NotaPushyMum.Com

Hi
I am auditioning for drama schools this year, I am 18 and so far already had one at bristol old vic which I can safely say was the worst audition I have ever done.
I Am in my last year of a levels and just had my mocks all of this week which was unfortunate as it was right before two auditions (my nyt casting audition and bristol). So consequently I didn't have that much time to prepare for my audition for bristol (my nyt I did a monologue I had been rehearsing since October but it was violas ring speech and I thought this was too overdone for a drama school audition). So for bristol, I chose to do Rosalind's speech from as you like it "and why I pray you who might be your mother?" and Beryl's speech from confusions (a talk in the park) by Alan Ayckbourn. I basically only finished learning them the day before my audition which was yesterday and I would say I knew them well enough but I felt like every time I went through it in my head I was focusing more on what line was next as opposed to the acting. I have guildhall on Tuesday and we have to prepare three speeches, one classical one modern and one other contrasting of your choice. I don't have time to learn new ones so I am going to have to do rosalind and the one from confusions which I will have learnt properly by then, but for my third one which they might not ask for I don't know, I really want to do viola because I know it like the back of my hand and it perfectly contrasts the other two. The problem is I am worried about doing Rosalind AND viola because both are on the list for Central which I am also auditioning for, and it's recommended not to do ones from this list for other drama schools because they see it as "lazy".
The thing is though, I have looked at pretty much every Shakespeare play and I honestly cannot find two monologues that I feel suit me and contrast as well as the ones of centrals list. Also I am not choosing to do BOTH viola and rosalind for Central anyway because there is another one on centrals list that I will do for my 2nd piece (my first being viola) and that is Portia from Julius Caesar "you have ungently Brutus..". So really I am not doing exactly the same audition pieces for centr as I am for the other drama schools, but do you think it will be ok if I do two on the list for my classical monologues at the other drama schools? I don't have time to relearn any for guildhall but RADA will be ages away so if it's really a problem I can change for then. I do have two other monologues memorised that are not on centrals list - Helena from midsummers "lo she is one of this confederacy" which I used to audition successfully for the nyt. The problem is I have been told I am more of a hermia as I have dark hair and am not tall enough to be Helena... So I decided against doing that one. I also know hero from much ado but I felt like the character didn't have enough personality for me to fully get into the role.
The reason why I like rosalind and viola is because they have depth, I don't always like playing the typical female heiress like Olivia or Beatrice etc. but actually thinking about it, although their monologues and objectives differ, viola and rosalind at the time of saying their monologues are both in disguise as men... So would that mean they are not contrasting? Sorry this is quite long but it's my first time auditioning and I am worried...
Also on a different note if a monologue has specific props involved like the ring for viola and in my modern one beryl is reading a letter, should I mime the prop or use the actual objects? Also my beryl monologue is delivered sitting on a bench so I would need to sit down for it, do you think that will be held against me?
I really would appreciate the comments.
Thank you!

Hi there!

The most important thing about monologues is that you feel a connection to them - and that they do suit you.

It is true that choosing the monologues on the Central list for other drama schools might be interpreted as lazy. However, ds did one on Central's list for one of his Shakespeare for his RADA audition in the first round and was offered a place (eventually - after 4 rounds!) - so it's not something that will automatically mean they dismiss you. I think it would be foolhardy to go with two from Central's list for other schools though - with nothing else to offer. It doesn't matter that you have them both in your repertoire - but you definitely need to have at least one you can pull out of the bag that isn't from that list - so that you can disprove/refute the "too lazy" accusation if they make it. You can explain why you have chosen the ones you have - the connection you feel etc - if challenged.

I agree that it is probably too late to do the work to learn new ones for Guildhall - so if I were you I would have the Helena speech prepared if you know it well. It's quite different in style from either the Rosalind or Viola speeches. Hair colour doesn't matter one iota - and the height issue is all a question of comparison to Hermia, and as she isn't there at the audition I don't think it would worry the panel!

If you do want to consider some less well-known Shakespeare speeches then Simon Dunmore has published a useful book of lesser known Shakespearean speeches (one for men, one for women) which might be worth a look at for future auditions. I particularly like the Joan la Pucelle one from Henry VI part 1. She is certainly has plenty of character! One of her speeches in the book has a really strong "need" to convince - which makes it quite compelling for an audition.

There's no getting away from the fact that the panels will have seen the speeches you have chosen many, many times - but that doesn't mean you can't make a good impression with them. Something different can be refreshing - but the something different still needs to be something you can feel a strong connection to. I would never advise choosing something unusual just for the sake of being unusual. Something a bit different that you love and that suits you is the perfect combination - but being right for you trumps being different.

Certainly don't worry about sitting down for the Beryl speech - that's not a problem at all. Just claim a chair from somewhere and use it. You can take props like a letter or ring if you wish - you could equally well do the speeches without them. They are both so small that they will not detract. I would generally advise against using props any more complicated than a single, simple hand-held prop. I've seen people bring in things like cups and saucers - even a full tea service - and that kind of thing really isn't necessary and makes auditionees look a bit foolish in my opinion. I would also always advise doing without a cigarette for a prop (not that this applies to you - but as a general rule). Take care that neither prop becomes the focus of your attention - that can be a big danger in an audition. Don't keep referring to the letter in a physical way. It's important that any prop is a "property" not a prop that becomes something to "prop you up" like a crutch.

Wishing you all the very best with your future auditions!

Thank you soooo much for your reply!!!! You have made me feel a lot better about my auditions! I think I will do rosalind for my main Shakespeare and Helena for my second for guildhall. I might by that book actually and have a look before my RADA audition! And I completely agree there is no point being unusual for the sake of it. It was just unfortunate that most of the speeches I like are on the central list.

And regarding props the ring is easy for me to mime because I literally pick it up at the start and mine putting it on my own finger after the second line and don't go back to it. Having said that I could just wear a ring on the day and use it. The beryl one is a little more difficult to mime a letter because when I hold it in two hands it keeps changing size as my hands move.. Hmm I will have to think about that!

But thank you so much for your reply!!

I think it's fine to have a piece of paper/letter if you find it helpful - the panel might well consider it sensible as it's such an easy thing to bring along - just be aware that an auditioner's eyes (indeed, an audience's eyes) get irresistibly drawn to props that someone is using. You don't want them to be looking at the letter rather than you! I know the speech you mean - but not intimately - so I can't give precise ideas/advice, but it would probably be worth working out whether you can put it away during the speech. i.e. you have established the fact that you have a letter - but you may not have to "present it as evidence" throughout the speech if you know what I mean.

Although I know this is really difficult advice to follow: try not to overthink your audition speeches - certainly don't worry about things like the accuracy of any mime (though if taking a piece of paper helps you to stop worrying, then take it! ) They are looking for potential. Just do your best to go and "be" that person in those circumstances and fly with it. One thing that is to be avoided is trying to work out what the audition panel are making of it - you need to avoid "observing yourself". Once you have embarked on the speech you have to be in a different world.

They are not looking for perfection - but I think they will be looking for immersion.

All the best!

My DD dod Lady Ane from R III for some of her drama school auditions, so that is another one to look at - not sure what its called but its basically over her husbands dead body. And lady Anne was young so age is OK.

Hope they go well. My DD didn't get in her first year of trying and I think part of the reason like you was not having enough time to devote to preparation. She had a gap year and worked and had 3 offers the second time around.

Also you say you are applying to Cenral (where my DD went) - they do a lot of unconventional re directing there so be prepared . The first year my DDwasn't and found the re direct off putting. The second year she knew what to expect. hey don't do it for everyone but I think they thought my DD might be "safe" and wanted to take her right out of her comfort zone. However it may not happen to you

Break a leg x