I am directing Jeyll and Hyde the musical next year and I am looking for some audition ideas. For the role of Jekyll & Hyde I need a monologue that allow me to see how the actor can quickly switch from one distinct  character to another, if it it could show great fear from one side that would be great. It could be very another play as long as it last for about 2-3 minutes.

 

I have just discovered this board and suspect I will be back many types, I have already read some good info.

 

Thanks

 

Derek

 

Good question, I have actually used both ways for auditions. One of the reason to use something than something from the script is to allow be to see the person as an actor and not as the character. Sometimes if you allow someone to use the script you run the chance that they will work so hard to engrain themself as the character and therefore hard to move them away from it once rehearsal comes, remember this is community theatre.

As I said I have used both ways just in this case I have chosen to use monolouges from other sources.

But thanks for your comments.

Derek

Most plays I've auditioned for lately have involved reading from the script with either other auditioners or helper-readers.  Only when I've auditioned for a theater that was not casting for a specific show but was looking ahead into the upcoming season was I asked for a monologue of my choice.  And with few exceptions I never auditioned for a specific part, but was asked to read for all parts I was appropriate for, in terms of age and gender.  For those monologue auditions, I usually go prepared with the expected dramatic and comedic pieces, because theaters often mix it up over a season, and you want to show you can do both.

As a director, I prefer to see what actors can do with the lines from the play.  But I will blacken out everything but the dialogue so they don't get bogged down trying to figure out what's stage direction and what's dialogue. Some scripts aren't always that clear.

As for giving them direction to read with, I like to give them a simple but appropriately-related character definition and see what they come up with on their own for emotional content.  Could be something like "you're a hollywood producer" or "Moe from the Three Stooges" or "captain of the football team" etc.  They can usually grab onto something quickly and play it up from there.  Sometimes, I'll even give them these tidbits alone and off to the side so the scene partners don't know what to expect from each other right away.

I also tell them that whether it's something I give them, or something they think up, the rehearsal process is all about change and development, so this audition is a starting point far from the finish line and not to worry about "nailing it" right now.  Be heard (project), be seen (cheat out a little), and be true to the moment as you can best imagine.