Tips for preparing an audition monologue

This is vital and is so often the one area which actors seem to think they can miss out.

The play will give you the context for the speech. Reading the full script will show you who you are and who you are talking to, where you are and what has just happened. Once you know all of this then you can start to make the piece your own.

Sometimes you can have fun in an audition and take the speech out of context, sometimes you shouldn’t. You will be able to judge that by the company and role you are auditioning for.

Reading the play will give you all the answers and allow you to make all of your decisions, its all in that play – READ IT!

Often you will only have a short time to learn a speech, and rehearse it.

At times like this your usual method might not be applicable. Looking at ‘objectives’ and ‘actions’ can become overwhelming and a bit too in depth for quick preparation.

Asking yourself ‘what is on the line?’ (what is important for the character at this very moment) is objective and should get you to where you need to be quickly.

It is a place from which you can head in any direction, this is important at an audition where you may be directed and asked to do the monologue in a different way than the way you have prepared.

Usually you are asked to prepare a monologue ‘no longer than three minutes’.

Here’s the good news, that means you could choose one which is about one minute to one and a half minutes.

The three minutes deadline is not a challenge, they are not looking at who can come in at just under three minutes.

Find a speech which has a good solid beginning, middle and end. If it is short, that’s great. It will be easier for you to work on and learn, and will hopefully leave them wanting more rather than overstaying your welcome.

A very dramatic monologue out of context can be slightly awkward to watch. It can be difficult to invest in as an audience, and then very awkward to know what to say afterwards.

If you have carte blanche when choosing your speech I would look for something which is lighter, which has a sense of humour and will maybe make them laugh, or at least smile on the inside!

Laughter brings people together and might help to build a connection between you and the casting panel.

Some advice from an acting coach which I have never forgotten is:

“As far as I’m concerned, a fully dramatic monologue that comes out of the blue is like watching somebody cry at a bar.”

If you don’t have time to fully work on the monologue as you would a role, make it a priority to mark up your script.

Make sure you mark your beats, these are the moments of change, they are vitally important when working on a monologue and also should help you to learn it.

Don’t forget to mark the punctuation. The punctuation is there for a reason, it is a guide for you from the playwright. The punctuation will help you to find the journey through the monologue.

Once you have read the script you should know who you are talking to … now create them.

I advise you “cast” another actor, someone you have worked with and are comfortable with. Know where they will be standing or sitting and what they are doing.

Really engage with your imaginary scene partner, focus on them, it will bring you speech to life.

It is important that the monologue serves a purpose for your character.

At some point during the speech something needs to happen, to be said or realised ,that will change your character. Otherwise all you are doing is public speaking.

Find the moment where that realisation happens. It needn’t be a beat change, it can often be really powerful to watch a mid-line realisation.

Making a choice which seems counterintuitive to the rest of the speech can often be powerful. It sometimes is the most ‘real’ moment of the whole piece.

A time when you are uncontrollably sobbing there will probably have been a beat or moment when you chuckled. A time when you are laughing with your friends and one of them will have said something which brings you back to the now and makes you think ‘why the hell are you bringing that up?’. These are moments when ‘the record scratched’

Try to find one moment for the character ‘when the record scratches’

You should know where you are going to audition, what size room it is, and therefore what size voice you will need.

When you rehearse out loud, rehearse it at full voice and with all your choices.

I also think it is important that you try it out beforehand in the clothes you will be wearing, in the right shoes. Rehearse moving from the seat you might have sat in to chat to the director to where you will begin your speech. Rehearse it as closely to the experience you will have in the room and make every moment count.

Really use the time that you have in front of the panel, live the moments as if they were real, perform it in real time.

Don’t feel rushed by either the experience or your nerves.

However, do remember that this monologue is a moment in someones life. Monologues are usually a moment of change and urgency for the character, so don’t overindulge and drag it out – play it in real time.

A beautiful sandwich filling could be delicious but if it is sandwiched in some Tesco Value thin sliced, it isn’t going to be perfect!

Make sure the start and finish of the monologue are clear and professional.

The opening of the speech should be obvious, don’t let the panel suddenly think ‘oh, has he started?’, make it a clear beginning.

Likewise, the ending should be undeniable. Don’t leave them hanging. Don’t awkwardly look at them and say ‘that’s it’. Make it a clear, crisp ending.