Tips on Auditioning
- First and foremost, we want you to succeed. Nothing gets us more excited than discovering a talented young artist that would fit in with the Company and its philosophy. Plus we’re nice & friendly – really.
- New and contemporary works comprise the bulk of what we produce here at Actors and your audition monologues should reflect that. For your main audition package, we prefer that you audition with material written in the past 15 years. It should also be close to your own age and experience.
- Choose material that you feel a connection to – tell us something about who you are with your choice of material. Let it showcase who you are – socially, politically, humanistically. Perform something that you love, rather than trying to figure out what you think we’ll like.
- ‘Two contrasting pieces’ doesn’t mean one that’s funny and one that’s serious. Show us two pieces that contrast in rhythm and tone. Or show us that you can do both grounded work and work that’s a little more presentational. Be sure you can answer the question – ‘what are the differences between these two people that I’m portraying?’
- A note on dress – wear what makes you feel physically confident. Think casual professional or what you’d wear on a first date.
- Most of all, just be yourself.
Monologues We’d Rather Not See
We’ve seen thousands of auditions for this program (20,000 over the last ten years, no kidding). So there types of monologues and monologues from specific plays that we’ve seen dozens or hundreds of times. It’s not that they’re not good monologues, or that they don’t serve a purpose in the larger play, or that you couldn’t do a good job with them. It’s just that we’d really rather not see them again.
*Anything that tells a story or recounts a memory
*Any monologue that’s just a rant or a speech to a large group of people
*Any monologue that just explains a philosophy or point of view
*Any monologue where you play a non-human character
*Any monologue related to theatre or the business of acting
Gruesome Playground Inuries
Reasons to be Pretty
Dog Sees God
Tribes (the ‘I love being ironic’ monologue)
God’s Ear (the watch monologue)
Behanding in Spokane (giant panda)
After the Revolution (letter/list monologue)
Dead Man’s Cell Phone (cursing woman on the phone)
Detroit (we don’t have a dog monologue)
Fat Men in Skirts (Popo Martin)
In the Next Room
Angels in America
Last Days of Judas Iscariot
Aloha Say the Pretty Girls
Venus in Fur
Be a Good Little Widow
Shape of Things
Red Light Winter
Speech and Debate
This is our Youth
Time Stands Still
Middletown (the meteor monologue)