Choosing the Right Audition Monologue

Written by Debbie Lamedman

August 29, 2017

You see a flyer at your local high school or community theatre announcing auditions for a fantastic play you’ve always wanted to do.  The auditions are in two days and they require that you prepare a one to two-minute contemporary monologue.  Are you ready?  Do you have your selection?   If you think you can choose, learn and perform a monologue in two days, you’re sadly mistaken.  Many actors make the error of not being adequately prepared when an audition opportunity arises.  Consequently, you not only lose out on a role, you may make a bad impression for future opportunities.  So be prepared and find that perfect monologue before the audition.

Monologue selection is very personal.  You want to make sure you choose a piece that will show off your acting abilities within a very limited amount of time. Obviously, you should really like the piece; you should be excited to perform it. You want to choose a piece that you can relate to and identify with honestly. The monologue you select represents who you are as an individual.  Choosing crude or over-the-top material is unnecessary.  It’s distracting and won’t help you stand out in a good way.  Remember, if the casting people are seeing you for the very first time, their opinion of you is formed by the monologue you select.



There are often specific stipulations regarding monologue audition material.  Be certain that you follow the individual audition guidelines.  Some theatre companies and schools require monologues from published plays and do not want you bringing in original pieces that stand alone.

Material is everywhere, so read, read, read! Every great actor is a well-read actor. PerformerStuff.com has an extensive catalogue of monologues, so start reading and find pieces that resonate with you the most.



The best monologues have a strong beginning, middle, and end.  When looking for material, think of your monologue as its own one-minute play.  Does the character take a journey, make a decision, or discover something new about him or herself or another person even in that short amount of time?  It’s also best if the monologue is active rather than narrative.  This means the action of the monologue is happening in the moment, as if you were actually talking to the other person right then and there.



Be sure to build yourself a strong repertoire of material. Have a variety of pieces to choose from and make sure they are performance-ready.  Find contrasting monologues: comedic, dramatic, contemporary and classical.  This will ensure that you won’t get tired of any one particular piece as you continue to rotate your selections based upon the roles you will be auditioning for.

Preparation is always key.  So, go out and find yourself one, two, or ten perfect monologues.  Continue to diligently work on them.  And when that flyer appears announcing auditions for that fantastic production you always wanted to be a part of—guess what?  You’ll be ready!

Looking for other monologue collections? Check out the ones below!

Debbie Lamedman is a playwright, author and editor of eight acting books published by Smith & Kraus, Inc.  Debbie’s produced plays include phat girls, Triangle Logic, Eating in the Dark, Just Add Love, and Out with the Old. Debbie is the co-bookwriter for the musical How the Nurse Feels, which had staged readings at both the ASCAP/Disney workshop in Los Angeles, and New World Stages in New York City. Debbie’s short play Mind Control was produced as part of the 35th Annual Samuel French Off-Broadway Short Play Festival in New York City.