How does an actor prepare to audition on Zoom?

In a continuing series about auditioning, we prepare to audition for The Screen Plays, a virtual festival of new plays by students. To read the series on auditioning. 

If you are an actor interested in auditioning for The Screen Plays, you will sign up for an audition time, complete the audition form, then select one of the monologues from one of the new, student-written plays. (All the details of how to audition are posted on the BU Players auditions page.) Once you have taken those steps, you are ready to prepare the monologue for the audition.

How do I prepare a monologue?

• Read the play.
• Based on your reading of the play, understand who this character is, what their given circumstances are, and what they want in the play.
• For the monologue itself, understand who they are talking to and their specific relationship to this other character, what they want from or to do to the other character (their objective), why they want this (motivation), why they want this right now (urgency), and what happened before the monologue that prompted them to pursue what they want (moment before).
• Read the play again and again to be sure that your understanding of these elements is clear.
• Memorize the monologue by working through it out loud as many times as you need to so that you don’t just know the words but are deeply connected to the character and to the pursuit of what they want. 

How do I perform a monologue in an audition setting?

• First introduce yourself, the name of the piece that you will be performing in the character you’ll be performing. For example, “Hello, my name is Carrie Winship and today I will be performing a monologue from Hamlet by William Shakespeare, playing the part of Polonius.”
• Next, take a moment to transition to finding a focal point that is not directly at the director. This is the imagined other person. Take a moment to respond to that imagined other, then speak the first line of the monologue.
• At the end of the monologue take a moment to see the impact this had on the imagined other character. Then transition back to looking at the director and end with a simple “Thank you.”
• The director may ask you questions or to explore the monologue again with a new piece of direction.

How do I perform a monologue on Zoom?

• For a performance on zoom, the focal point for the person you were talking to should be just to the left or just to the right of the camera. Don’t put them to far off screen so that the directors can still see your face. 
• There are several technical aspects to consider when preparing your audition on zoom as well. They include:

• Lighting - Lighting should come from the front of you, not behind you. Natural light, at least in part, is best. There should be enough light so you are seen, but not so much light that you are washed out. 
• Background - The background should be as neutral or plain as possible. Limit distractions. 
• Framing - You should be standing during the audition. The camera should be about eye level with you. The distance between you and the camera should be such that the frame starts just below your armpits at the bottom and a few inches above your head at the top.   

For a video tutorial one best practices for "self tapes" check out this video. 

How do I dress for an audition? 

Dress professionally, but with the ability to move comfortably.  

 

Do you have questions about the process? 

Please contact Professor Miller (dmiller at bloomu.edu).

 

Professor David A. Miller teaches acting, directing, and playwriting at Bloomsburg University. He regularly directs productions for BU Players (Everybody, The Arsonists, Macbeth, The Nosemakers Apprentice: Chronicles of a Plastic Surgeon) and professionally (Amphibian Stage Productions, The Artful Conspirators). 

How does an actor find the right monologue for an audition? (Auditioning, Part III)

This is the next post in a series about auditioning. (Read the series.) In this installment we ask Professor David A. Miller—who teaches all levels of acting at BU and will direct this spring’s production of Harvey—about where actors find great monologues for auditions.

When asked to participate in the general audition for a season of plays, actors are often asked to prepare one or two monologues. In the previous post on monologues, we explored what a monologue is and how to prepare it for an audition. In this post we will go further into how to find a great monologue.

Where do actors find monologues? 

1. The best place to find great monologues is in great plays! Read lots of them. Start with your favorite playwright. Read their plays and be on the lookout for great monologues. See plays and listen for those great monologues, then get a copy of that play to read it.

2. Another helpful resource for finding monologues is books of monologues from plays. That's right, others have done some preliminary research for you. The editors of these books Have read a lot of great plays and have compiled monologues for you. One of my favorite series of monologue books is In Performance: Contemporary Monologues for Men and Women Late Teens-20sby JV Mercanti.  Not only are there fantastic monologues from new plays, but Mr. Mercanti is a smart director, casting director and acting coach who includes helpful tips on auditioning and questions about the plays for actors to answer on their own. 

If you are a current university student, there are many monologue books on 2-hour reserve at the circulation desk of the Andruss Library. These include the aforementioned In Performance series. Also on reserve are specialized monologue books such as Playwrights’ Center Monologues for Men, Playwrights’ Center Monologues for Women, and Monologues for Actors of Color (an electronic book, so students can access if from any computer). To see the full list, go to http://guides.library.bloomu.edu/HarveyAndrussLibrary, click on the “Find” tab, click on Reserve Readings (on the left side of the page) and select Miller, David / Theatre / Theatre 112: Fundamentals of Acting.

3. Another great resource for finding monologues is your fellow actors. In your search for monologues, you are going to come across monologues that are great but not right for you. You may wish to swap these monologues with other actors.

Is there anything I should avoid?

Avoid any monologue that comes from a book of monologues written simply to be audition monologues. They don't tend to be as rich as those from a full length play. Also, it’s recommended that you avoid any monologue that comes from the internet and not from a published play. There are potentially some good ones out there, but it’s more likely to be found through more reputable sources.

How do actors find monologues tailored to a specific audition? 

If you are auditioning for a specific play, as opposed to a general audition for a season or festival of plays, you may be asked to prepare a piece by Shakespeare, or a verse selection or something that is aligned with the play. Generally, it is not recommended to do a monologue from the play itself. Instead, you might choose something similar to that play.

If you are auditioning for Harvey by Mary Chase, for example, you might do some research about the play itself then select a monologue that seems similar to the world of that play. The first thing to do is to read the play. By reading the play you will learn that Harvey is a comedy, but it’s a specific type of comedy. It’s not a farce, for example. You may want to find a monologue that showcases your comic sensibilities.  

Harvey was written and is set in the 1940s. You may consider finding a monologue from a play from that era. Harvey won the Pulitzer Prize in 1945. The year before the winner was The Skin of Our Teeth, a fantastic play by Thornton Wilder. Another comedy of the era, You Can't Take It With You by Kaufman and Hart, won in 1937. (A list of other Pulitzer winners.) These plays are examples of great comedies from the era that might have great audition monologues in them. Other playwrights from the era include Lillian Hellman, Arthur Miller and Maxwell Anderson.

Professor David A. Miller teaches acting, directing, devised theatre, and playwriting at Bloomsburg University. He regularly directs productions for BU Players (Macbeth, The Nosemakers Apprentice: Chronicles of a Plastic Surgeon) and professionally (Amphibian Stage Productions, The Artful Conspirators). 

How to arm yourself for a musical theatre audition

In this installment, we ask Professor Julie D. Petry, MFA—who teaches all dance courses offered at BU, in addition to teaching Voice and Movement for the stage, about how to successfully audition for a musical theatre show.  Julie will choreograph this fall's production of The Rocky Horror Show, and serves each spring as the Artistic Director for the annual Dance Minor Concert.

How does one prepare for a Musical Theatre audition?

Most of the same rules apply when auditioning for a musical that would apply if you were auditioning for a play.  For example, you should know the show’s plot (if it isn’t a brand new one), be aware of the roles that fit your playable range (both physical type and vocal range), and know if the show requires you to dance, use a dialect, play an instrument, or anything else you can learn about it in advance.  You should be prepared to sing, act and dance! If you don’t have dance training, get some.  If you don’t have vocal lessons in your history, start training immediately.  The competition in regional theatres across the US is strong.  There are many triple threats in the world.  What is a triple threat?  It means there are many fellow artists who have trained in all three areas their whole life.  So….to be your best self, you should strengthen yourself in all three areas.  And, lastly, (of course) plan to bring an updated headshot and resume that reflects both the musicals and plays you’ve performed in, as well as the performance training you’ve had in acting, singing and dancing. 

Always prepare both a song book and a monologue book:

One should always have a broad selection of rehearsed pieces collected in a binder that you know fit your vocal range and playable type.  Just like you want to have an arsenal of monologues ranging from classical to comedic to contemporary, you want to have an arsenal of musical theatre repertoire that covers up-tempos, ballads, classical pieces, country, holiday tunes, and rock/pop selections.  This will prepare you for any type of show.  Additionally, you should have both shorter and longer versions of all of your audition material.  For example, have 16 bars of every type of song in your arsenal, but also have a version that is 24 to 32 bars long.  Further, it is best to know the whole song you are presenting that day in case you are asked to keep going. Do note, however, in every musical audition you may well be cut off in the middle of your song if you provide more than was originally requested, so only initially plan to sing whatever the audition calls for. Mainly, you just want to have several options at the ready.  It is quite common a director may ask you to sing another type of selection, or to hear a bit more of the piece you’ve chosen, if they want to gauge your flexibility, vocal range, and/or preparedness.

What part of the song should I choose for my cut?

Recently, my artist friend was asked to sing 8 bars, and 8 bars only, during her NYC equity audition.  Terrifically, she was offered the part. This is because the 8 bars she chose were carefully selected to showcase the highlights of her voice.  Her amazing range, pitch-perfect ear, powerful use of breath-control, and her acting techniques were all sized up that quickly by the auditioning team, who saw hundreds of performers that day. The golden rule, anything that comes out of your mouth needs to be your absolute best work.  Don’t sing a note that is sometimes shaky.  Don’t pick something that is new and that you haven’t already rehearsed a hundred times. And, definitely absolutely do not pick something because it sounds great when your friend sings it, or it sounds amazing on the cast recording.  You need to pick what fits your voice, and your voice alone.  If you are a character performer, show that.  If you are a soprano who hits high A’s, show that!  Figure out what your personal vocal/acting strengths are and work to showcase them.  And, remember, to finish strong.  In musical auditions, the directors are looking for “the money note”. That’s an extra special moment that will wow everyone.  This may mean the way you growl on some special word, hold out a note a bit longer than usual, or belt out your final phrase with such energy that you become unforgettable after they hear the next 50 people.  You want to leave a lasting impression on everyone in the room.

Should I prepare the song like a monologue?

YES! You should understand your given circumstances, experience “the moment before”, a final moment of resolution, know who you’re singing to in the song, know how this piece fits in the character’s journey within the show, and be able to introduce the piece like you would a monologue. i.e. “Today I’ll be singing ‘Far From the Home I Love’ from Fiddler.” Once you have introduced the piece, nod to the accompanist to start.  As soon as you hear one note, you should immediately be in character.  If there is music following your last word, remain in character until the music ends, and even a slight beat thereafter.

Can I sing from the show?

You should definitely pick something in the style of the show, but avoid songs from the show unless it states in the audition call this is acceptable.  They don’t want to hear the same pieces all day.  Also, keep in mind they need to know your vocal range.  Be prepared to answer, “I am a mezzo soprano, and can sing from a low G to a high G” (for example). If you don’t know your vocal range and type, you should find a private vocal coach and take some lessons.  You will learn exercises to develop your range, and understand your vocal potential much faster this way.

What is a Cattle Call and how do I survive one?

Following your singing audition, you may be lucky enough to be asked to stay and dance. You should always approach this with positivity, regardless of your background training.  During a dance call, you will likely dance with several people around you, watching you.  Possibly, there will be so many individuals, it will fill the room and you won’t have much space to move.  This is known as a cattle call.  Sometimes, this can make it challenging to pick up the movement material being given/demonstrated by the choreographer, as space is limited and, therefore, so is sight.  However, stay focused, and move to another area if you can see better.   Avoid getting lost in the mirror watching others, or counting in your head.  Rather, assign names to the steps you are being shown, so you can memorize them quickly.  Example: Kick, kick, drop, jump, kick, turn.  The choreographer may shout out words like the above, or right/left, and/or counts.  However, to memorize, stick with names, or you will forget what “one, two, three” was by the time you learn “eight, nine, ten.”  Eventually, once everyone learns the material, you will break down into smaller groups to perform for the Director/Choreographer.  Do not try to hide in the back.  Just do your best with what you’ve got.  If there are stronger dancers in the room, oh well.  See it with humor and stay focused on doing your best work.  And, absolutely make sure you are wearing something that shows the lines of your body.  Form fitted attire that is meant for movement.  (Purchase some actual dance wear/athletic wear). If you are singing first, you can either plan to change in between calls, or layer dancewear underneath your preferred singing attire.  

For more information about BU Players auditions, which are open to all Bloomsburg University students, visit http://bloomu.edu/buplayers-auditions.

How does an actor select & prepare a monologue? (Auditioning, Part II)

This is the second post in a series about auditioning. (Read the series.) In this installment we ask Professor David A. Miller—who teaches all levels of acting at BU and will direct this fall's production of Neighborhood 3: Requisition of Doom—five questions about monologues. 

What is a monologue?

In contrast to "dialogue" which is two people speaking, monologue is one person speaking for sustained amount of time. As Joanne Merlin defines it in Auditioning, "A monologue may be a soliloquy in which the character speaks to himself, or it may be a speech take from a scene in which the character addresses another character at length and without interruption, although the other character is not physically present and must be imagined by the actor."

Here is an example of monologue from The Drunken City by Adam Bock, one of the monologues found in In Performance by JV Mercanti (the paragraph breaks are the playwright’s):

MARNIE

I'm not kissing you in a church. I got more important things to figure out. Be serious.

You gotta help me figure this out. Please?

I wanted the wedding. Because it's gonna be a gorgeous wedding. I'm gonna wear my Mom's wedding dress.

It's from 1910 and her Mom wore it

and her mom's mom wore it

and it's satin with inlaid pearls, well not inlaid pearls, that's not the word I'm, and I remember when I was a tiny little girl I remember thinking “I’m gonna wear that dress" because it's the most, it's gorgeous and I'm gonna get to be looked at, I'm gonna,

Gary was just a prop. He was. He was just

And I knew he wanted me to say yes, so I did. I just

I kept lying

And then, worse, Frank, worse, he suddenly changed on me.

He started acting like a husband. How he thinks a husband is, the world's dangerous and he has to protect me and that means I have to listen to him and he's gonna tell me what to do and I'm gonna have to act like he tells me. He's gonna be like his Dad. But his Mom's this little mousy woman who never says Boo.

And I'm not gonna be her.

Uh uh.

But I just don't know what to say to Gary.

I want to tell him the truth. I do.

It's good you brought me here. I'm gonna need some help doing all th.is. Will you wait for me? I'm gonna go sit and be quiet for a minute. You're so sweet. I wish I'd met you before I met Gary.

How does an actor select a monologue for an audition?

Some auditions with ask that you prepare a monologue. Or two. For a "general audition" often times actors are asked to prepare "two contrasting monologues" lasting a certain amount of time, from two to five minutes depending on the audition. A great starting point for all actors is to have a contemporary monologue (As opposed to classical such as Shakespeare or the Greeks) that is 1 to 2 minutes long and is in the actors age range (The range of ages that you would be most likely to play on stage). As you move further along in your acting career, you will build up a full set of monologues—an arsenal—that will have a variety of types for each type of audition,, such as a dramatic classical piece, a comic classical piece, a dramatic contemporary, a comic contemporary, an off the beaten track monologue, a song, etc.

How does an actor prepare a monologue?

The first thing to do with any monologue is to make sure that you read the play. And read it more than once. In order to understand, the given circumstances of who, where, when of the play and of the monologue itself. The next step is to determine the specifics of the monologue. I really love starting with Michael Shurtleff’s “guideposts” which he lays out in his book Audition:

• Relationship. Who are you talking to? And what is specific about that relationship? A mother-daughter relationship is factual, but it's not enough. What kind of relationship, is it strained or healthy, etc.?
• Conflict. “What are you fighting for?” Shurtleff asks. What is it that you need from that other person and what is it that makes it urgent? Why do you need it right now?
• The Moment Before. What happens to you before the monologue begins that propels you into this monologue? There's a reason that you begin speaking and the reason comes from that other person. What is it that they say or do that you are responding to? And what is it in your backstory is a character that fuels your need at this very moment?

How does an actor best perform a monologue?

Before the monologue begins, you will introduce yourself and the piece you will be performing today (the name of the play and playwright, as well as the character if appropriate). And be sure to take a moment before the monologue begins to make a clear break between you and you as the character. It does not need to be long—in fact, it should not be too long, but it should distinguish you from the character. Then, as the character, your focus should be above and beyond the director, casting director, or whoever else is in the room so that you are delivering the monologue to the imagined other character and not to them. Similar to the beginning of the monologue, make sure that you complete the moment after the monologue. Imagine that final response from the other person. Did you get what you want? Did you fail? Take that moment after, then take a moment to return to being yourself. And say thank you. The director then may have something to say to you or they may not. They may sell simply think you and your audition is done with the director might work with you on your monologue or ask you questions about your experience in theater.

Any tips for performing a monologue? Do's and do not's?

Don't use my monologues that are gratuitous in anyway—that indulge in violence or profanity or general anger. And make sure to put that focal point—where are you are seeing the other character—above and beyond the director. Don't perform as if the director is the other character. They are not they are not your mother or lover or whoever it is you're talking to.  And don't stand too close to the director. It gets real creepy when someone is right in front of you. The director wants to be able to take notes and not feel that you are reading their paper.

Professor David A. Miller teaches acting, directing, devised theatre, and playwriting at Bloomsburg University. He regularly directs productions for BU Players (Macbeth, The Nosemakers Apprentice: Chronicles of a Plastic Surgeon) and professionally (Amphibian Stage Productions, The Artful Conspirators).