The monologue audition is alive and well. Monologues are commonly used for college auditions (both undergraduate and graduate programs), Equity auditions, theater conference auditions, as well as in agents’ offices and industry seminars for both agents and casting directors.
There are certainly no rules where monologue material is concerned. However, it has been my 25 years of experience as an agent and manager (and in teaching and coaching monologue selection and performance as well) that most industry people watching monologues lean toward active material. Meaning, material that contains conflict and a strong potential for the character performing the monologue to show a strong emotional want or need to change the other character’s point of view and/or behavior. Why? Material of this nature usually has a certain clarity and even universality readily grasped by whomever is watching it.
In short, it generally holds up well outside of its original context. As such, much of the material I select for my students—or suggest they seek for themselves—often begins with lines such as, “I don’t want you to pay me, I want you to listen to me,” or, “I don’t want to get started on that again,” or “I’m sorry, but I just don’t think getting married is in our best interest right now.” You get the picture. Disagreement, which is not the same as an argument. My personal definition of an argument is a disagreement that has escalated. There is, however, a fight present. Those auditioning you love fights and so do audiences, because fights are not only alive, they are comprehensible. And your character’s mission is to “win your case,” so to speak. And herein lies the opportunity to create a strong effect from the very first all-important moments of your audition.
Here’s how: Create a beat change after the first line of your monologue. Industry people disagree on so many areas of the business and performance, but one thing I’ve never heard any disagreement on is that they want to be surprised. So, let’s imagine the first line of your monologue is something, like, “I don’t want your money, I want you to listen to me,” and the second line of your monologue is, “It seems like nothing I say means anything to you.” Stop after you’ve delivered your first line. Assign a reaction to your imaginary scene partner upon his/her having heard what you just said. Choose something like shock, denial, resistance—anything that keeps the conflict ongoing and strong. Then, instead of continuing on rant-style (which is what so many actors do), with your next line, “It seems like nothing I say…” take a breath and change your tactic.
For example, your character realizes he’s upset his scene partner more than he intended, so shifts his own emotion to understanding and delivers his second line with gentle explanation. It’s what we do in real life all the time to win. We assess and shift in order to get what we want. But if you do it within the first two lines of your monologue, CDs will be surprised, and they will see range and humanity. Why? Because the result will be a shift in your vocal pitch, you pace, and your overall dynamics rooted in common human behavior.
I understand why we don’t see this more often. For most purposes, a monologue is a test. And you’re up there alone with no help from a real live flesh-and-blood scene partner, so your task is to concentrate and create at the same time. And no matter how much an actor loves being “up there,” when it comes to monologue auditions, most actors are relieved when it’s over and done. Not all material will lend itself to the technique above, but a great deal of it will. Try it. Two different beats in the first two lines allowing you to change your delivery and you’ll experience what a genuine choice you’ve just made to maximize those all-important first moments of an audition.
Want to learn more? O’Neil will be teaching a three week monologue class starting February 14. For details, visit www.mnactingstudio.com.
Looking for new material for your next audition? Try “The Monologuer” for a customized search!
