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What makes a good monologue (in general and for class)?

Relatively brief - for our purposes, 35-50 seconds, and preferably under 45.�
From a complete play (not musical) to which you have access, published in a reputable venue. (NPX counts; theatrenerds.com does not.)�
Not on the first five pages of any Google search including the word “monologue,” only from plays that have won major awards or been on Broadway in past five years if you really, really love the material. (Insert “overdone” spiel here.) �
For contemporary monologues, published in the last 10-15 years.�
Spoken by a character within your playable age range who shares your gender identity and, if the story the play is telling is racially specific, race/ethnicity.
Talking to another human who is onstage with you, actively trying to get something from them (but not pretending they’re speaking back). (Not talking to yourself, telling a story, writing a letter, etc.)
A coherent cut with an arc.
Not intentionally shocking or concerning - be thoughtful about choosing profanity, probably avoid violent imagery, discussing abortion or sexual assault.
Something you love that plays to your strengths.�

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Finding a Monologue:

Brute Force Method:

Get a bunch of plays, especially 10-minute plays or one acts. Read character descriptions for characters you can play. Flip through quickly looking for chunks of text.
You may be able to search strategically for plays with content you’re interested in on NPX or by looking up lists of plays with certain characteristics (plays for actors of your race/ethnicity/age/gender, Kilroys or Killjoys lists).

�Actor Tracking:

Find an actor with whom you resonate. Look at the plays they’ve been in and search those for monologue material; use part tracking (below) to spiral out from them.

Part Tracking:

Look at the production history of a play with a part you know is right for you. Look up the people who’ve played that part. Begin actor tracking (above).

Playwright Tracking:

Find a playwright who makes work you like and look at their stuff. From there, see who pops up as related in searches on Goodreads, Amazon, etc. or move from those plays to part or actor tracking.

�Blatant Theft:

Go on YouTube and search “UPTAs audition,” “SETC audition,” “UPTAs prescreen,” “SETC prescreen,” “Unified audition,” etc. and scroll through audition videos until you find someone who looks like you or otherwise shares your energy. See what they’re using; borrow it, or spiral out to an above method. (NOTE: It would be tacky to take that material to the same audition pond they’re in, but that work is fine to use locally.)

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Cutting a Monologue:

Remove anywhere the other character is audibly speaking.�
Remove any references that require extensive understanding of the given circumstances of the play. �
Make sure the arc of the monologue is clear.�
Controversial take: Don’t be afraid of taking lines from across a page or two and DIYing a monologue if 1) the play isn’t well-known enough for someone to notice and 2) it’s coherent.

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Preparing a Monologue:

Read the full play from which the monologue is pulled (no matter what method you’re going to use to prepare it).
Complete monologue paperwork.

Characterization.
Personalization.

Memorize monologue as deeply as possible with as much flexibility as possible.
Set aside dedicated rehearsal time. Rehearse out loud, on your feet, with full commitment. Avoid using mirrors.
If you’re working with peers, keep your conversations in the key of action. Acting is not emoting, and staying in action is both harder and ever more important when your scene partner is invisible.

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Decoding the Call

If you’re auditioning for a show or one theatre’s season: What is the show? Who wrote it? What kind of actors are conventionally cast in it?
Look at the character breakdown if there is one - what is the age range for each character? Are there any words that indicate what kind of actor they’re looking for? Can you learn anything about the director’s vision?
What is contrast?

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Choosing An Audition Monologue

What does the casting call ask for? Bring that.

Think intentionally about type/vibe - how do you want to shape the way you’re seen? Are there specific characters you’re interested in playing?
Works as a “package” with your song or other monologue.
Not from the show for which you’re auditioning, but with a similar rhythm/style of speech.

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The Audition

Be nice to everyone in the building.�
Ask the person running the audition outside how they’d like you to slate.�
Unless told otherwise, say hello as you enter.

Give the people at the table some space and put your scene partner a bit above them.�
Slate as directed, offering the warmest, most I-want-to-spend-six-weeks-with-this-human version of yourself.�
Give yourself time to start your monologue, time to transition between pieces, and time to end both - don’t cut your materials so close that you feel rushed.

Wait to be dismissed - don’t run away, don’t rush the exchange if the folks in the room want to chat.

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Doing The Thing Professionally: Unifieds

Many year-round theatres, summer stocks, and other entertainment venues cast out of unified auditions. Some of the main ones to know are:�

MidWest Theatre Auditions (“Midwest”)

St. Louis in February, must include a school or theatre representative who � “nominates” you. Jazz and tap call optional to all. 90 sec. packages. Summer or � year-round.�

Southern Educational Theatre Conference (“SETC”)

Mid-winter/early spring, variable location. Must pass screening audition in TN. (though

possibly online now?) 90 sec. singing and acting / 60 sec. acting only. Summer or year

-round.

Unified Professional Theatre Auditions (“UPTAs”)

Playhouse on the Square in Memphis, TN. Must be accepted via video pre-screen. 90 sec. packages.�

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