Auditioning for a Straight Play

1. For the audition you need to bring a filled out Audition Form (get from Mrs. Lynch’s classroom) and a 30 sec. comedic monologue.
2. Need a monologue? Here are some tips on finding a great monologue.
   • Don’t do a monologue from the show. (Know where your monologue comes from.)
   • Find another monologue from a comedic play. Or google comedic playwrights. Then google monologues by those playwrights. It takes times to find good monologues. You may have to search for longer than ten minutes.
   • DO NOT just google comedic monologues. Lynch has heard these monologues numerous times. You want something more unique.
   • Know the character you are playing. Or at least make firm choices on character. Remember that is one of the main things I am looking for … I need to know you can act. Pick a character that fits you.
3. Tips on how to prepare:
   • Memorize your monologue, the author of the monologue, the play/ movie your monologue is from and the name of the character you are portraying.
   • Practice cold readings by reading children books aloud. Add character, voices and personality to your readings.
   • Practice in front of the mirror, in front of your family, and your friends. Practice, practice, practice. The more you practice the less likely you are to forget your lines.
   • Practice being loud. Project. I need to be able to hear you. One of the best ways of doing this is singing loudly in your car or while you get ready for the day. Don’t hurt your voice though.
   • Stretch and relax. Don’t panic. The worst that can happen is you don’t make it into this show. We are putting on several shows this year so try out again! And try out stage crew!

Auditioning for a Musical

1. Be yourself. (Don’t try to be anyone else. Be the vegetable you are.)
2. Be Kind and Friendly. (Do not be a diva. Build up other auditionees, be polite to the accompanist and directing staff- this includes student directors and stage managers.) Smile and have a good time. Pretend audition is fun and not terrifying.
3. Dress Appropriately. (No costumes, no pajamas, no prom dress. Same color and hair for call backs.)
4. Be focused, on time, quiet while others are auditioning and respectful.
5. Directors know that you are nervous. Be kind to yourself.
6. Singing:
   • If you mess up … Just keep going.
   • Pick a song that is right for your voice, matches the show and allows you to have character.
   • Be LOUD. Loud is better than pretty.
   • Be kind to the accompanist.
   • Don’t sing A Capella or with tracks that have vocals.
   • Never announce you are sick.
   • Be careful about using overdone audition pieces. Never sing “Adelaide’s Lament” from Guys and Dolls for a Lynch production.
   • Do not add choreography. Think TRIANGLE.
7. Dancing:
   • Pay attention.
   • Notice right and left.
   • If there are words in the song pay attention to them. Again have character.
   • Smile … look like you are having fun.
   • Mess up … Keep going. Don’t just stand there.
   • Practice as much as you can.
   • Don’t talk while the instructor teaches you.
   • Be sharp in your movements. Don’t half do it.
8. Cold Readings:
   • Practice at home. (Reading Childrens’ book help.)
   • Research a good monologue. Don’t just pick the first one you find and stop looking. Give yourself a choice. I don’t recommend writing a monologue. I have only seen it succeed twice.
   • Make a character choice and go with it.
   • It’s okay if your hands are shaking. It happens.
9. Take the opportunity to act/sing/dance as much as you can. Let the director see you. You may get a part you never thought of.
10. Don’t make it in? Participate in back stage help and/or Audition again. Even if you don’t get the part you want/ or a part in the show. You won’t always make it in. It’s the difficult truth in theatre. But learn from each experience. Remember rejection makes you stronger if you let it.
11. Note that decisions are never personal. Most of the time several people can play the part of the Director has a certain look/personality in mind. You may be the best carrot in the world but the director is looking for Asparagus.
12. Audition Form. Fill out completely. Read thoroughly. The audition form and your resume are places you can and should brag about what you have done.

Female Musical Numbers

Female: Dramatic or Somber

• Is It Really Me? (110 in the Shade)
• Easy as Life (Aida)
• Maybe (Annie)
• Home (Beauty and the Beast)
• The Party’s Over (Bells Are Ringing)
• I Don’t Need a Roof (Big Fish)
• Dyin’ Ain’t So Bad (Bonnie and Clyde)
• Falling in Love with Love (The Boys From Syracuse)
• Almost Real (Bridges of Madison County)
• At Last (Bright Star)
• If I Loved You (Carousel)
• Fly, Fly Away (Catch Me if You Can)
• This Man (Chaplin)
• Lonely Man (Chitty Chitty Bang Bang)
• Requiem (Dear Evan Hansen)
• So Big, So Small (Dear Evan Hansen)
• Pretty Funny (Dogfight)
• All That Matters (Finding Neverland)
• Love, Look Away (Flower Drum Song)
• With You (Ghost)
• Something Wonderful (The King and I)
• We Kiss in a Shadow (The King and I)
• So in Love (Kiss Me Kate)
• Audition: The Fools Who Dream (La La Land)
• This is My House (Matilda the Musical)
• I’d Give My Life For You (Miss Saigon)
• Moonfall (The Mystery of Edwin Drood)
• No One Else (Natasha, Pierre and the Great Comet of 1812)
• As Long As He Needs Me (Oliver)
• Rags (Rags: The Musical)
• Your Daddy’s Son (Ragtime)
• I’ll Be Seeing You (Right This Way)
• When I Look at You (Scarlet Pimpernel)
• How Could I Ever Know (The Secret Garden)
• Shine (Spitfire Grill)
• Wild Bird (Spitfire Grill)
• With One Look (Sunset Boulevard)
• She Used to Be Mine (Waitress)

Female: Upbeat or Comedic

• He Plays the Violin (1776)
• Another World (A Little Princess)
• Live Out Loud (A Little Princess)
• One Normal Night (The Addams Family)
• Pulled (The Addams Family)
• Journey to the Past (Anastasia)
• I Got the Sun in the Morning (Annie Get Your Gun)
• How About a Dance (Bonnie and Clyde)
• Waitin’ For My Dearie (Brigadoon)
• If You Knew My Story (Bright Star)
• The Simple Joys of Maidenhood (Camelot)
• Glitter and Be Gay (Candide)
• Mister Snow (Carousel)
• Toot Sweet (Chitty Chitty Bang Bang)
• Impossible (Cinderella)
• The Secret of Happiness (Daddy Long Legs)
• Do I Hear a Waltz? (Do I Hear a Waltz?)
• Nothing Short of Wonderful (Dogfight)
• Show Off (Drowsy Chaperone)
• If I Were a Bell (Guys and Dolls)
• So Long Dearie (Hello Dolly!)
• Baubles Bangles (Kismet)
• Goodbye Until Tomorrow (The Last Five Years)
• The Light in the Piazza (The Light in the Piazza)
• The Trolley Song (Meet Me in St. Louis)
• Goodnight My Someone (The Music Man)
• Show Me! (My Fair Lady)
• Without You (My Fair Lady)
• He Wasn’t You (On a Clear Day You Can See Forever)
• Shy (Once Upon a Mattress)
• I’m Not At All in Love (The Pajama Game)
• Kind of Woman (Pippin)
• Poor Wandering One (The Pirates of Penzance)
• Little Bit in Love (Wonderful Town)
• Wonderful Day (Seven Brides for Seven Brothers)
• Vanilla Ice Cream (She Loves Me)
• All I Do is Dream of You (Singing in the Rain)
• Right Hand Man (Something Rotten)
• I Have Confidence (Sound of Music)
• A Wonderful Guy (South Pacific)
• Green Finch (Sweeney Todd)

Male Musical Numbers

Male: Dramatic or Somber

• Another Hot Day (110 in the Shade)
• Not Today (The Addams Family)
• Happy Sad (The Addams Family)
• S’Wonderful S’Marvelous (An American in Paris)
• They Say It’s Wonderful (Annie Get Your Gun)
• The First Man You Remember (Aspects of Love)
• If I Can’t Love Her (Beauty and the Beast)
• One Second and a Million Miles (Bridges of Madison County)
• Wondering (Bridges of Madison County)
• Almost Like Being In Love (Brigadoon)
• Come to Me, Bend to Me (Brigadoon)
• Heartbreaker (Bright Star)
• If Ever I Would Leave You (Camelot)
• If I Loved You (Carousel)
• Being Alive (Company)
• For Forever (Dear Evan Hansen)
• Waving Through a Window (Dear Evan Hansen)
• Neverland (Finding Neverland)
• Stronger (Finding Neverland)
• Out There (The Hunchback of Notre Dame)
• Giants in the Sky (Into the Woods)
• We Kiss in a Shadow (The King and I)
• Stranger in Paradise (Kismet)
• The Impossible Dream (Man of La Mancha)
• Hey There (The Pajama Game)
• Corner in the Sky (Pippin)
• She Was There! (The Scarlet Pimpernel)
• A Bit of Earth (Secret Garden)
• When You’re in Love (Seven Brides for Seven Brothers)
• Ol’ Man River (Showboat)
• Johanna (Sweeny Todd)
• (You’re a Good Man Charlie Brown)

Male: Upbeat or Comedic

• Love, I Hear (A Funny Thing Happened On The Way to the Forum)
• One Normal Night (The Addams Family)
• My Defenses Are Down (Annie Get Your Gun)
• It’s De Lovely (Anything Goes)
• Me (Beauty and the Beast)
• Muddy Water (Big River)
• Put On a Happy Face (Bye Bye Birdie)
• Once Upon a Time Today (Call Me Madam)
• Camelot (Camelot)
• Live in Living Color (Catch Me If You Can)
• Toot Sweet (Chitty Chitty Bang Bang)
• Ten Minutes Ago (Cinderella)
• I Miss the Music (Curtains)
• Near To You (Damn Yankees)
• Anyone Would Love You (Destry Rides Again)
• Miracle of Miracles (Fiddler on the Roof)
• Me and My Gal (For Me and My Gal)
• Can’t Take My Eyes Off of You (Jersey Boys)
• Suddenly Seymour (Little Shop of Horrors)
• Mamé (Mame)
• Leaning on a Lamp Post (Me and My Gal)
• Seize the Day (Newsies)
• Oh, What a Beautiful Morning (Oklahoma)
• Lucky To Be Me (On the Town)
• I am Pirate King (Pirates of Penzance)
• Where’s the Girl (Scarlet Pimpernel)
• She Loves Me (She Loves Me)
• Bottom’s Gonna Be on Top (Something Rotten)
• There is Nothing Like a Dame (South Pacific)
•  What Do I Need With Love (Thoroughly Modern Millie)
• When She Smiles (Lysistrata Jones)

Looking for a monologue? Here are some Lynch tips. 

1. Be willing to do some research to find the perfect monologue for you. Don't just google monologues. You'll just get the over done ones. 
2. Know your show. Read up on it. Even sparknote it. Find out what character you are interested in and ten find a monologue that shows you can do that character. Know the plot and general feel of the play. Is it comedic? Dramatic? Maybe a bit of both? What time period was it written? Is it classical or contemporary? 
3. Let's say the show you are doing is comedic. My first suggestion after you research the show is to google monologues from plays by the same author. (Do NOT do a monologue from the show you are auditioning for.) 
4. If #3 doesn't find you a good match google "comedic (classical or contemporary) playwrights" and then google monologues from them. 
5. If #3 and #4 haven't found you your soulmate audition piece then feel free to find a movie monologue. 
6. Do not just choose the first monologue you read. It may end up being the right one but you want to make sure you have found the piece that highlights your talent. Just like you wouldn't pick the first song you googled for a musical audition (because you may not be able to sing it very well depending on your range) it is the same with monologues. 
7. I don't suggest writing the monologues. I have only seen it work like twice in my whole career. 
8. Know the play and playwright your monologue is from. Know what character you are playing. 
9. Practice your monologue. Time yourself. Cut the monologue down if you need to. Really get into the character. Don't just say the words. Please edit any profanity for your audition. 
10. Places with good monologues: stageagent.com and backstage.com

Here are some example monologues: 

• Arms and the Man: Raina
  • What will he care for my poor little worship after after the acclamations of a whole army of heroes? But no matter: I am so happy -- so proud! It proves that all our ideas were real after all. Our ideas of what Sergius would do -- our patriotism -- our heroic ideals. Oh, what faithless little creatures girls are! -- I sometimes used to doubt whether they were anything but dreams. When I buckled on Sergius’ sword he looked so noble: it was treason to think of disillusion or humiliation or failure. And yet -- and yet -- Promise me you’ll never tell him. Well, it came into my head just as he was holding me in his arms and looking into my eyes, that perhaps we only had our heroic ideas because we are so fond of reading Byron and Pushkin, and because we were so delighted with the opera that season in Bucharest. Real life is so seldom like that -- indeed never, as far as I knew it then. Only think, mother, I doubted him: I wondered whether all his heroic qualities and his soldiership might not prove mere imagination when he went into a real battle. I had an uneasy fear that he might cut a poor figure there beside all those clever Russian officers. Yes, I was only a prosaic little coward. Oh, to think that it was all true -- that Sergius is just as splendid and noble as he looks -- that the world is really a glorious world for women who can see it’s glory and men who can act its romance! What happiness! What unspeakable fulfillment!
  • Shaw, George Bernard. Plays by George Bernard Shaw. Penguin Group Inc, New York, NY. 2004. pp. 103 - 104.
• As You Like It: Phoebe

Think not I love him, though I ask for him.

'Tis but a peevish boy; yet he talks well;

But what care I for words? yet words do well,

When he that speaks them pleases those that hear.

It is a pretty youth: not very pretty:

But, sure, he's proud; and yet his pride becomes him:

He'll make a proper man: the best thing in him

Is his complexion; and faster than his tongue

Did make offence his eye did heal it up.

He is not very tall; yet for his years he's tall:

His leg is but so so; and yet 'tis well:

There was a pretty redness in his lip,

A little riper and more lusty red

Than that mix'd in his cheek; 'twas just the difference

Betwixt the constant red and mingled damask.

There be some women, Silvius, had they mark'd him

In parcels as I did, would have gone near

To fall in love with him; but, for my part,

I love him not nor hate him not; and yet

Have more cause to hate him than to love him:

For what had he to do to chide at me?

He said mine eyes were black and my hair black;

And, now I am remember'd, scorn'd at me.

I marvel why I answer'd not again:

But that's all one; omittance is no quittance.

I'll write to him a very taunting letter,

And thou shalt bear it: wilt thou, Silvius?

William Shakespeare As You Like It Act 3, sc.5, ll.110-136

• Tartuffe: Tartuffe

Though pious, I am none the less a man; 
And when a man beholds your heavenly charms, 
The heart surrenders, and can think no more. 
I know such words seem strange, coming from me; 
But, madam, I’m no angel, after all; 
If you condemn my frankly made avowal 
You only have your charming self to blame. 
Soon as I saw your more than human beauty, 
You were thenceforth the sovereign of my soul; 
Sweetness ineffable was in your eyes, 
That took by storm my still resisting heart, 
And conquered everything, fasts, prayers, and tears, 
And turned my worship wholly to yourself. 
My looks, my sighs, have spoke a thousand times; 
Now, to express it all, my voice must speak. 

Moliere

• Blithe Spirit: Charles

(Softly) Ruth!--Elvira!--are you there? (A pause) Ruth!--Elvira!--I know darn well you’re there. (Another pause) I just want to tell you that I’m going away, so there’s no point in your hanging about any longer--I’m going a long way away--somewhere where I don’t believe you’ll be able to follow me--in spite of what Elvira said I don’t think spirits can travel over water. Is that quite clear, my darlings? You said in one of your more acid moments, Ruth, that I had been hag-ridden all my life! How right you were! But now I’m free, Ruth dear, not only of Mother and Elvira and Mrs. Winthrop-Llewellyn, but free of you too, and I should like to take this farewell opportunity of saying I’m enjoying it immensely--

Noel Coward