This article originally appeared in Backstage magazine’s August 8, 2008 issue.
THE CRAFT
Why You Should Choose Your Own Audition Material
BY KAREN KOHLHAAS
Because I teach monologue audition classes, actors frequently ask me to choose or suggest audition material for them. These requests come from current students and also through my website from actors I’ve never met. Either way, I’ve made it a policy never to choose material for actors, though I do give feedback on the choices of my students. I see enough actors each year that if I did choose their material, I’d quickly start repeating myself—and I’d only suggest monologues I like.
Showing your taste—what you like, within requirements—is part of your artistic statement in an audition. I believe that too often actors are put into passive roles in their careers. The choice of audition material is one area in which actors have control. Learning to choose a monologue well will empower you.
That said, I do recognize the need for information about how actors can pick effective audition material, so here are some tips and thoughts to consider. Many of these apply to finding monologues within plays, but I also recommend non-play sources. You can look at movies, fiction, speeches, letters, editorials, and off-beat humor writing from comedy books or publications like The Onion. Make sure the piece tells a clear story, sounds good when spoken out loud, and fits within the requirements of an audition.
First, there’s no substitute for regularly reading plays (as well as other sources of audition material). This will inspire you and put you back in touch with your desire to act. This is also why I think choosing material for actors robs them of discipline and enrichment, of the pleasure of reading, of developing their individuality and taste as artists. Reading excellent writing reminds you of the power of great stories—perhaps the reason you wanted to be an actor in the first place. When mainstream TV is your most regular exposure to writing and acting, it’s easy to lose that original inspiration. Try this: each day, read one scene or one act of a truly great play. It can be one you know or have always wanted to read. Notice how it affects your thinking about acting. The beauty of working on monologues is you can rehearse and perform that great writing today—you don’t have to wait for someone to cast you.
Second, look for monologues that are relatively newly written. In a survey I did (you can see the results at www.monologueaudition.com/overdone.htm), it was clear that monologues most done by male and female actors were written at least 20 years ago. This means fewer actors are bringing the newest writing into their auditions. I don’t mean that any new writing will do. It must be new writing that you love, that’s a good fit for you. Searching for these monologues is one of the most productive things you can do as an actor. It’ll be worth all of the time and energy because the result will allow you to stand out in auditions more frequently.
Think about it: If you were a theatre director, which actor would inspire you: the one bringing in the John Patrick Shanley monologue from 1984 that you’ve literally seen 250 times or the actor who can’t wait to show you a monologue from the new Brooke Berman play? (I have nothing against John Patrick Shanley. I love his writing, but his older monologues are super-overdone because they’re so good.)
Speaking of 1984, let’s face it: the 1980s are now “period.” We’re in a rapidly changing time. Many 1960s, ’70s, and ’80s pieces seem very dated now. For contemporary auditions, you’ll most often want to show yourself in today’s world. References to Richard Nixon, Kenny Rogers, Charles Manson, or Marilyn Monroe are going to take your audience back in time.
Opting In
Of course, the sheer volume of writing that’s out there can be intimidating. Instead of feeling like you have to read it all, put your focus on making your reading process fun.
For non-contemporary material, assess your knowledge of dramatic literature. Have you read many classic plays since high school or college? Pick up and read an anthology containing selected works from the Greeks to the 20th century. As you discover periods and styles that you connect to, branch out and explore the plays of the writers of a particular era. Even if most classical material doesn’t immediately appeal to you, give it a chance. Most contemporary playwrights have studied and are influenced by the classics. Knowing these plays gives you insight into structure, theatrical conventions, and references you wouldn’t otherwise know about.
And when you do discover a playwright whose work speaks to you, explore his or her whole body of work. See films made from the plays; watch documentaries on the playwright; read biographies, autobiographies, and articles. If you find a play that you particularly love, put together a reading of it. And of course, work on the playwright’s monologues that best suit you.
For contemporary material, there’s a lot you can do to get your hands on newly published scripts. Subscribe to American Theatre magazine, which publishes a new script in each issue as well as articles on productions of new plays across the nation and often around the world. You probably know there are many publishers of new plays—from the century-old veteran Samuel French (www.samuelfrench.com) to the more recent Playscripts (www.playscripts.com). The website www.doollee.com lists the complete works of published playwrights—an invaluable resource in finding lesser-known plays.
In New York City in particular, be sure to familiarize yourself with New Dramatists, the nonprofit devoted to new-play development that houses a library of members’ work open to the public. New Dramatists also hosts regular readings of plays (some public, some not) by active members and alumni. I often send students there to look for new audition material. The organization’s website, www.newdramatists.org, lists current and alumni playwrights and schedules of upcoming readings (join their email list to be notified).
When you engage in a constant search for material that appeals to you, you’ll develop a sense of “your” playwrights—the ones you have the most affinity for, the ones whose language, subjects, and characters you feel are closest to you. You may even find yourself deciding to produce a play you love yourself. My friend and colleague, teacher-coach Charles Tuthill, says actors should have “something to say about the world” as artists. He believes that when actors have something to say, they’re ready to audition.
Finally, if you’re looking to others to choose your monologues for you, you’re asking them to take on a risk that should really be yours. Given the stakes when you’re auditioning, that’s an understandable viewpoint. But now let’s turn it around. Contrast being that kind of auditioning actor with this one:
- You’re a well read, constantly reading actor who regularly works on monologues by writers of all eras that you’re passionate about.
- You note the requests of an audition, and research the industry people, schools, or companies holding it.
- You have an arsenal of monologues to choose from, and because you work on them regularly, you’re undaunted by rehearsing a new one when you need to.
- You choose material that best interacts with those holding the audition—your material supports you in showing how you might best work with them as an artist.
- You don’t work on monologues because you have to—you work on them because you’re an actor and therefore you love to.
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Karen Kohlhaas is a New York based theater director and filmmaker, a founding member of the Atlantic Theater Company, and a senior teacher at the Atlantic Acting School. She teaches private monologue, directing, and “Fearless Cold Reading & Audition Technique” classes in New York and other cities. She is the author of How to Choose a Monologue for Any Audition, The Monologue Audition: A Practical Guide for Actors, and The Monologue Audition Teacher's Manual, and is the director/writer/producer of The Monologue Audition Video (DVD), a 120-minute instructional DVD for actors, or anyone who wants to improve at public speaking and giving presentations, available at www.monologueaudition.com.
Copyright 2009 by Karen Kohlhaas
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