Choose the Monologue That Makes You Excited to Audition

by Chris Peterson, OnStage Blog Founder

Let’s talk about monologues. You know — that dreaded little slice of text standing between you and the callback.

Whether you’re auditioning for college, summer stock, or your dream Broadway role, the monologue is your one-person show. And it’s your job to make the most of it. So, if you’re still digging through your high school copy of Monologues for Teens Volume 3, it might be time to refresh your approach.

Here’s what I always tell actors to look for when choosing a monologue:

1. Find something that actually feels like you.

This doesn’t mean it has to match your “type.” It means you have to get it. The rhythm, the humor, the heart. If you read it and think, “Oh I know exactly how to say this,” you’re probably on the right track. Bonus points if it sounds like how you actually talk. You should feel like you're stepping into the character’s shoes without stretching too far — like the words live naturally in your mouth, not like you're borrowing someone else’s speech pattern.

2. Choose material that lets you show range — without doing emotional gymnastics.

We don’t need to see you sob, scream, and collapse in under 60 seconds. What we do want to see is someone with a clear objective, navigating a moment of change or discovery. Show us you can think, listen, shift gears. That’s gold. Honestly, sometimes less is more. If you can shift emotional tone with a single look or breath, that can speak louder than tears ever could.

3. Avoid the monologues everyone else is doing.

Yes, The Glass Menagerie is great. So is The Wolves. But if you’re hearing the same monologues in the waiting room you’re about to perform… it might be time to dig deeper. Look at new playwrights. Pull something from a lesser-known scene in a well-known play. Surprise us. Casting directors are human — and hearing the 12th version of “My name is Jessica and I want to be a meteorologist” in a single afternoon is... not ideal.

4. You need a beginning, a middle, and an end.

Think of your monologue like a mini play. There should be a clear arc — even if it’s subtle. Start somewhere. End somewhere different. Take us on a little ride. If the piece just floats around on one emotional note the whole time, we’ll tune out. It doesn’t need fireworks — just progression. Even a small shift in tone or realization can create impact.

5. You should like performing it.

You’re going to perform this monologue approximately 75 times. You should enjoy it. Or at least find something in it that still excites you on the 73rd try. If you're bored of your material, we will be too. Pick something that challenges you, surprises you, or makes you laugh — even just a little. That spark will carry through, no matter how many times you do it.

At the end of the day, a good monologue doesn’t need to be flashy. It just needs to be honest, specific, and grounded in something that makes us want to keep watching you.

Break legs out there. And for the love of theatre — please retire Catherine from Proof. She’s been through enough.