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Careers: Acting, Performing, Directing/audition speech for the BRIT school


so i have an audition for the BRIT school. I must prepare a speech from a piece of theatre published after 1956. I'm a 13 year old female but don't mind acting older or a little younger. it must be between 1 and 1.5 minutes long. any sorts of tips for an interview would be great too! thank you very much!!
Anna x

Congratulations for your choices for a school and perhaps a future career.
I will start with the interview first. Be sure that you have a one page resume with your name, contact information, age range which you can play and any productions in which you have performed. List them from most recent to earliest. Tell the title, location, your role or technical job, and director's name.
Then list your training in Theater and any music, arts, and any sports, etc. etc.
Then list your skills, such as horseback ride, juggling, etc.
Be prepared to talk about your experiences and skills with honest enthusiasm. Do not take too long in answering the questions or too short a time.
Be prepared with an answer to why do you want to study Theatre.
The purpose of the interview is to see how you express yourself, honestly, and with energy. Interviewers usually look for a positive person, not one who give excuses and uses a lot of "um's" "uhs"...Rehearse your answers to sample questions about your favorite roles or how do you see yourself in twenty years from now.

Some information about auditions:
Remember the purpose of the audition is to get the job. Think of the tryout as an opportunity to perform for a very small audience. Pretend that you already have the job; you just want to perform one more time.

Here are some guidelines for being prepared which are viable for all kinds of auditions.  Learn to say your first and last name clearly and with honor. The casting director needs to understand, hear, and be engaged by the way you say your name. Practice your handwriting or printing, so that your audition sheet can be read. Learn to spell frequently used Theatre words.

Arrive before  the scheduled time, reserve your energy, be in control, dress neatly and neutrally with stable shoes, brush your hair away from your face, and be sure you do not have any distracting  jewelry, phones, and other extraneous things. If you have your head shot, you need to look as much like your head shot picture as possible. Also remember no matter how distracted the casting director may be, you need to do your best without showing displeasure. If the audition seems chaotic, it may be for many reasons; one of the explanations might be is that the casting director wants to see how you take directions in distracting conditions. Keep your goal on getting the job.

There are several types of auditions that you will be asked to do. You might be requested to stand on stage, while the casting director and staff look at you. This is referred to as a cattle call. Basically the auditors are looking at you to see if you physically fit the role. You stand still, smile, and wait to be asked to stay or to be excused.

You might be asked questions as part of an interview audition. The secret to this interview is to be excited about who you are. Be moderately exuberant without being obnoxious when you answer questions. The interview usually takes place as the casting director reads your resume’. So practice talking briefly about each item on your resume’. Stay away from answering with just the words, “Yes” or “No” without explaining more about the topic. Also time your answers, so the answers are not too longwinded. Practice, editing out the filler words, such as, “Umm,” “Uh,” or “And….” Be sure to look the interviewer in the eye, making him/her a new friend with whom you really want to share your interview information.

Another audition type is the cold reading audition. This involves reading from a monologue or script not provided in advance by the auditors. When you arrive, you will be given a script to read. Ask for time at the location to study the script. If it is a monologue, determine the following: Character—who is the personality you will be playing?  Who—to whom are you talking?  It could be an implied character; it could be yourself.  Objective—what does your character want? Where—where does this monologue take place?  Choose some stage business which your character might be doing during the monologue. Identify various emotions based on the text and use vocal variety. Determine some beats of silence.

Before you perform, memorize your name, the title, playwright (if given#, the role you are playing, and the first line. Memorize the last line. Decide on a tag, emotion-laden look after the final line. Decide where the climax of the monologue is and remember to build your voice and physical actions to show the intensity.  

When you perform, be professional with your opening slate of name, title, playwright, and role, making eye contact with the auditors and then take a short beat to establish your character physically and emotionally before speaking. Remember to stand on your slate. Play the room, backing up from the judge if the room is small.  Establish the fourth wall when you go into character and place the implied other to the right or the left of the auditor. Do not make direct eye contact with the auditor after you establish the fourth wall.

Hear the silent prompt line or experience the action that causes your character to speak. Continue the monologue until the end. Hold the tag look for a beat, then relax your body and make eye contact with the auditors to say a genuine, “Thank you.”

If you are a challenged reader, make bold choices and then at the end, mention that you have a reading challenge, but you will work and memorize correctly and quickly.  

A prepared audition means you have had the monologue/script before arriving for the audition, and have been able to work with the material, work on the staging, and have memorized the text.  All of the tips for cold reading apply for the prepared audition. You practice greeting the auditors, introducing yourself, and leaving the room. The way you handle the nonperforming moments will work in your favor or detract from your audition.

Remember that you are the solution to the casting director’s objective, that is he/she is looking to fill a place in the cast, and you are the person who can be cast. So, entering, auditioning, and leaving the room with confidence,--no matter how you think you did—show assurance. Even if something goes wrong in your audition, end positively. Do not make excuses; give a genuine, “Thank you,” and leave with a smile.  

Establishing confidence without appearing cocky is something to rehearse. It helps to record various slates and end thank you’s.  Coming in with desperation takes away from the successful audition process. You want to be well trained, prepared, energetic, and easy to work with, able to take directions and make adjustments, respectful, reliable, committed, and confident.

For your audition, you can think of the process as achieving an objective: I want to convince my friend #casting director) to accept my prepared work as a reliable co-worker. Rehearse your entrance, make eye contact with the auditors, breathe, make the room your own, introduce yourself, your material, transition into monologue, finish the final moment, relax, thank all, and make a positive exit.

The improvised audition includes the director giving the actor some prompts to see how the actor reacts and thinks on his/her feet within a limited time frame. There is no script whatsoever. An improvised audition may be the entire tryout, or may be added to any of the above types of audition. If a character is given, you can practice with all of the tips from the chapter on Improvisation. Remember CWOW and calling the implied other by name and ending your improvisation, once it has built and comes to a resolution.

As far as female monologues from plays written before 1956, be sure to read the entire play so you know how the character you choose fits the title, and what happens to the character. Be sure to check the publication page to see when it was written.
I would recommend the following for a 13 year old girl for 1 1/2 maximum time limit:

THE CRUCIBLE for a serious monologue, and PICNIC for a humorous monologue.
You might ask if you could do a Shakespearean sonnet.  

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Gai Jones


I can answer the following questions: How can I choose the right college to study Theatre Arts? How can I prepare a monologue for audition? What do I need to study to become a Theatre educator? How can I use Theatre techniques in leadership positions? How can I implement ensemble Theatre experiences for class/cast/staff development? I prefer not to answer any questions about agent recommendations.


I have fifty years of work in Theatre education. I am an professional Theatre educator, actress, director, and producer. I have two published Theatre education books. I have taught all levels, including elementary through college/university and senior citizen acting. I have experience in leading national ensemble building experiences using Theatre techniques.

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RAISING THE CURTAIN BREAK A LEG Secondary Schools of Theatre Association “Shop Talk” EdTA “Teaching Theatre” AATE “Stage and School” AATE Guest Editor and contributor “Stage of the Art” Theatre Arts Curriculum, grades s7-12 LA TIMES BACKSTAGE WEST DRAMALOGUE STAGE DIRECTIONS CETA News Journal CETA Position Paper 2007 Sage to Stage Curriculum, senior citizen Osher Institute Curriculum, CSU, Channel Islands CSU, East Bay, Curriculum professional developments

BA Speech and Drama Oklahoma College for Women MA in Theatre CSU Fulerton, CA Teacher Fullerton Union District Placentia Yorba LInda Unified District Instructor Fulleton College Associate Professor, CA State University, East Bay Workshops with NYU, Roosevelt, Northern Colorado University, University of CA, Irvine, A.C.T., University of Texas, Austin, UCLA, ComedySportzLA, Junior High Teaching Credential Life Time Standard Secondary Credential Administrative Credential

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