Acting Audition Instructions
The audition for students applying to the Theatre Department’s Actor Training Program consists
of the presentation of a memorized and prepared monologue (speech) by each student. In
addition, some students may be asked to return another day to participate in a theatre games
and improvisation workshop.
All applicants must present a monologue
The monologue should be one to two minutes in length by an individual character in a play.
It should be fully memorized and rehearsed (a copy should be brought to the audition in case you
need to refer to it). Work towards being comfortable in your body, and being vocally energetic
and clear. Imagine yourself in the character’s shoes. Imagine the person you (the character) are
speaking to. Imagine thinking the thoughts and feelings of the character. Tell the story of the
character as honestly and truthfully as you can. (For more tips, read the Frequently Asked
Questions below).
Some Applicants may be asked to attend the Workshop
The faculty panel may wish to see some students work in a different context, in which case those
students may be asked to return on another day to participate in a workshop. The workshop lasts
approximately forty-five minutes and is conducted by members of the Theatre Department
faculty. The students are asked to improvise (pretend) a variety of situations and events in
immediate response to a teacher’s direction. Loose-fitting clothes appropriate for physical
exercise should be worn.
Students will be evaluated as follows:
- Energy – Does the student bring vibrancy and intent into the room and to the piece
they are performing? - Concentration/Focus – Does the student get distracted or is the student able to
maintain focus throughout the monologue? - Imagination – How completely can the student enter the imaginary world of play?
- Understanding – How much does the student understand of the monologue/character
they are performing? - Emotional Connection – How fully can the student connect to the thoughts and
feelings of the character? - Vocal Production/Dynamics – How easily and expressively does the student use his
or her voice? - Articulation – How clearly does the student enunciate words?
- Physical Response to Impulses – How freely and specifically does the student use
his or her body to respond to the circumstances of the imaginary situation?
Possible sources for appropriate monologues
You are free to use a monologue from a different source. If you choose a monologue from another play, choose a
character that is close in age to you. We have no restrictions on the gender of the character you choose. Pick material that speaks to you.
1. School Girls, or the African Mean Girls Play by Jocelyn Bioh. Characters: Paulina, Ericka,
2. Pipeline by Dominique Morisseau. Characters: Omari, Jasmine
3. She Kills Monsters (Young Adventurers Edition) by Qui Nguyen. Characters: Agnes, Tilly
4. A Member of the Wedding by Carson McCullers. Character: Frankie
5. This Property is Condemned by Tennessee Williams. Character: Willie
6. Buried Child by Sam Shepard. Character: Shelly
7.Curse of the Starving Class by Sam Shepard. Characters: Emma, Wesley
8. Antigone by Jean Anouilh. Character: Ismeme
9. Ah, Wilderness by Eugene O’Neill. Character: Richard
10. The Lark by Jean Anouilh. Character: Joan
11. The Rimers of Eldritch by Lanford Wilson. Characters: Eva, Robert
12. The Dark at the Top of the Stairs by William Inge. Character: Sammy
13. The Amen Corner by James Baldwin. Character: David
14. The Rainmaker by N. Richard Nash. Character: Starbuck
15. You’re a Good Man, Charlie Brown by Clark Gesner. Character: Charlie
Samples of monologues
Following are complete texts of monologues that may also be used for the actor training program
auditions:
“Dry Land” by Ruby Rae Speigel
Amy:
“I used to hang out a lot at the Rock Shop. You know the store by the freeway where you can
crack rocks that look like regular dull rocks but actually have this crazy dyed crystal stuff on the
inside? I used to hang out there all the time and crack rocks. And hang out with the boys who
worked behind the counter and then I went through puberty and they told me that I couldn’t crack
the rocks anymore. That it was weird for someone my age with the way I look to be cracking rocks
while kids had birthday parties. So you know what I did? I replaced some of the rocks with regular
rocks, like from my yard. I never went back to see what happened but I bet they really had to
explain when the birthday boy or whatever cracked this big rock and all there was, was more rock.
That there wasn’t anything special hiding underneath that it was just more rock.
“Fences” by August Wilson
Cory:
“I live here too! I ain’t scared of you. I was walking by you to go into the house cause you sitting on
the steps drunk, singing to yourself. I ain’t got to say excuse me to you. You don’t count around
here any more. Now why don’t you just get out my way. You talking about what you did for me…
what’d you ever give me? You ain’t never gave me nothing. You ain’t never done nothing but hold
me back. Afraid I was gonna be better than you. All you ever did was try and make me scared of
you. I used to tremble every time you called my name. Every time I heard your footsteps in the
house. Wondering all the time… what’s Papa gonna say if I do this?… What’s he gonna say if I do
that?… What’s he gonna say if I turn on the radio? And Mama, too… she tries… but she’s scared
of you. I don’t know how she stand you… after what you did to her. What you gonna do… give me
a whupping? You can’t whup me no more. You’re too old. You’re just an old man. You crazy. You
know that? You just a crazy old man… talking about I got the devil in me. Come on… put me out. I
ain’t scared of you. Come on! Come on, put me out. What’s the matter? You so bad… put me out!
Come on! Come on!”
“The Curious Incident of the Dog in the Nighttime” by Simon Stephens
Christopher:
“I remember the 20th of July 2008. I was 9 years old. It was a Saturday. We were on holiday in
Cornwall. We were on the beach in a place called Polperro. Mother was wearing a pair of shorts
made out of denim and a stripy blue swimming costume, and she was smoking cigarettes called
Consulate, which were mint flavour. And she wasn’t swimming. She was sunbathing on a towel,
which had red and purple stripes and she was reading a book by Georgette Heyer called the
Masqueraders. And then she finished sunbathing and went into the water and said, “Bloody Nora
it’s cold.” And she said I should come and swim too, but I didn’t like swimming because I don’t like
taking my clothes off. And she said I should just roll my trousers up and walk into the water a little
way. So I did. And mother said, “Christopher! Look it’s lovely.” And she jumped backwards and
disappeared under the water, and I thought a shark had eaten her and I screamed. And then she
stood out of the water and came over to where I was standing and held up her right hand and
spread out her fingers like a fan. “Come on Christopher, touch my hand. Come on now. Stop
screaming. Touch my hand. Listen to me, Christopher. You can do it. It’s OK Christopher. It’s OK.
There aren’t any sharks in Cornwall.”
“Annie Jump and the Library of Heaven” by Reina Hardy
Alethea (an intergalactic supercomputer) tells Annie why she’s here on Earth.
Alethea: (In response to a question about unified field theory.)
“I can’t tell you that. There’s a slight chance you’ll understand it. I’m not supposed to reveal any
truths or any information not currently known on planet earth. No telling you the answers to the big
questions, no giving you alien technologies. It’s kind of like my prime directive. Well, I can give you
one big question. Are we alone in the universe? Hint hint. You’re not. I know everything about
everything. But I also know everything about you, Annie. I know what happened to your mom
when you were little. I know your gmail password. Stardate 403604. I know your middle school
grade in intermediate Spanish. A Minus. I know your father used to read to you from “A Wrinkle in
Time.” I know your grandparents sued him for custody when you were three and again when you
were five, and again when you were seven. I know you were a muppet for your eighth Halloween
party, yip yip yip yip yip yip yip….. I can list all your father’s court-ordered prescription meds. I
know the only solo you ever sang in grade school chorus. (She sings. Her voice grows eerily
large, as if miked.) SOMEWHERE OUT THERE, BENEATH THE PALE MOONLIGHT… You can’t
ignore me, Annie. You’re the one. You’re the Chosen One.”
Frequently Asked Questions
How do I find an appropriate monologue?
Any 1-2 minute monologue from a published play will do! Visiting the library (or even searching online) can be a great starting point. We have no restrictions on the gender, race, age or type of character you play – but you should try your best to find a character close to your age that expresses you well.
I have a piece from a movie I like, will that do?
Unfortunately, we’re not looking for material from Movies, TV series, poems, or famous public speeches. Published plays only, please!
How should I prepare my monologue?
Fully memorize the speech. Imagine yourself in the place where the speech is set in the play. Imagine the person your character is talking to – why are you telling them this? What do you want from them? Imagine yourself in the character’s emotional and psychological circumstances and try to make the kinds of choices you think
they would make. Make sure to read the entire play that your monologue is from. This will help you understand the world of your character much better.
What will happen in my audition?
When you walk into the room, you’ll be greeted by our panel of Theatre teachers. You’ll take a moment to focus, a deep breath, and then perform the piece you’ve prepared. Afterward, we may ask you a couple of questions about yourself or ask to see some of your piece again, with a twist on it. This helps us learn more about
what we’re seeing.
If you don’t ask me anything, is that a bad sign?
Nope! It just means that we’ve seen everything we need for the day and you are
good to go!
How do I know my speech is 1-2 minutes long?
You can practice at home while timing it. If the monologue is too long, try cutting the first few lines or ending the speech earlier. You can also piece together a speech by cutting out lines of dialogue from another character – just make sure the monologue still makes sense.
Can I play multiple characters in my audition?
No. Focus your energy on one character only.
What should I wear for my audition?
No costume necessary – just clothes that make you feel comfortable and allow you
to move.
Can I perform a monologue I wrote myself?
Sorry. We really want to hear how you perform someone else’s words ––
which is why it must be from a published play (written by a professional playwright).
Do I need to bring anything with me into the audition room?
You don’t need to bring any props (or set pieces) for your audition, unless it’s something very simple, such as a piece of paper to use as a letter.
Should I stand or sit during my monologue?
A chair is available to use, if you need one. When you practice at home, try working with a chair
and without one, to see what feels most natural and right for the character in this moment.
Where should I look when performing my monologue?
When you rehearse at home, pick a place where the person your character is
talking to would be. Use your eye contact and body focus as a way of
communicating with this person. You don’t have to face them the whole time – but
your physical storytelling should be clear (without feeling like a game of Charades!)
If your character is talking to the audience – please let the faculty panel know and
ask if they are ok with you looking at them during your monologue before you start.
No matter what, make sure you are facing out so we can see you!
If you have any questions not answered here, please reach out to us at theatre@bsfa.org
We’re so excited to see your work!