broadway and London’s West End before relocating to Hollywood in 1930, where they contributed songs and wrote the scores for several movie musicals, most notably Love Me Tonight starring Maurice Chevalier. In 1935 they returned to New York to write the score for Billy Rose’s circus musical Jumbo, launching a golden era that included On Your Toes, Babes in Arms, I’d Rather Be Right, I Married An Angel, The Boys From Syracuse, Too Many Girls, Higher And Higher, Pal Joey and By Jupiter. In 1943 the partnership disbanded temporarily when Rodgers collaborated with Oscar Hammerstein II on Oklahoma!, but it resumed with a revision of their 1927 hit A Connecticut Yankee, which opened on November 17, 1943 – less than a week before Lorenz Hart’s death. For the next two decades Richard Rodgers collaborated exclusively with Oscar Hammerstein II on such musicals as Carousel, Allegro, South Pacific, The King And I, Pipe Dream and The Sound of Music. Collectively, their musicals have garnered dozens of awards including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’
Circle, Laurence Olivier and Evening Standard Awards. After Hammerstein’s death in 1960, Rodgers continued to write for the musical stage, including No Strings, and collaborations with Martin Charnin, Stephen Sondheim and Sheldon Harnick. His fortieth, and final, Broadway musical, I Remember Mama, opened on Broadway less than eight months before his death on December 30, 1979.The Richard Rodgers Theatre on Broadway was renamed in his honor, and Rodgers and Hart were each commemorated on a US postage stamp at the end of the last century.
Oscar Hammerstein II was born on July 12, 1895 in New York City. His father William was a theatre manager and, for many years, director of Hammerstein’s Victoria, the most popular vaudeville theatre of its day. His uncle, Arthur Hammerstein, was a successful Broadway producer and his grandfather, Oscar Hammerstein, a famous opera impresario. Hammerstein started writing lyrics for the Columbia University Varsity shows while studying law. His earliest works included musical comedies written with a Columbia undergraduate seven years his junior named Richard Rodgers. (The 1920 varsity show, Fly With Me, was composed by Rodgers with lyrics by both Hammerstein and a fellow classmate of his named Lorenz Hart.) Withdrawing from Columbia Law School after his second year to pursue a career in theatre, Hammerstein took a job with his uncle as an assistant stage manager. In 1919 Hammerstein’s first play, The Light, was produced by his Uncle Arthur; it lasted four performances. Undaunted, he continued to write both lyrics and librettos, principally with Otto Harbach as his collaborating author. His first success, with Harbach, Vincent Youmans and Herbert Stothart, was Wildflower in 1923. Hammerstein found his niche with some of the greatest composers of his day, breathing new life into the moribund artform of operetta with such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg), and Song of the Flame (George Gershwin). With Jerome Kern, Hammerstein wrote eight musicals, including Sweet Adeline, Music in the Air and their masterwork, Show Boat. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly-acclaimed 1943 all-Black revision of Georges Bizet’s tragic opera Carmen. During the years that Hammerstein was redefining the terms of operetta, Richard Rodgers and Lorenz Hart were challenging the accepted norms of musical comedy with shows that set new standards for wit, sophistication and innovation. The Rodgers & Hammerstein partnership began with Oklahoma! (1943). Like Hammerstein’s Show Boat and Rodgers & Hart’s Pal Joey, the first Rodgers & Hammerstein musical was a groundbreaking milestone, blending musical comedy and operetta into a whole new genre – the musical play. Oklahoma! was also the start of the most successful partnership in Broadway history, and was followed by Carousel, Allegro, South Pacific, The King And I, Me And Juliet, Pipe Dream, Flower Drum Song and The Sound of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen – State Fair – and one for television – Cinderella. Collectively, their musicals have garnered dozens of awards, including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier and Evening Standard Awards. As producers, Rodgers & Hammerstein presented plays, musicals and revivals, including John van Druten’s I Remember Mama, Anita Loos’ Happy Birthday, Irving Berlin’s blockbuster Annie Get Your Gun, the national tour of Show Boat (1947-49) and six of their own stage musicals (from the Pulitzer-winning South Pacific in 1949 to the Tony-winning The Sound of Music ten years later). They also produced the motion picture version of Oklahoma! and founded their own
music publishing firm, Williamson Music (basing the name on the fact that both of their fathers were named William). Oscar Hammerstein II was a member of the board of directors of many professional organizations, including the Dramatists Guild and the Screen Writers’ Guild. He received many personal honors and awards, including five honorary degrees, two Pulitzer Prizes, two Academy Awards and five Tony Awards. His last musical was The Sound of Music, written with Richard Rodgers in 1959; his last song was “Edelweiss,” written for that musical during its Boston tryout. Oscar Hammerstein II died at his farm in Doylestown, Pennsylvania, on the morning of August 23, 1960. In 1995 Hammerstein’s centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, Some Enchanted Evening. The ultimate tribute came the following season, when Oscar Hammerstein II had three musicals playing on Broadway simultaneously: Show Boat (1995 Tony Award winner, Best Musical Revival); The King and I (1996 Tony Award winner, Best Musical Revival); and State Fair (1996 Tony Award nominee for Best Score.) “The Careful Dreamer,” a Time Magazine cover story on Oscar Hammerstein II, was published on October 20, 1947. A biography, Getting to Know Him by Hugh Fordin, was first published by Random House in 1977. A revised edition of Hammerstein’s Lyrics, edited by his son William Hammerstein and containing an introductory essay by the lyricist, plus a preface by his protege Stephen Sondheim, was published by Hal Leonard Publishing in 1985.
CARTER BEANE (NEW BOOK) As director/writer his current projects include the musical Hood (score by Lewis Flinn, Dallas Theater Center), Noel Coward’s Me and The Girls (reading at Roundabout, being developed for Michael Urie), Star-Spangled (score by Lewis Flinn, workshopped at the Vineyard) To Wong Foo (score by Lewis Flinn), The Big Time (score by Douglas J. Cohen, concert at McCarter Theatre Center with Santino Fontana) and Rodgers and Hart’s Babes in Arms. As a sole playwright/librettist, he has earned five Tony nominations and one Olivier nomination. Beane’s plays are The Little Dog Laughed, As Bees in Honey Drown, The Nance, Shows For Days, Music From A Sparkling Planet, The Country Club, Advice From A Caterpillar and The Cartells. His musicals are Rodgers + Hammerstein’s Cinderella, Lysistrata Jones, Sister Act and Xanadu. He has written the libretto for the Metropolitan Opera’s Die Fledermaus, which is currently in their repertory, and the summer show at Radio City Music Hall. He wrote the film adaptation of his play Advice From A Caterpillar, as well as the screenplay of To Wong Foo, Thanks For Everything, Julie Newmar.
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 and Artistic Director for El Paso Opera for seven 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 serves as a member of TCG’s board-level governance in the inaugural Next Generation Taskforce, Co-Chair of NAMT’s New Works Committee, and has been voted to join NAMT’s Board of Directors. Training: London’s East 15 Acting School (MFA in Directing with Distinction).
KYLE WEILER (CHOREOGRAPHER) THEATER LATTÉ DA: Next to Normal (Gabe, Choreographer), Hello, Dolly!. BROADWAY: Hamilton (Universal Swing, Dance Captain) TOURS: West Side Story International. REGIONAL: Ordway, Theater Aspen, Children’s Theatre Company, Guthrie. SELECT
CHOREOGRAPHY: Artistry: Godspell, Crazy For You; GREAT Theater: White Christmas, Legally Blonde; Daleko Arts: Bright Star. DIRECTING:
MN Opera: Trouble in Tahiti/Service Provider; Lakeshore Players: She Loves Me; Ashland Productions: Company; Chicago Opera Theater: Assistant Director: Life and Death(s) of Alan Turing. TEACHING: U of M, SPCPA, PIMS, national and international masterclass series. BFA The Juilliard School. @kyle__weil.
WESLEY FRYE (MUSIC DIRECTOR, CONDUCTOR & KEYBOARD) THEATER LATTÉ DA: Debut.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. TRAINING: B.A. in Voice Performance, Luther College; M.M. in Voice Performance, University of Minnesota - Twin Cities
ELI SHERLOCK (SCENIC DESIGNER) THEATER LATTÉ DA: The Color Purple, Hello, Dolly!, Jelly’s Last Jam, Chicago, Assassins. THEATER: Jungle Theater: Dinner for One; Mixed Blood Theater: The Ally; The 5th Avenue Theatre: The Wiz; Geva Theatre: The Color Purple; Flint Repertory Theater: Spring Awakening, Little Shop of Horrors, Ragtime; The Hangar Theatre: Ragtime; Antaeus Theatre Company: She. Additionally in the Twin Cities, Eli has designed with History Theater, Artistry, Park Square Theater, 7th House Theater, Yellow Tree Theater, Walking Shadow Theater Company, Lyric Arts, Theater in the Round, Concordia University, and the University of Minnesota. FILM/TV: Art Dept. Assistant for Spiderman: No Way Home (AP), Doctor Strange in the Multiverse of Maddness: LA Unit, Moon Knight (AP). TRAINING: UCLA, University of Michigan. Eli is currently a guest lecturer and designer-inresidence for the year at the University of Michigan. www.elisherlock.com
MATHEW J. LEFEBVRE (COSTUME DESIGNER) THEATER LATTÉ DA: Next to Normal, Twelve Angry Men, Once. THEATER: The Jungle Theater: A Doll’s House Part 2, The Children, The Nether, The Mystery of Irma Vep, and Hamlet; Guthrie Theater: More than 20 productions since 1998 including A Christmas Carol, The Music Man and Pride and Prejudice; Penumbra Theater: More than 20 productions since 2000 including Sugar in our Wounds, Jitney, Fences, Ma Rainey’s Black Bottom and Pipeline. Other regional credits include Signature Theatre Company, New York Theatre Workshop, Milwaukee RepertoryTheatre, Arizona Theatre Company, The
Minnesota Opera, Cincinnati Playhouse in the Park, Indiana Rep, Arkansas Rep, and Mixed Blood Theatre. AWARDS: 2014-2015 McKnightTheatre Artist Fellowship,2012 TDF-Irene Sharaff Award, and a 2015 Ivey Award. Professor of Costume Design at the University of Minnesota.
MARCUS DILLIARD (LIGHTING DESIGNER) THEATER LATTÉ DA: Stones in His Pockets, Christmas at the Local, A Little Night Music, Assassins, Man of La Mancha, Peter and the Starcatcher, C., All is Calm, Our Town, Cabaret, Steerage Song, Aida, Song of Extinction, Violet, The Full Monty, Old Wicked Songs, Susannah. THEATER: Guthrie Theater, Minnesota Opera, The Jungle Theater, Penumbra Theater, The Moving Company, Theatre de la Jeune Lune, Children’s Theatre Company, Ordway Music Theater. AWARDS: Sage Award, Ivey Award, McKnight Foundation Theater Artist Fellowship. TRAINING: M.F.A. in Lighting Design from Boston University.
KEVIN SPRINGER (SOUND DESIGNER) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, Bernarda Alba, Hello, Dolly!, Man of La Mancha, Once, To Let Go And Fall. OPERA: Minnesota Opera: Dead Man Walking, Dinner at Eight. THEATER: Daleko Arts: The Thin Place; In the Heart of the Beast: Make Believe Neighborhood; New Native Theater: 2012 The Musical, The Unplugging; Penumbra Theater: Dutchman, The Owl Answers, This Bitter Earth; Red Eye Theater: Sounds Inside; Theater Mu: peerless; Trademark Theater: The Hollow; zAmya: A Prairie Homeless Companion. TRAINING: MFA in Theatre Design and Technology, University of Minnesota - Twin Cities.
PRISCILLA BRUCE (WIG, HAIR & MAKEUP DESIGNER) THEATER LATTÉ DA: Debut. THEATER: MN Opera: Fellow Travelers, The Fix, Elektra, Carmen, Daughter of the Regiment, Don Giovanni, La Bohème, Romeo and Juliet; Washington National Opera: Il Trovatore; Kennedy Center: The Mortification of Fovea Munson*, Acoustic Rooster’s Barnyard Boogie*, The Dragon Kings Daughter*; Boston Lyric Opera: Bluebeard’s Castle | Four Songs, Alma Mahar; Wolftrap: Faust; University of Maryland: Don Giovanni, Men in Boats, Emma, Florencia en el Amazonas; Annapolis Opera: Elixir of Love, Into the Woods, La Bohème, Glory Denied, la Traviata. (*world premiere) TRAINING: BA Theatre Arts: Salisbury University. Cosmetology: Aveda Institute, Chicago.
JASON HANSEN (MUSIC SUPERVISOR) THEATER LATTÉ DA: 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 & 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).
HANNAH BENDITT (ASSISTANT CHOREOGRAPHER) THEATER LATTÉ DA: Debut. OPERA (Dancer/Actor/Super): MN Opera: Trouble in Tahiti, Don Giovanni, Daughter of the Regiment, Flight, La Traviata; An Opera Theatre: Lucretia, The Consul. DANCE: Hatch Dance/Honeyworks: AU, La Dolce Vita, BoleroBolero/MN Orchestra; Common Thread Contemporary Dance Company: Anonymous by Jessica Lang, One by Uri Sands; Kansas City Ballet: The Nutcracker. TRAINING: BFA in Dance Performance and Choreography, University of Missouri- Kansas City Conservatory of Music and Dance, Minnesota Dance Theatre. Hannah is honored to join Cinderella for her first production at Theatre Latté Da. Big thank you to Kyle Weiler and the cast/creative team for sharing this beautiful process.
CAROLINE ZALTRON (COSTUME DESIGN ASSISTANT) THEATER LATTÉ DA:
Debut. THEATER: History Theatre: Blended (Harmony): The Kim Loo Sisters, I am Betty. Costume Designs: Stages Theatre Company: Señorita Mariposa; Univeristy of Minnesota Theatre Arts & Dance: Fucking A, Silent Sky. Roseville Area High School: Twelfth Night, She Kills Monsters. NEXT: Roseville Area High School: Alice by Heart; University of Minnesota Theatre Arts & Dance: The Ferryman. EDUCATION: MFA in Design & Technology at University of Minnesota. Undergrad in Fashion Design at UNISINOS (Brazil).
JACQULIN STAUDER (ASSISTANT LIGHTING DESIGNER) THEATER LATTÉ DA: NEXT Festival 2024, NEXT Festival 2023 - Love Them First. THEATER: The Capri: Kumbayah the Junteenth Story; University of Minnesota: Fucking A, Roe, The Aliens, Describe the Night. Also scenic designer for Theatre L’Homme Dieu: Once. TRAINING: B.S. in Entertainment Design & Technology, Eastern Michigan University; M.F.A in Design & Technology, University of MinnesotaTwin Cities (expected graduation: May 2025)
EMMA GUSTAFSON (WIG, HAIR & MAKEUP DESIGN ASSISTANT) THEATER
LATTÉ DA: Fun Home*, Scotland, PA, Johnny Skeeky, The Color Purple, Next to Normal, Hello, Dolly!, Merrily We Roll Along. THEATER: MN Opera: Snowy Day*, Elixir of Love, Cruzar la Cara de la Luna, Song Poet, Daughter of the Regiment, Rinaldo, Anonymous Lover; Geva Theatre Center: A Christmas Carol*; Park Square Theatre: Holmes/Poirot; Theater Mu/History Theatre: Blended Harmony; Jungle Theater: Cambodian Rock Band; Open Eye Figure Theatre: 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. (* Denotes upcoming production)
MADELAINE FOSTER (PROPS DESIGNER/SUPERVISOR) THEATER LATTÉ
DA: 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.
ELISSA ADAMS (DIRECTOR OF NEW WORK) 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, NEXT Up & NEXT Festival (Producer). THEATER: Director of New Play Development at Children’s Theatre Company (19982017); 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 Latte 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) THEATER CASTING: Artistry: Godspell, Shrek: The Musical; Children’s Theatre Company: Casting Director 2014-2018; 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).
NICHOLAS TRANBY (AUDIO SUPERVISOR & SOUND BOARD OPERATOR) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, Jelly’s Last Jam, La Bohème, All is Calm, Once, Chicago, Hedwig and the Angry Inch, Candide, A Little Night Music, Man of la Mancha, Peter and the Starcatcher, Ragtime, Gypsy, Assassins, Five Points. THEATER: Sound, Video and Lighting Associate at Children’s Theatre Company for 4 years including Shrek the Musical, Pinocchio, Alice in Wonderland and Robin Hood; Head Audio
Engineer for international tours of The Wedding Singer and Wizard of Oz; Other venues have included Guthrie Theater, Williamstown Theatre Festival, and Cincinnati Playhouse in the Park. TRAINING: The College-Conservatory of Music at University of Cincinnati.
ANDREW NORFOLK (LIGHTING SUPERVISOR & LIGHT BOARD OPERATOR) THEATER LATTÉ DA: 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.
AMBER BROWN (COSTUME SUPERVISOR) THEATER LATTÉ DA: Johnny Skeeky, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, Jelly’s Last Jam, La Bohème, All is Calm. THEATER: Mixed Blood Theatre: Interstate, Autonomy, CorazÓn Eterno, Agnes Under the Bigtop; Old Log Theatre: The Play That Goes Wrong; Pillsbury House Theatre: Great Divide III: She Persists, West of Central, Great Divide II: Plays on the Politics of Truth, Almost Equal To, The Great Divide: Plays for a Broken Nation; Park Square Theatre: Aubergine; Gremlin Theatre: Journey’s End; Bucket Brigade: Life Goes On; Full Circle Theater: Under This Roof; Loudmouth Collective: Testament of Mary; 7th House Theater: Rhinoceros; Macalester College: Letters Home, Distracted, 12 Ophelias, Accidental Death of an Anarchist
ASH KAUN (COSTUME SHOP ASSISTANT, WARDROBE MAINTENANCE & DRESSER SWING)
THEATER LATTÉ DA: 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: 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.
LAURA JONES (DRESSER) THEATER LATTÉ DA: Scotland, PA. THEATER: MN Opera: La Bohème, Trouble in Tahiti & Service Provider, The Song Poet, Edward Tulane, Carmen; Guthrie Theater: A Christmas Carol (‘23, ‘22, ‘21), Murder on the Orient Express, Sweat; Orpheum Theatre: Cats, Moulin Rouge!: The Musical; Chanhassen Dinner Theatres: Beautiful: The Carole King Musical; Artistry: RENT, Newsies, The 25th Annual Putnam County Spelling Bee,Godspell; Pangea World Theater: Hecuba.
CHLOE VOLNA-RICH (STAGE MANAGEMENT SWING) THEATER LATTÉ DA: THEATER LATTÉ DA: Hello, Dolly!, Christmas At The Local, NEXT Festival 2022, Jelly’s Last Jam. THEATER: Illusion Theater: Present (Tour), Real Stories/One Stage; The Moving Company: Anamnesis:, What If?; Children’s Theatre Company: Glow-a-GoGo Curtain Call Ball (Production Asst.), Sideways Stories from Wayside School, Carrie the Musical; The Guthrie: Twelfth Night (Production Asst), BFA Senior Showcase, Production Management Fellow; Walking Shadow Theatre Company: Cabal: A Play with Puzzles; Lakeshore Players Theater: Beehive; Hennepin Theatre Trust: Spotlight Showcase. FILM: [Do Not Air] Productions, RK Productions (Production Asst and Stand-In), Super Bowl LVII (Credentialing Coordinator), Food Baby (Production Asst.) UPCOMING: Ten Thousand Things: Emilia.
CORINNE STEFFENS (TECH SWING) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, NEXT Festival, Twelve Angry Men, Jelly’s Last Jam, La bohème. THEATER: US National Tour: All is Calm 2022, Emojiland; Guthrie Theater: Shane, Into the Woods, Vietgone; Jungle Theater: Cambodian Rock Band; Lyric Arts: The Last 5 Years, A Chorus Line; as well as Twin Cities Fringe, Twin Cities Horror Fest, and teaching & designing for school theater programs across the cities. TRAINING: Bachelors of Music and Bachelors of Arts in Sound Physics, Ithaca College. MN Opera
Your gift to Theater Latté Da this holiday seaon makes it possible for us to provide our audiences with world-class theater experiences and give our artists the resources they need to create the best possible work with the highest standards of excellence.
Donate today to support original and re-imagined musical 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 to our 24/25 season.
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.
Encore ($100,000 and above)
Joyce G. Gordon*
Grand Finale ($25,000 and above)
C. Curtis Dunnavan Fund
Kathy and Allen Lenzmeier
The Morfitt Family Charitable Fund
Rita and Ben* Olk
*In remembrance
($10,000–$24,999)
Nancy Albrecht
Carol and Kim Culp
Penny Meier
Dr. Deanna Oliveira
Lisa Meyer and Sam W. Grabarski Sr.
James R. Olson
Cara Sjodin and Scott Stensrud
John Sullivan
Fremajane Wolfson
Alex Wright
Margaret V.B. Wurtele
The Thomas and Julianne Youngren Foundation
($5,000–$9,999)
Albrecht Family Foundation
John Arechar
Les Bendtsen and Rick Buchholz
Ray DeSpiegler and Michael Birch
Jane and Ogden* Confer
Joe and Lois Duffy
David Feroe and Linda Svitak
The Dean Greenberg Family Fund
Nicole Hanover
Lisa and Dan Hoene
Anonymous
Theresa Alewine
Annette Atkins
John Bale
Dennis and Nora Hunchar
Dr. Tom Knabel and Kent Allin
Peggy and Dave Lucas
Curt D. Nelson
Colleen C. Ryan and Tom Merz
Ann and Pat Ryan
Bonnie Scott
Lorri Steffen and Paul Zenner
The LTC Janis Verruso Charitable Fund
Tom and Carol Watzke Windfelt
Patricia Zalaznik
($1,500–$4,999)
E. Thomas Binger and Rebecca Rand Fund of
The Minneapolis Foundation
Jeffrey D. Bores and Michael Hawkins
Allan Bradley and Derrill Pankow
Stephen Bubul and Lee Lewis
Jimmy Burnett
William and Andrew Collis-Prather
John Cook and Carolyn Burnett
Edward and Kathryn Craig
Tanner Curl and Emily Dussault
Julie A. Darst Charitable Giving Account
Fran and Barb Davis
David and Margaret Dines
Carol M. Downie and Gregory J. Thomas
Mary Anne Ebert and Paul Stembler
Meghan and Sean Elliott
Steve Euller and Nancy Roehr
John Fishpaw and Kim Krohn
Keith and Betsy Ford
Ron Frey and Steven Thompson
Dr. Lynn Glesne
Andrew and Tina Grzeskowiak
Jean and Jim Hartman
Margie and Tom Hebig
Bill Jones
Judy and Frank Jossi
Deirdre and Wes Kramer
Arline Lansangan Datu
Jane Lansing
Christine Larsen and Scott Peterson
David and Sheila Lein
Mac and Mary Lewis
Carol Lichterman
Jeff Lin and Sarah Bronson
Pat and Sara Mack
Mary and Mark Maher
Margery Martin and Dan Feidt*
Kristin and Jim Matejcek
James Lockhart and Janie Mayeron
Bridget and Sam Morehead
Tom and Conchy Morgan
Nicholas Naumann and Joe Chadwick
Dr. Katherine J. Nevins
Judy Nobles
Glyn Northington and Stan Kolden
Sandra Overland
Steve Passeri
Patti Pinkerton
John Polta and Anne Tuthill Polta
Prospect Creek Foundation of Bruce and Martha Atwater
Maria and David Reamer
Gary Reetz
Miriam Seim
Daniel and Emily Shapiro
Kris Lang-Shasky and John Shasky
Ted and Mary Jo Shen
Russell Kaplan and Elisa Spencer-Kaplan
Neil Neumann and Sandy Spidel Neumann
Jon and Kristine Stevens
Dana and Stephen Strand
John Sullivan
Brian and Carrie Svendahl
Michael and Terri Uline
Ka Vang
Anonymous
($500 - $1,499)
Frank and Barb Abramson
Addicks Hoch Fund of The Minneapolis Foundation
Mary Alberts
Grant Amadio
Ward and Kathleen Armstrong
Marcia Aubineau
Michael Bahr and Morrie Hartman
Richard Beens
Patricia Benson and Phil Strait
Marjolijn Bielders-Vries
David Bjork and Jeff Bengtson
Chris Boppre
Susan S. Boren and Steve King
William and Rita Bourne
Mary Brady
Judith and Arnie Brier
Barbara Brin and John Beal
Dawn Brintnell and Andrew Wattenhofer
Cheryl Brown
Lucinda Brown
Virginia and Stuart Campbell
Jane Carlstrom
Cynthia Case and John Foley
Cynthia Chapman
Carol Chomsky and Steve Liss
Cinda Collins
Michael and Mary Conklin
Tiffany Cooper-Allen and Torrie Allen
Jeanne and David Cornish
Marguerite Cowles
Gretchen and David Crary
Peggy Crosby and David Pederson
Ingrid and Chris Culp
Loretta Dakin
John and Linda Darcy McCormick
Mary Lou and Thomas* Detwiler
JaNelle Dexheimer
Elaine and Fred Dietrich
Erin and Mark Vannelli
Bill Venne and Douglas Kline
Paula Vesely
Gregory L. Vilmo
Ruth and David Waterbury
Betsy Weiner
Marjorie and Irving Weiser
Kevin Winge and Kevin Shores
Dick and Diane* Wright
Adam Yust
Peter Zenner
Jeanne and Jeff Zlonis
Gerald Dove
Nathan Dungan and Susan Hawks
Heidi and Patrick Edwards
Sharon Engel
Doris Engibous and Cathy Ryan
John J. Erickson
Lucas Erickson Fund of The Minneapolis Foundation
Chris Estee
Becky and Damon Farber
David Ferris
Dennis and Joyce Findley
Barbara Frame
Matt Fulton
Elaine Gaston and Mark Scannell
Mary Beidler Gearen
Lisa Gehrig
Janice Gepner and Eric Newman
Christa and Chris Getchell
Brian Gilligan and Steve Pospisil
Bob and Becky Glesne
Renee Goodell
Clifford and Karen Greene
Kathy Gremillion
Peggy Hall and Lee Barry
Helen and Bruce Halverson
Kath Hammerseng and Mo Kennedy
Richard Hamson
Dr. Jo-Ida C. Hansen
Jay Harkness and Jean Storlie
Roxanne Hart and Scott Nelson
Kate Haugen and Carlton Hunke
The Hedman Connelly Fund
Sandy and John Hey
Joanne and Allen Hinderaker
Nanette Hoover
Richard Ihrig and Colleen Cooper
Mark and Jeanne Innerbichler
Bernadette and Jeffrey Janisch
Sandi and Jim Jensen
*In remembrance
Mike Jereczek and Jan Sigmund
Denise Johnson and Karl Erickson
Steve Johnson and Susan Iverson
Ed and Martha Karels
Kurt and Gina Kastel
Miriam and Erwin Kelen
Cyndi and Greg Klaus
James Kunz
Al Kvaal
Greg Kvam and Pat Johnson
Andrew Leshovsky and Louis Berg-Arnold
Meg Lewis and David Sebberson
David and Susan Lima
Anna and David Linder
Mary and Doug Logeland
Jim Macknick and John Pemberton
Duayne and Dianne Malewicki
Susan L. Maples
Keith Martinsen
Drew Mattson
Paul and Julie Mattson
Kevin Mayo
Peg McKee and Dean Adams
Gretchen Alberts Mellies
Douglas and Cindy Merrigan
Tyler and Emily Michaels King
Lisa Michaux
David Miller
Sonny and Amy Miller
Jodi and Mike Mooney
Peter D. Moore
Richard Moore, Jr.
Katherine Murphy
Peter and Karla Myers
Dirk and Laura Nelson
Amy and Mike Newton
Nicholson Family Foundation, Pondie and
Mark Taylor
Karle and Diane Nolte
Ben Olk III and Kris Berggren
Philip Oxman and Harvey Zuckman
Mary Ann Palmer
Daniel Peterson and Mark Nelson
Shannon Pierce and Rachael Kroog
Patricia Ploetz
Nancy and James Proman
Denise Prosek and Milton Ferris
Quiring Family Fund of The Minneapolis Foundation
Pat and Gene Radecki
Megan Reardon
Overture ($250 - $499)
Anonymous (4)
Tom and Cindy Adamson
Albrecht Family Foundation
Stuart Appelbaum and Jean King
*In remembrance
John Seeger Reay and Karen Hanson
Sadie Reiners
Jonathan Riehle and Angela M. Bohmann
Kenneth and Beth Roering
Tom and Molly Rothstein Family
Peggy and Bill Roush
Susan and John Ryan
Kenneth and Kathy Sabota
Mary and Peter Sandberg
Linda and Steven Sandvig
Noel Schenker
Paul Schumann
The Schwantes Family Singers
Judy Schwartau
Don Helgeson and Sue Shepard Fund of Central Minnesota Community Foundation
Rolf* and Janet Skjei
Steven and Karen Sonnenberg
Roxanne and Bill Soth
Ann and Eldon Spencer
Lynne Stanley
Cheryl Stever
Toya Stewart Downey
Marcia and John Stout
Sulasalmi Fund of The Minneapolis Foundation
MJ Sullivan
Kari Groth Swan
Ron and Margaret Tabar
Lezlie and Louis Taylor
Gar Hargens and Missy Thompson
Marlo and William Turcotte
Bill Underwood and Chris Everett
Libby and John Utter
Jeanne Voigt
Michael Wagner
Cathy and Stan Waldhauser
David C. Warner
Margaret Weber
Corliss Weeks
Sue and Jim Westerman
Robert Whitlock
Jim and Martha Williams
Gayle Woodbury
Peter and Sue Wyckoff
Ann Wynia
Jodi and Jim Young
Abby Zimmer and Sean O’Brien
Nancy Zingale and Bill Flanigan
Mary Bahneman
Daniel Barnes and Elaine Wilson
Sarah and Mick Bauer
Judy Bearman and Ken Kaffine
Timothy Beekman
Brad Betlach and Peter Carlson
Tim and Beth Beutell
Chris Bewell
Scott Cabalka
Karen and Richard Carney
Clara Caruso
Patricia Contag
Jeanne Corwin
Kenneth and Gwen Crabb
Kathryn and Larry Decker
Shauna Dee
Virginia and John Dell
Dennis and David Delude-Nafus
Nicole Demario
Holly Denis
Sunny Didier
Dennis and Nickie Dillon
Larry Espel and Cyndi Hasselbusch
John J. Feigal
Dr. Patricia Ferrieri
Sara and Karl Fiegenschuh
Brad and Kathy Fisher
Gerald Foley
Jinnet Fowles
Ron and Barb Fraboni Family Fund
Heather and Bill Froehlich
David Gardner and Ronda Willsher
Robin Gillette
John and Joanne Gordon
Mark and Mary Jo Hallberg
Christie Hammes
Dr. Shannon Harris
Robb Heckmann
Martha P. Hoffman
Jim and Mary Holland
Joe Holmers
Donald and Pamela Jakes
Suzanne Jebe
Paul Amann and Cory Johnson
Scott and Julie Kammer
Jeremiah and Pamela Kearney
Dr. Thomas Kelly
Matt Kiser and Chris Nichol
Dodie and John Kostishack
Bert Kritzer
John Kruse
Marcia C. Leatham
Judy and Steve Lewis
Kathleen S. Lindblad
Beth and Mike MacDonald
Bob and Deb Mans
Connie Manske
Ruth B. Markowitz
Lisa McLean
Alice Medley
Dan and Mary Miesle
Laura Migliorino
Linda and Jim Milow
David and Leni Moore Family Foundation
Bonnie Mulligan and Charlie Greenman
Katie Nelsen
Joan Nelson
Sandra, Andrew, and Rick Penning
Tina Ham Peterson and Ric Peterson
Pike Willett Family Fund
David Pote and Linda Tapsak
Anne Pudas
Debra and Lawrence Que
John and Elizabeth Quinn
Fred Quirsfeld and Linda Campbell
Tom Renshaw
John F. Riehle
Julie Robbins
Marilyn and Jim Rosenbaum
James Roth
Peter Rothstein and Omar Guevara Soto
Sue Salmela and Paul Burnett
Carol B. Schirmers
Gale Sharpe
Rosemary Soltis
Ann and Tom Stanley
Lisa Stevens and Jeffrey Hatcher
Craig and Janet Swan
Julie A. Sweitzer
Jean Taylor
Tammy Taylor
Jennifer, Daniel, Raina, and Zoey Tenenbaum
Teresa and Mike Tennis
Urbanski
Katherine and Martijn van de Ruijtenbeek
Jennifer Van Wyk
Wendell Vandersluis and Cynthia Marsh
Tammi Veale
Daniel Vogel
Lynn and Chuck Wallin
Lisa Weisman
Daniel Weninger
Elisabeth Wierum
Travis Wilson
Sally Wingert and Tim Danz
Jeanette Woessner
Carol A Woodbury
David Young and Edward Williams, Jr.
Jane Zilch
In honor of Sandy Hey
Mary Freeman
In honor of Lane 3 at Latté Da’s
Local Legends Bowling Classic
Reece Gray
In honor of Fremajane Wolfson
The Dean Greenberg Family Fund
In honor of Bridget Morehead
Medtronic
Christie Morehead and Alan Zimmerman
In honor of Peter Rothstein
Tom and Molly Rothstein Family
In honor of Cara Sjodin
The Schwantes Family Singers
In honor of Timothy Thomas
Cheryl Thomas
In honor of Bernadette and Jeffrey Janisch
Andrea Tichy and Dan Muck
In honor of Just Tischleder
Ka Vang
In honor of Jean Hartman
Kevin Winge and Kevin Shores
In memory of Patricia Faunce
Pamela and Frederick Lott
In memory of Peter Rothstein’s mother, Jean Elizabeth Ryan Rothstein
Gretchen Albert Mellies
In memory of Mary Dew
David Miller
In memory of Dorris Rose
Jesseli Moen
Carol Peterson
In memory of Gay and Carl Prosek
Charlene Washburn
On behalf of Steven Bergerson
Anonymous
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
Ameriprise Financial
Intel Foundation
Medtronic
Microsoft
NewRez
UnitedHealth Group
US Bank
Voya Financial
Wells Fargo
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
David Young and Edward Williams, Jr.
Adam Yust
Josh Zenner
Peter Zenner
Cornerstone Copy Center Stagetime Productions
Listings reflect donations made between between November 1, 2023 to October 31, 2024. Please accept our apologies for any errors or omissions.
*In remembrance
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
Eric Charlton Associate Technical Director
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
Nicholas Tranby Audio Supervisor
Accounting
Chris Hagen
Legal Counsel
Michael Sinder
Co-Founders
Peter Rothstein
Denise Prosek
Elisa Spencer-Kaplan
Managing Director
Brittany Wallman Director of Marketing
Sara Huelle Director of Development
Marketing & Guest Services
Connor Berkompas
Box Office Associate
Naomi Brecht Box Office Manager
Morgan Gray
Marketing Associate
Tre’ Miller Front-Of-House Associate
Allison Nahr
Box Office Associate
Madeline Schulz
House Manager
Jeremiah Stich Guest Services Manager
Kathleen Sullivan Concessions Lead
Connor Berkompas, Casey Haeg, Jennica Kruse, Janet Lewis and Courtney Rust Concessionaires
Development
Gillian Constable
Development Associate & Access Coordinator
We have fully remodeled our lobby restrooms to make them 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.
Theater Latté Da’s Scenic Studio was established with a vision of a shared scene shop, in which not only Latté Da’s set construction could occur, but other Twin Cities theater companies and individuals could utilize the space for productions and projects big and small.
Rent the shop or rent our build or paint areas. Daily and weekly rental rates are available to support projects ranging from woodworking, welding (Mig), painting, and carpentry. The Scenic Studio rental includes the space to work and use of tools.
TLD Scenic Studio has worked on projects for Mixed Blood Theater, Lucent Blue Events and has rented out the Scenic Studio to Jungle Theater and S.O.A.R.
If you are interested in knowing more, please review our rental price guide and please contact TLD Technical Director Bethany Reinfeld at bethany@latteda.org about your project goals.
WRITTEN & PERFORMED BY
MILO CRAMER DIRECTED
BY
MORGAN GREEN
New York Magazine’s choice for Best Play of 2023, a “completely wonderful” musical portrait of modern school life is “as riveting as it [is] sweetly funny.”
FEB 5 - MAR 2, 2025 • THE RITZ THEATER