Directing: Audition monologue

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Audition monologue

Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=1849
Printed Date: 11/23/24 at 1:04pm
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Topic: Audition monologue

Posted By: GPLT
Subject: Audition monologue
Date Posted: 5/13/06 at 12:56pm

I am directing Jeyll and Hyde the musical next year and I am looking for some audition ideas. For the role of Jekyll & Hyde I need a monologue that allow me to see how the actor can quickly switch from one distinct character to another, if it it could show great fear from one side that would be great. It could be very another play as long as it last for about 2-3 minutes.

I have just discovered this board and suspect I will be back many types, I have already read some good info.

Thanks

Derek

Replies:

Posted By: castMe
Date Posted: 5/13/06 at 2:01pm

Hello Derek.
I have often wondered why a director would pick audition material from anything other than the show being auditioned. How can I show how I might play Willy Loman if I'm asked to read from "The Odd Couple"? Can a director tell if I'd make a good Harold Hill if I'm asked to improv my first day as a tree?

I sometimes need to copy script pages and blacken out lines not spoken by the character I'm casting. This gives me (usually) a pretty good monologue, but I've never used anything but the script. If nothing else, I have the actor read the lines first as "Hyde", then the same pages as "Jekyll". "read this as if the character likes the person he's speaking to, then read them as if he doesn't". You can be as broad in your requests as you like.......or as subtle "read this as if to a child.. then as if you don't believe what you're saying is true." I have good success picking up on actor's ranges in this manner.

Anyone else out there work this way?

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Investigate. Imagine. Choose.

Posted By: GPLT
Date Posted: 5/13/06 at 3:49pm

Good question, I have actually used both ways for auditions. One of the reason to use something than something from the script is to allow be to see the person as an actor and not as the character. Sometimes if you allow someone to use the script you run the chance that they will work so hard to engrain themself as the character and therefore hard to move them away from it once rehearsal comes, remember this is community theatre.

As I said I have used both ways just in this case I have chosen to use monolouges from other sources.

But thanks for your comments.

Derek

Posted By: castMe
Date Posted: 5/14/06 at 9:15am

Hi Derek. I tell my auditioners what I am doing in terms of adjustments "I'm not necessarily asking you to read this as it will be played, but so I can better see your range." Your point about "engraining themselves" is well taken and the major reason I don't ask actors to begin memorization of lines before rehearsal begins. "Read the play, then read it again, but only your lines and read them aloud to 'make friends with the words' ", is what I instruct them.

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Investigate. Imagine. Choose.

Posted By: theactordavid
Date Posted: 5/30/06 at 2:58pm

Most plays I've auditioned for lately have involved reading from the script with either other auditioners or helper-readers. Only when I've auditioned for a theater that was not casting for a specific show but was looking ahead into the upcoming season was I asked for a monologue of my choice. And with few exceptions I never auditioned for a specific part, but was asked to read for all parts I was appropriate for, in terms of age and gender. For those monologue auditions, I usually go prepared with the expected dramatic and comedic pieces, because theaters often mix it up over a season, and you want to show you can do both.

As a director, I prefer to see what actors can do with the lines from the play. But I will blacken out everything but the dialogue so they don't get bogged down trying to figure out what's stage direction and what's dialogue. Some scripts aren't always that clear.

As for giving them direction to read with, I like to give them a simple but appropriately-related character definition and see what they come up with on their own for emotional content. Could be something like "you're a hollywood producer" or "Moe from the Three Stooges" or "captain of the football team" etc. They can usually grab onto something quickly and play it up from there. Sometimes, I'll even give them these tidbits alone and off to the side so the scene partners don't know what to expect from each other right away.

I also tell them that whether it's something I give them, or something they think up, the rehearsal process is all about change and development, so this audition is a starting point far from the finish line and not to worry about "nailing it" right now. Be heard (project), be seen (cheat out a little), and be true to the moment as you can best imagine.

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There are no small roles, only roles with a low line-load and minimal stage time.

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