Audition FAQs & Resources

What do I need to do if I want to audition for a production?

To audition for one of LASA's productions with an open casting call, you just need to do a few things:

1. Fill out the application form to reserve an audition slot.

2. Prepare a monologue (for plays) or song (for musicals) prior to your audition time.

3. Show up on time for your audition and give your best performance.

How long should my monologue or song be?

Approximately one minute. It doesn't need to be 60 seconds on the dot, but it should be at least 45 seconds and no more than 75 seconds long. Going under or over length will negatively impact your audition.

60 seconds? What am I supposed to do with just 60 seconds?

You can do a lot in a minute. Remember, the goal in an effective audition isn't to tell a complete story, it's to craft a moment. You want to show the director and any other members of the audition committee what sort of energy and skill you will be able to bring to the larger production if they cast you. 

Put simply, your goal in an audition is to leave them wanting more, so choose a piece with one or two clear emotional or comedic beats, perform it cleanly, and let the director imagine what you could do if they set you loose on their play.

Do I need to memorize my piece?

Yes.

If I'm auditioning for a musical, do I get to use backing music?

Unless specifically instructed to do so, no, musical auditions are a cappella; both so we can focus exclusively on your performance, and so you can demonstrate your confidence and mastery of the piece.

What happens during the actual audition?

Before the audition date, you will get an email giving you an approximate time. Before that time, you should go to the lobby of the LASA theater, where you will wait with other auditioning actors for your turn. There will be a posted list of participants, who will audition in order. Anyone who is not present when they are called to audition will be skipped and will move to the end of the line.

Auditions happen one at a time. When it is your turn, you will be called into the theater, where you will walk onto the stage, slate (give your name and state what piece you will be performing), and then begin your performance.

When you have finished performing, the directing team will thank you and ask if you have any questions. Please understand that the audition committee does not provide feedback following an audition performance. If you do have questions, feel free to ask them. If you do not, you will be asked to send in the next performer.

Once you have completed your audition you are free to leave unless there are same-day callbacks. If you are needed for callbacks on a later date, you will receive an email regarding the details. Otherwise, cast lists are usually posted on the Friday of the week auditions occur.

What are callbacks?

Callbacks are a follow-up audition. If there are multiple finalists for roles, the director may ask them to come back in to take turns performing a scene or two from the play. This provides an opportunity to see how different performers tackle the same material, as well as determine what sorts of pairings work best.

What sort of monologue should I choose?

You should look for one that fits the type of play and role you are auditioning for. Part of preparing for your audition should be doing some basic research about the play and its characters: what type of play is it? What kind of language is it written in? What types of characters are in it? What character or characters do I think I would be best suited to play?

The easiest way to think about it is to classify the play as either dramatic or comedic, and as either contemporary or classical/Shakespearean, then find a monologue that fits. 

So, for instance, if you are auditioning for Much Ado About Nothing, you should look for a classical comedic monologue, while if you are auditioning for Rabbit Hole you should look for a contemporary dramatic one.

From there, you can try to narrow it down more and find a piece that really shows off what you would bring to a particular role. For example, to audition for the role of Macbeth, you might choose a monologue from Richard III in order to demonstrate how well you can handle a Shakespearean character full of merciless ambition.

Should I choose a monologue from the play I'm auditioning for?

No. This is almost always a bad idea. It pigeonholes you, making it harder to imagine you in any role other than the one you are performing, which lowers your chances of making it into the cast. And if your vision or interpretation of a character differs from the director's, it's better to talk through that during rehearsal rather than having it be what determines whether you get the part in the first place.

I was offered a part other than the one I wanted! What should I do?

Embrace it! This means that the creative team wants you in the show, even if they weren't able to offer you the part that you hoped for. Maybe there were multiple actors who were a good fit for the role, but they wanted to make sure that there was still a way to put your energy on stage, or the casting director saw something in your audition that they thought would work even better in this role. This may be an opportunity to really push yourself to improve as a performer and learn how to do something you couldn't envision yourself doing when you first auditioned. Even if the role you've been offered has fewer lines, or doesn't get to sing a particular song, it still gives you an opportunity to take ownership of it and craft your own unique performance. The best thing to do is to focus on doing the best you can with the opportunity in front of you and enjoy being a part of the production; every role in a production is ultimately something you can be proud of.

I wasn't offered a role at all! Now what?

It can be disappointing to miss out on a role in a show. Rest assured, the creative team wants to find a role for as many students as possible. Sometimes, though, there are 40 students auditioning for a play with 16 characters, so hard choices have to be made. Please don't let yourself get discouraged; there are always more opportunities, classes, performances, roles, and plays. Often, if you don't get cast, there are still opportunities to be a part of the build crew or front-of-house crew. 

Where can I find a monologue?

Here are a few options:

• You can always visit Mr. Escandell and ask to browse his library for a piece, or even ask for recommendations.

• There are a lot of online resources for monologues as well. As a general rule, you should try to choose pieces from published plays, rather than monologues from movies or original pieces. Here is a list of a few sites to get you started, though you can always do your own searching as well:

  • • Shakespeare's Monologues

      • • This has every single monologue from Shakespeare, broken down by gender, then into comedies, histories, and tragedies, then by individual play. A great resource to browse through when you want to find the perfect classical monologue.

    • Monologues from Plays at stageagent.com

      • • One of the best resources in terms of volume. This has a huge number of monologues, and allows you to filter them for male, female, or non-binary pieces, comedic or dramtic, and classical or contemporary. The biggest issue is probably the fact that you will end up with hundreds of pieces to choose from, so if you find yourself overwhelmed you may want to choose from one of the more curated lists below instead.

    • Stage Milk

      • • Monologues for Women

        • Monologues for Men

        • Comedic Monologues

        • Some very good pieces here, with a decent spread of 19th- and 20th-century monologues from well-respected plays.

    • "Monologues for Auditions" from weareactors.com

      • • Another site with a good variety of pieces for all types of actors and plays

Where can I sign up to audition for the next play?

I'm glad you asked! You can find dates for upcoming auditions on the audition page or calendar page!