Which of the following describes your problem(s) with auditions:
I keep on auditioning for roles without getting the results that I want.
I’m fine in rehearsal, as well as performances, but auditions cause me anxiety.
I don’t know how to improve my monologue.
I don’t know if my monologue is right for me.
I don’t currently have an acting teacher/coach.
I have an acting teacher/coach, but I’d like another opinion.
I don’t live near a major cultural center with a thriving arts scene to help me improve.
I do live near a near a major cultural center with a thriving arts scene, but who has time/energy to seek out a monologue coach, and where would I find one anyway?
I could use some new techniques in my actor’s toolkit.
I really don’t have anyone to give me an honest opinion about my audition monologues.
I can’t find a good monologue.
I am here to help.
Anyone can improve in any skill given time plus intelligent effort. Nevertheless, something about being in front of actors has always made sense to me. I have always had the ability to just know what to do, realize what to say, to open up an actor’s speech (this natural intuition makes teaching directing difficult for me, btw—you just kind of do it). Sure, I’ve studied dozens of performer training modalities over the course of my twenty-year teaching career, yet intuition continues to guide my way in rehearsal. That, and the underlying desire to provide assistance to artists.
Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness
Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness
Book Jeff Kaplan to help you hone your audition monologue to its full potential. Chose an asynchronous or a synchronous format, for your convenience. Start with a free checklist of helpful hints.
Monologue Coaching
Monologue Critique Package
$35 - Asynchronous
This service includes:
The evaluation of a single one-minute (spoken) monologue for you to use in auditions by an expert in the field.
Recorded response that you can always access.
No time restrictions on submission: you can place an order with a link to your video whenever you want.
Advice on characterization, vocal life, production values, slating, physicality, breath, and production values, as relevant.
Under 1-week turnaround.
Full-Slate Package
$45 - Asynchronous
This service includes:
The evaluation of two one-minute (spoken) monologues for you to use in auditions by an expert in the field.
Recorded response that you can always access.
No restrictions on submission: you can upload your video whenever you want.
Advice on characterization, vocal life, production values, slating, physicality, breath, and production values, as relevant.
Further evaluation of the pairing of pieces as contrasting monologues.
Under 1-week turnaround.
Live Coaching Package
$65 - Synchronous
This service includes:
A 30-minute live one-on-one Zoom call with Jeff Kaplan to work on your audition monologues.
Real-time instruction—essentially a private acting class.
Work on one, two, or many monologues—whatever you goal may be.
You can record the session for repeated viewing.
Advice on characterization, vocal life, production values, slating, physicality, breath, and production values, as relevant.
Further evaluation of the pairing of pieces as contrasting monologues (if applicable)
Additional acting/vocal/physical coaching as needed.
Here’s how this process works:
For an asynchronous session:
Decide if you’d like me to look at one of your pieces, or two contrasting monologues.
Record your monologue(s) you want to look at.
Provide me with a link to your video on the check-out form.
I will analyze your performance(s) and record a video response with my best advice, based on experience working with hundreds of actors.
You can access the monologue critique response whenever you want, as many times as you need.
For a synchronous session:
We’ll set up a 30-minute block of time for a Zoom call.
I’ll hear your monologue(s) and then take your through a studio rehearsal-style session to hone your piece(s).
You’re welcome to record the session so you can review as many times as you need.
F.A.Q.
What will you give me feedback on?
Some of the areas that the critique may include:
Characterization
Vocal life
Breathing
Embodiment/Posture
Gesture
Intentionality
Production values (video, audio, lighting)
Piece selection
Given circumstances
Oral interpretation
Pacing
Visual focus
Slating
Emotional life
I am auditioning for stage but now I need to know how to make videos?
Right. You’ve hit on the precise challenge confronting stage actors today. Increasingly, the first round for cattle calls for live shows includes language like, “send us your links.” So now we’re potentially talking about cameras, microphones, sound treatments, lighting, post-processing, as well as a different style of acting—all so you can get TO the in-person callback. Fortunately, no-to-low cost solutions exist with a bit of know-how, which I am happy to share with you.
Actually, I happen to be a film actor. Can you still help me?
Yes. To be up-front, I am an expert in live performance rather than acting for camera but to a large extent, acting is acting.
I want to audition for musicals. Are you a (singing) vocal coach too?
Alas, no. For musicals, you still need to know your way around a stage between the songs, however, so I’m happy to assist you with your monologues.
What if my video isn’t exactly one minute?
That’s fine. Auditions come in all varieties. The “two one-minute contrasting monologue” format still seems the most common, so best to work within those confines. In an actual audition, the casting crew won’t cut you off…unless they do, depending on how many hours they’ve been sitting in a theater with growing headaches. If you’re within about 45 seconds to 1:15min., that’s fine. Practice with a stopwatch so you don’t have to guess.
How should I slate?
The term “slate” comes from the film world, which I understand to signify introducing yourself, along with what you’ll be performing. I favor simple, something along these lines: “Hi, my name is [your full name]. I will be performing a monologue from [name of play 1] by [playwright 1], followed by [name of play 2] by [playwright 2].” Speak slowly. Speak clearly. Insert brief pauses. Practice. I can’t tell you how many times I see actors who don’t know what plays their pieces comes from, how to pronounce the playwrights’ names, have no idea what the plays are about, or speed mumble new-to-the-adjudicator’s ear’s information. A clean slate (so to speak) marks maybe the lowest of the low-hanging fruit to improve your audition outcomes. Remember, you’re making an impression during an audition from the moment you walk into the room!
I have no gear other than my phone. What should I do?
Download the above free monologue checklist for more info, but here’s some ideas to get you going: actually, your phone’s camera probably has as a good a resolution as many dedicated video camera. Put a “key” light in front of you at a 45-degree angle, which could be a sunny window, or a bright floor lamp with an opaque shower curtain from the Dollar Store over it (be careful of fire hazards). Include a second light farther away from the other side if you get too many shadows on your face. Position yourself near a bookshelf filled with books or a full clothes rack to break up sound echos. Use a simple audio filter on something like iMovie, or a phone app. Avoid spaces with hard walls, bare walls, if possible. Speak in full voice. Address the camera as though it were a scene partner (or whatever you’re imagining…we’ll talk).
I’m having trouble finding the PERFECT monologue.
So, the reason for that would be because the perfect monologue does not exist. Any well-wrought text that fits your voice will serve you well. Also, in the same way that people love romances despite the fact that the archetype of finding THE ONE does not accurately reflect adult relationships, you’re not marrying any given one-minute speech either (wow, I went on a journey there!). Seriously, though, worry about finding the ideal monologue less and rehearse more. In fact, over time, you should develop a repertoire of between 4-6 audition-ready monologues, so you can choose based on what you’re auditioning for—not to mention the fact that you should “retire” speeches over time in the same way you’ll update headshots every 5-10 years (which you’re also doing…right?). If you’re really stuck, click on the button at the bottom of this page for a free list of important playwrights you can choose from, any of which pen words that will provide effective material for your audition.
What is your cancellation policy?
For a synchronous session, I need a 24-hours heads up for any scheduling changes. For the asynchronous packages, timing doesn’t matter, which is the benefit of exchanging recordings. Place an order when you’re ready, and I will provide my analysis within about week, usually sooner.