Locust is a decent replacement for Indian rosewood; maybe even better than the 'real thing' in some respects. I made one Classical from it; it looked like a Flamenco, but had the Classical sound, so I thought of it as a 'Classica blanca'.
Walnut works well, as does cherry. Cherry is a pretty good replacement for Caribbean mahogany in terms of it's properties; a bit harder and denser than most Honduras mahogany. You can sometimes find cherry with an attractive curl figure that runs across the piece at something like a 45 degree angle. Walnut tends to be a bit softer and lighter in weight. It's actually pretty close to soft maple in it's properties, but most folks say that maple guitars sound 'bright' while walnut sounds 'dark'. That may be a matter of 'listening with the eyes'.
Most of the walnut and cherry I get probably come from your neck of the woods. With all the hunting that goes on I have gotten both woods with embedded shot, or, at least, the remains of it. The lead itself dissolves over time, but you're left with the tracks of the balls and cavities full of pitch in cherry. I tend to refer to this wood as 'enriched'; it's harder and denser than the usual stuff, and often has quite attractive figure. It makes a nice instrument. I'll note that small black pitch pockets are common in cherry, and are not considered as down grading the wood so long as they are not large.
I have also made several guitars of quartered oak. Players tend to like them, but they are hard to sell due to the appearance. I actually did a 'matched pair' experiment using oak and BRW for the B&S of two Classical guitars back in the '90s. The rosewood one was a little better, but not all that much.
Any of those spruces should work well. Try to find a low density piece for the top, and don't worry too much about the grain spacing. Don't forget the secondary woods. Willow makes good wood for blocks and liners, or you can use butternut, which is similar in properties to cedro.
Several years ago I built a guitar for the 'Cherry Seven' project. The wood was all locally sourced by a Quebec luthier, Marc Saumier, and he recruited several builders who showed at the Montreal Festival to make guitars from it. He provided Red spruce for the tops, cherry for the back, sides and necks, and American hornbeam for the fingerboard and bridge. The spruce was nice and light, so I elected to make a Classical, and swapped in a piece of butternut for the neck to save some weight (he would have sent me some, but I already had it). It turned out very nicely.
Remember that early on most musical instruments were made of 'local' woods; imported 'exotics' only became common with the expansion of trade, and started out as 'prestige' items that were more for show than sound. You have some of the best lutherie wood around right in your back yard.