MONOLOGUE FAQ

For any monologue audition, you want a monologue that’s good, good for you, and a good fit for this audition. Researching the audition and the people who will be auditioning you is crucial. Noting the purpose of the audition will help you navigate some of the other choices below—for example, a monologue with profanity can be fine in a casting director audition but not for a children’s repertory theater. Research the people who will be in the room. Read theater company and training program mission statements. Note their requirements and always bring in what they ask for in terms of genre, period, and length.

One of the best things you can do for your career is to constantly read plays—you'll develop your taste, you’ll be a better, more complex actor, you'll learn about who's who, and you’ll find fantastic material over time. You should always do monologues from plays for theaters and serious training programs. But for agents, managers and casting directors, you can also look at movies and TV (it’s usually best to avoid well-known roles). And, there are many non-traditional sources: speeches, letters, stories and novels (if it sounds like dialogue vs. reading from a novel), editorials, interviews, comedy essays, and even social media posts, Amazon reviews and “The Best of CraigsList”. Monologues can be found anywhere articulate, passionate and/or funny people are writing or speaking. Just pay close attention to the needs of a particular audition, make sure it works as a monologue (see answer to the next question), and always bring in what they ask for. I have a lot more to say about material choice in my book and free online class.

A good audition monologue tells a complete story with a beginning, middle, and end. It pays off with a clear climax, or point, to the story. It stays on topic—it's not vague, confusing, or about five different things. It engages the listener immediately and is moving, amusing, or both. And very importantly, it’s a great fit for you, and a great fit for this audition.

Absolutely—IF—your result is something that sounds like one speech, not a bunch of answers to questions/statements by the other person that we will never hear.

The unanimous reply to everyone I asked this question is YES. While a couple of colleagues made the point that the audition is for the actor not the writer, they also agreed that good material is only going to help an actor. One remarked that your material choice is a way of showing your taste, which is a very important part of who you are as an artist, and a signal about who they’re going to be working with if they hire you.

Replies from colleagues were varied for this question. Several said NO, never. Some said they’d rather see good overdone monologues than bad less-known ones. I recommend having the best of both worlds: Prepare less-known pieces that you show people first, and also have classic, well-known, and some “overdone” monologues in your repertoire to show specific parts of your range, depending on the purpose of the audition. It’s also important to distinguish between “overdone” monologues, which tend to be contemporary; “classic” which are established plays and roles that have stood the test of time—like Blanche DuBois in A Streetcar Named Desire—and “classical” which is generally understood to be anything written before Ibsen and Chekhov.

I don't mind profanity at all. Most colleagues said it’s fine with them too, as long as it's truthful to the character and doesn’t distract from the actual story (or your acting). Definitely consider the purpose of the audition and what would be appropriate.

Most of those I asked said “it depends” and I agree. If you’re 17-19 years old auditioning for a training program in front of 40-50 year olds, sexually graphic material can be awkward and make everyone self-conscious, including the actor. Sometimes, very graphic or upsetting material can distract from the acting. If the graphic material is in line with a particular role being cast, and helps you show that you can handle that kind of role, then it can be fine.

All respondents answered YES to this question, with this exception: For younger actors auditioning for training programs, there can be a bit more of an age range

This is another situation in which it’s important to do your research and consider the purpose of the audition. If your monologue is for an industry showcase, you want to show them how they can easily cast you in mainstream entertainment right now. If it’s for an adventurous theater company or training program, you can often push boundaries of type, sensibility, or gender, and show a fresh take.

Yes. Choose something close to the role being cast that sparks their sense of imagination and possibility about how you would play the role. Here’s a great reply from a colleague: "If you’re auditioning for a play by a specific playwright, like Adam Rapp, don’t feel you MUST use an Adam Rapp monologue. If you can find a monologue by another playwright that’s in the same world, you’ll be better off and might even come off as clever.

I actually recommend planning out a little bit of gesture as part of your staging, which completely solves this problem ahead of time. Most of us use our hands when we talk—we don’t go around in life with our arms glued to our sides. Experiment and see what physical impulses the monologue generates in you, and choose some places to express that fully with gesture. Use (just a few! not too many!) well-chosen gestures to express yourself and make your piece come to life. The gestures should be specific, look natural, help tell the story, and feel like you.

I actually recommend planning out a little bit of gesture as part of your staging, which completely solves this problem ahead of time. Most of us use our hands when we talk—we don’t go around in life with our arms glued to our sides. Experiment and see what physical impulses the monologue generates in you, and choose some places to express that fully with gesture. Use (just a few! not too many!) well-chosen gestures to express yourself and make your piece come to life. The gestures should be specific, look natural, help tell the story, and feel like YOU.

Almost never. (See below for an exception.) The people auditioning you should be treated as your audience, not your acting partner. If your monologue is to one person, choose a centered focus just over the auditor(s) head(s) in the room, as if speaking to someone just behind them. If your monologue is addressed to a group (and if that is clear in the text), spread your focus a bit so it looks like you're talking to multiple people. If the character addresses the audience in the play, it usually works best in the audition room to focus it as if to one person. EXCEPTION: Sometimes Shakespeare companies ask actors to address them directly in the room when doing the soliloquies, because Shakespeare soliloquies are usually done directly to the audience in performance. If you are unclear, just ask them. Please note: DO address your slate directly to your auditors—and your thank you at the end.

This is probably the most frequent question I hear. Most actors are trained to work off of their partner, but in a monologue audition, there’s no one there—and 99% of auditors do not want you to act your monologue directly to them! The simple solution is based on something I am sure you have already done today: You talked to someone in your head about something you cared about, and responded to their responses. It’s an imaginary game we play all the time. You can do that as the character when you act a monologue: Know exactly what you want from the person(s) you’re talking to, put your attention on them, and "listen" to their responses as you act.

Sometimes, you don't have to—they'll say hi to you as you enter or ask what monologue you're doing. But when you need to, make it positive and super simple, which will look the most confident: "Hi, I'm _______, and this is from _______.

Below are direct quotes from my colleagues, and I agree with every single one.

“CONNECTION, HONESTY, AND NEED.”

“I’m looking for someone to create a relationship with give and take—not just a speech. I want to believe the actor is speaking their own words.”

"I’m looking for someone who can reveal themselves in a bold and significant way.”

“Tears don’t tell me much. Truthful behavior does.”

“1. Truthful behavior. 2. Precise choices. 3. Being fully present. If an actor can nail these three I am likely to recommend them to our casting directors.”

“Take a moment before and breathe. Connect with the other person and want something. Establish some beats and variety in the piece. Don’t get upset if it doesn’t go the way you expected…show us how much you enjoy performing instead of clinging to angst.”

“Understand the text; embody the character; commit to the circumstance; bring energy to the intention. Listen, evoke the imagination, and play.”

“I just want to see a human being go through something."

“I love it when an actor reveals a part of their humanity to us.”

“Be your authentic self and leave your mark in the room.”

A lot goes into preparing a strong monologue audition. You are welcome to email me with questions, sign up for one of my free classes, or send me a Monday Morning Monologue (see home page) 😊