The Loudspeaker role for "1984" needs to sound pretty enthusiastic.  While the audition I did for my actress was not bad, I really need to work on her sounding more natural.  She sounds like she's reading, unethusiastically, she's off stage the whole show with script in hand.  I think she'll sound more drone/metallic-like when we get her on a sound system. 

I'll try a Richard Simmons sound-alike.  That could be fun.

I like to start all my new actors by having them come with an object to class that is special to them (I do not tell them why they are bringing it). I then ask them to get up and tell about it. I have them sit comfortably in a chair with the rest of the class seated around them. This generally gets them to just tell about their object; being completly themselves. I then ask the group what was great about what the person did and what needed improvment. Usually the improvments are things like saying: like or um or fidgeting. When we are done I ask the group was this person interesting.. they always say yes (because it is true) and then I point out that the audience loves to see you being you because YOU are interesting and that, that is the antithesis of being a great actor or actress just being. This accompanied with lots of fun improv which helps loosen people up and get them in the moment and comfortable being themselves, I find always helps create great natural acting. Hope this makes sense and helps.

Great ideas already mentioned, but I also like to keep in mind that action creates emotion. When working with her encourage and experiment with movement that will help pump her up. Creating that schema of emotional memory will give her a place to return to during performance without having to perform the movement/physicality that was rehearsed. Does that make sense?

I know how that goes!  Last winter I played George Bailey in a radio play of "It's a Wonderful Life."  I got so worked up during the alternate-universe section  at the end that by the time the show finished, I was utterly beat -- even though I didn't have to do anything but stand at the microphone and read.

Reminds me of something else relevant -- by the end of the run (6 shows) I was pretty well able to be off-book and was really only spot-checking my script from time to time.  That DID make it much easier to actually act.  On the downside, during the final show, I managed to skip a half-page of dialogue since... well, I wasn't reading it and made the sort of mistake you make when you're off-book.