10 Great Plays for Teen Monologues + Audition Material

When it comes to finding material for auditions and classwork for teens, it can be challenging, especially if you’re looking for something more contemporary. That said, there are works out there that lend themselves to this very thing. Below are some of my favorite plays for teens and young adults. I suggest you read all them in their entirety (as you should with all audition material!) to get a flavor for current trends and material you can use in your work. 

“Indian Summer” by Gregory S. Moss
A sweet teenage romance, this comedy-drama centers around two young men and one young woman dealing with sexual desire and class loyalty. For students unaccustomed to reading plays, the playwright’s style incorporates irregular punctuation and spelling to indicate intentional inflection and rhythm and the use of full capitals to emphasize words. The double slash lines indicate characters interrupting each other, reminding us of real people in everyday conversation. These textual notes are an excellent lesson for actors as they think of text as an improvisation with words—a beautiful way for actors to approach acting. 

“All American” by Julia Brownell
This play tells the story of a high school quarterback and the pressures she and her family face as they consider her future commitment to the sport. The writer’s credits include the popular TV series “Hung,” “Parenthood,” and “Smash.”

“Actually” by Anna Ziegler
This two-character play is a he said, she said story about date rape, addressing gender and race politics on a college campus. The play is filled with poignant and intelligent speeches for both young men and women.

“BFF: ‘best Friends Forever’ ” by Anna Ziegler
A coming-of-age story about two young women challenged by the onset of adulthood, this play follows the characters from 12-year-olds through their time as young adults. There are scenes for two females, male/female scenes, and one-minute cuttings for monologues for both genders. I like the realistic dialogue and honesty with which the playwright talks about love, loss, and resentment, all strong themes for actors to play.

“Girl” by Megan Mostyn-Brown
This is a terrific play about what it means to be a girl today.  The language is lovely, both honest and relatable. This play is unique because it features monologues that are both comedic and dramatic at the same time.

READ: 9 Elements of a Great Monologue

“School Girls; Or, The African Mean Girls Play” by Jocelyn Bioh
For those who missed the critically-acclaimed Off-Broadway run, this play is a must-read.  Set in an all-girls boarding school in Ghana, the play is a coming-of-age story of backbiting teens and bullying. It’s easy to read and relatable for younger actors since the plot is constructed like a television sitcom and reminiscent classic teen films like “Mean Girls” and “Heathers.”

“Really Really” by Paul Downs Colaizzo
This is a smart, humorous play about a group of four twenty-something college students the night after a wild campus party. With the MeToo movement so prevalent today, the themes of social class, entitlement, and peer pressure will surely resonate. There are some wonderful, sophisticated monologues for both young women and men as well. 

“String of Pearls” by Michele Lowe
This play features four actors who play 27 characters, exploring what happens when they come into contact with a strand of pearls. Over 35 years, the pearls tell a story of love and loss through different relationships. Although many of the characters are older, this play might be a good choice for a high school production given the number of female character possibilities. 

“Future Tense” by David Kranes
Full of dysfunctional family relationships, this play reminds us of what life is all about. I’ve seen students use monologue excerpts from this play that have had a strong impact. Mr. Kranes writes dialogue where characters are lost in thought and can’t finish sentences, reminding me of family members who drive me crazy but so real at the same time. 

“The Tall Girls” by Meg Miroshnik
This play features a strong ensemble of female characters, exploring issues of class and gender during the historic 1930s Dust Bowl. Unlike the other contemporary plays here, “The Tall Girls” is an old-fashioned play about hopes, dreams, and aspirations.

These plays all feature rich, current, red-hot topics and intelligent writing. The storylines and characters are age-appropriate and easy for teens to understand. They offer material that can create audition monologues that will get attention and win roles. Put them all on your 2019 reading list—you’ll enjoy them, learn a lot, and discover material that may well be perfect for your next audition.

5 Steps to Understanding Your Scene as a Teen Actor

Every scene you play as an actor, no matter how old you are, will require a deep understanding from you. You need to understand who the character is, what the context of the scene and larger story is, and countless other aspects of the scene that will make your work on and with it shine.

In our opinion, there are five steps you need to take to truly understand a scene. To help walk you through and illustrate them, let’s use the following scene scenario as a setup for the five steps that will help you work on your character and the scene: You are a 17-year-old whose mom has just returned from three months at a drug rehab facility. You’ve been living with your dad while she was getting help and even though she’s back home and clean, she is still struggling and not the fully-recovered mom you hoped to find.

Step 1: Determine the given circumstances.
The given circumstances are what you know from the text based on what the writer has told you with his or her words. Your mom has been in rehab detoxing from drugs. You have been living with your dad while she was away. Now that she is home, you’re getting used to what life is like with a recovering, struggling parent.

Step 2: Find your deep wish.
Also known as your objective, this is what your character needs to happen. In the above scene, your deep wish is to have your mother be the role model you always wanted and be a loving, protective, participating parent. You have been without this your whole life and have suffered greatly.

Step 3: Identify the opponent or obstacle. 
Internal or external, this is something that gets in the way of you getting what you want. In life, we don’t always have an obstacle but in acting, there must be one to create the struggle. If it’s too easy to get what you want without a fight, there’s nothing interesting happening. The obstacle in this scene could be that your mom is in too much pain and not willing to get well right now.

Step 4: Personalize. 
Now that you have your identified your deep need and discovered what’s in the way of achieving it, you’ll need to personalize the situation to make it true for you. Begin this process by looking at the character’s situation and asking what might be going on in your life that could lead to a similar problem or challenge to overcome. What you choose to work with can be imaginary/fictional, but the meaning must hold true.

Step 5: Now do. 
This the most vital part. Acting is doing. What are you going to do to get what you want? Perhaps you beg and plead with your mom to stop using drugs. Maybe you start parenting your mom in a role reversal to get your—and her—needs met. It’s in this doing, this action, that you become a compelling actor.

How To Prevent Your Child From Being Over-Coached

Casting directors want real kids. The problem is that many young actors are over-coached. Parents, read on for some tips to help you help your child get the casting director’s attention and win the audition!

1. Be Truthful. Too often, kids rehearse with their parents or coaches over and over again learning to emphasize words and emote. They are taught to show, not do. Going over dialogue until they are blue in the face will get them nowhere. It isn’t about the words; it is about being themselves and listening. A child’s biggest asset is simply to be who they are and not try to imitate someone else. When I see youngsters who practice in front of the mirror, it makes me crazy! Do you practice in front of the mirror when you are going to have a conversation with someone? Even in the interview or slate (when an actor says their name for the camera before an audition), over-coaching can be obvious. I once auditioned a young actor who came in the room and when I said “Hello,” she responded, “Hello, ladies and gentlemen,” as if she was a speaker addressing a full house. Parents, allow your children to be natural and real. It may be the most helpful thing you can do for them.

2. Listen. This basic concept may sound simple, but it is not always easy. Kids are often so concerned about memorizing lines that they spend their time thinking of the next words to say rather than actually listening to the reader or other actor. Memorization is certainly important, especially if the actor is going on tape, but not nearly as important as a truthful audition. If there is not enough time to learn the lines, encourage your child to use the script as a reference, glancing when necessary, but always listening attentively to the person they are reading with.

3. Take Direction. Good listening also plays a big part in being able to take direction. The over-coached child may have learned the scene well in one way but may be incapable of changing it. Listening to the director or casting director and being able to make adjustments is a sure-fire way to make a good impression. If something is not clear, it is perfectly acceptable to ask questions. In fact, this may be a way to score points. I can assure you that captivating, smart, and curious actors will most always get the callback!

So, how can you as a parent be the most helpful to your child without over-coaching? Explain what is going on in the scene and define any words your child may not understand. If you are a professionally trained actor or coach and your child will listen to you, great! If not, it is really best to leave the job to a skilled acting coach who knows how to get your child to be natural without looking coached. Master your craft, empower yourself, and enjoy the journey.

How Child Actors Master Cold Reads

As my mentor, Charles Nelson Reilly, often said, “Acting is hard.” Of course it’s hard, especially when you are asked to do a cold read. Cold readings—when an actor has little or no advance time to review a script before performing a scene—are challenging but an unavoidable reality. This can be especially difficult for young performers who are still mastering basic reading skills, but here are some tips to help child actors master cold readings!

PRACTICE 
Encourage your child to read aloud every day. When building any skill, a person needs to train regularly. Buy scene books to use as practice. Have your child read the parts out loud with you as his reading partner in the scene. Consider it a daily regimen in order to build and maintain his skills.

READING SKILLS 
Help your young actor learn to read in general. The sooner he masters reading as a skill, the sooner he will be able to master reading and acting at the same time.

MEMORIZE FIRST AND LAST LINES 
New readers are usually advised to memorize their parts if time allows, but in a cold reading this habit can backfire. Children often attempt to memorize their lines even when they don’t have enough time, and that prevents them from focusing on the important aspect of an audition: the acting. Children need to stay connected to the character’s intentions rather than worry about getting the words perfect. Help your child memorize the first and last lines, so they can connect immediately and leave on a strong note.

DO THE LEGWORK 
Prepare what you can in advance. Learn all you can about the project and the characters before an audition. Arrive early on audition day to get as much time with the script as possible. The more your child knows about the context and general story line, the faster she will be able to make sense of a scene that is handed to her in the audition.

READ OUT LOUD 
Reading the scene aloud several times, even if he has only a few minutes before going in front of the casting director, is helpful. Teach him to clarify anything that is uncertain by asking questions beforehand.

KNOW THE INTENTIONS 
Identifying the character’s motivations and understand the relationship with the other characters in the scene will help her get at what is underneath the dialogue so she can play the intention of the scene rather than focusing on the words.

LISTEN 
Coach your child to work with her scene partner rather than talk to the script. Caution her not to study her next line when her scene partner is talking, but rather to listen as he speaks, looking at him and responding in character. She should not be distracted by the paper.

STAY IN CHARACTER 
If a line gets flubbed, he should not get thrown off. Coach him to relax and recover. He needs to remain connected to the material and the character, and focus on what the character’s objective is.

ENJOY
Make the process fun. Remind her why she wants to do this so she is motivated to keep training and building her skills. Encourage her to see this as the tool it is to help her reach her goals. Point out that learning to master a cold reading is not the same as being a good actor, so she realizes this isn’t a reflection on her talent as a performer.

Cold readings are hard for even the most seasoned actors. Let your child know that if he keeps practicing, he will improve and stay sharp. Your support will help him do his best when a cold reading is required.

15 Must-Read Plays for Tweens and Teens

Read plays. Lots of them. Why? This story as told by the venerable playwright, Tom Stoppard, gives you the answer: 

Years ago, there was a production of “The Tempest,” out of doors, and the play began in natural light. As it became time for Ariel to say his farewell, the evening had started to close in. And as Ariel uttered his last speech, he turned and he ran across the grass, and he got to the edge of the lake and he just kept running across the top of the water—the producer having thoughtfully provided a kind of walkway an inch beneath the water. And you could see and you could hear the plish, plash as he ran away from you across the top of the lake, until the gloom enveloped him and he disappeared from your view. 

And as he did so, from the further shore, a firework rocket was ignited, and it went whoosh into the air, and high up there it burst into lots of sparks, and all the sparks went out, and he had gone. 

When you look up the stage directions, it says, “Exit Ariel.” (Abridged comments of Tom Stoppard at the University of Pennsylvania, 1996)

Smart, creative, and successful young actors imagine moments just like that when they are veteran play readers. Children and teens who read plays regularly literally explode with ideas when they read new scripts. And, as a bonus, they have many wonderful monologues and scenes to explore in class and present at auditions. 

Here are some of my favorite plays for young performers to read. Some are new and others classics. They are all well-written, good literature and have been successfully produced.

• “The Loman Family Picnic” by Donald Margulies

• “Really Really” by Paul Downs Colaizzo

• “Henry’s Law” by Stacie Lents

• “A Raisin in the Sun” by Lorraine Hansberry

• “Leaves” by Lucy Caldwell

• “Picnic” by William Inge

• “Ascension Day” by Timothy Mason

• “Our Town” by Thornton Wilder

• “Speech and Debate” by Stephen Karam

• “The Member of the Wedding” by Carson McCullers

• “Women and Wallace” by Jonathan Marc Sherman

• “The Diary of Anne Frank” by Frances Goodrich and Albert Hackett

• “John Lennon and Me” by Cherie Bennett

• “Tigers Be Still” by Kim Rosenstock

• “From Up Here” by Liz Flahive

I am always on the lookout for new, cutting edge material to offer my students the most interesting monologues and scenes. When I am not coaching a client or teaching a class, you will often find me reading a new play, re-reading a classic, or browsing the shelves at one of my favorite stores, The Drama Book Shop in New York City. It’s wonderful because the staff live and breathe this stuff and offer great recommendations. Ask for my friend, Stu. He’s the best! 

Look out for an upcoming article on the art of reading a play for tweens and teens. I would love to hear from you about your picks for great material, so please drop me a comment below. I can’t wait to see the hidden gems you have in your library! 

How Young Actors Can Discover Powerful Audition Material

I love getting calls from students asking for a great monologue or scene for their upcoming audition or acting reel. It keeps me in business. But it’s important young actors learn where to find and how to choose their own material since doing so gives you the opportunity to find a unique piece that fits your personality and talents.

Students auditioning for middle, high school, and university performing arts programs are required to present one or two monologues, mostly from published plays. Some schools allow pieces from movies and books if the student is connected to the material. Finding the right monologue can seem like an impossible task but through my 30 years in the industry working with young actors, I’ve accumulated a considerable library of scenes and monologues. Where do I find it all? Reading plays and screenplays, seeing a lot of theater and movies, and spending hours at the New York Public Library for the Performing Arts and the Drama Book Shop in NYC.

While you may not have hours to spare poring over great plays and screenplays, here are some tips that can help you discover your own perfect audition material:

Start with the theater. 
Many of my students have only read and seen musicals, but don’t spend a lot of time at the theater seeing plays. As an actress and teacher, some of my best training happened in the theater, either sitting in the audience or standing in the wings as an apprentice watching actors work with great material.

You don’t have to live in New York to see great theater. I recently attended a small community theater production of a hilarious play that was brand new to me. I immediately ordered the play and added it to my script library. You can find performances in every community.

Find age-appropriate material. 
Look for scenes that contain conflict and well-developed, relatable characters. Whether it’s a scene for an acting class, a demo reel or a monologue, choosing age-appropriate, yet powerful material can be challenging for younger actors.

Many plays are racy with foul language and strong sexual content. Though they’re entertaining to watch, they may not be suitable for auditions and class work. Find something in the G or PG range for auditions, unless you’re working on a college audition. Even then, use caution with materials that are too raw or sexual so your performance isn’t overshadowed by the material.

Start reading plays by playwrights who write for younger audiences.  
Two excellent resources are Bakers Plays and Playscripts. Both firms are independent publishers of new plays and musicals and offer plenty of great material for young audiences.

See plays and watch movies.  
You can find many films on Netflix, Amazon, and Hulu, both old and new. Ask your parents for recommendations for movies they’ve seen with young characters and themes that relate to your life and experiences.

Attend classes and workshops.    
Enroll in an ongoing acting class or take some one-day workshops by master teachers where you’ll not only perfect your craft but be exposed to material you might find funny or moving.

Write your own material. 
Use your strengths and create content to show yourself off in the best light. Perhaps you can use your musical talents, singing or even dancing in a scene you create. Get together with friends and put some thoughts down on paper. Before you know it, you might have an awesome scene written or even a one-act play. You don’t have to be a great writer, just be honest and tell your truth.

For more advice on where and how to find material from plays geared to young audiences, as well as how to search for suitable content in new plays and productions, I’ll be hosting a panel discussion with playwright Jonathan Marc Sherman (“Women and Wallace”), several theater directors, and a few educators at the Drama Book Shop in New York City on Thursday, Nov, 30 at 6 p.m. The event is free and suitable for tweens, teens, and their parents.

5 Tips to Help Young Performers Execute the Perfect Monologue

I know it’s college audition season when I hear my students share their lists of monologues with all their acting buddies. They are looking for that perfect monologue and it is hard for young actors to feel confident with their choices—even when they get it just right. Here are some tips to choosing a monologue that will be just right for you when you audition for college, high school, or any general theater audition.

The “A” in acting is for active. Storytelling in a narrative monologue can be a real snooze! Avoid that with something active, not passive. Acting happens when you try to get what you want so literally ask yourself: What am I doing to get what I want? All the non-verbal communication in a character that is falling apart or falling in love or having a nervous breakdown gives a monologue life beyond the words. You cannot communicate all that emotion if you are simply focusing on the words.

Be a smart risk-taker. Stay away from profanity, nudity, or sexually charged material. It is not impressive and can be offensive. Follow the lead of “The 25th Annual Putnam County Spelling Bee” and “Rent.” If they can make a school version without profanity, so should you when auditioning as a young performer. Show your edge with actions and intentions and leave the potty mouth at home.

Make real life your art. Find monologues that easily connect to the real personal experiences, thoughts, and emotions that have been important in your life. Material that speaks to you in this intimate way allows you to more easily connect to the character and demonstrate the depth of your understanding. College and high school auditions always require you to demonstrate depth, but they are rarely about showing your full range.

Be age-appropriate. There are many monologues with complex, age-appropriate characters. It simply shows poor preparation when a teen attempts to play Blanche in “A Streetcar Named Desire” because she performed that character in a high school performance. If you want to impress your professors in high school or college, do the research to find quality, age-appropriate material.

Don’t scream. Surprise your audience with the unexpected by playing an opposite. It can be much more powerful and interesting to play a menacing character in a quiet, contained voice. Yelling can make the character seem one-dimensional and that is an audition killer!

Catherine Weidner, chair of the theater program at Ithaca College, summed it up best: “We are looking for people to come through their material. It’s about inner life and connection.”

Let the portrayal of your character come from an honest place in your heart and life, and everyone in the room—including you—just might forget they are seeing a performance.

The Dos and Don'ts of Choosing a Monologue for a Young Performer

Whether your child or teen is auditioning for a school theater program, a show, or an industry professional, a monologue is a must-have for every young actor. A child actor should always have two different types of monologues in their back pocket. Make sure your young performer loves the monologues! This will increase their chances of giving a great performance since they will be more excited about working on it and therefore will do a better job delivering it.

Here are some dos and don’ts to consider when picking a monologue for your child.

DO

1. Choose good literature. I am not a big fan of generic monologue books. Every now and then I will run across a piece that is well-written and works nicely. However, most of the time, they are trite and obvious. Look for monologues from plays, movies, and even novels which contain conflict and good character work. These will take the actor to a whole new level. Read plays -- one acts as well as full lengths. You can’t go wrong with wonderful playwrights such as Neil Simon, Christopher Durang, Eric Bogosian, and Jonathan Marc Sherman. Great writing will help your young actor look good!

2. Find material your child can relate to. What does your young performer find funny? What moves them emotionally? I recently came across a hilarious play called "Indoor Outdoor" by Kenny Finkle. The pooping cat monologue actually made me laugh out loud! Perhaps a piece about loss might resonate with your child. If he is grappling with adolescence, there are many plays published by Baker’s Plays and Playscripts that might interest him.

3. Choose age-appropriate pieces. At age thirteen, I played Mama Rose in a camp production of "Gypsy." In local theater, at camp, and in school productions, of course we get to play these juicy roles at a young age because there are no adults. But in the professional world, where your child is being cast to play their age, they MUST pick age-appropriate material. Even in class, my students work on scenes playing characters close to their age because it is nearly impossible for them to relate to adult issues.

4. Look for active monologues. Storytelling is boring. Acting means to do. Find pieces where the character is doing something.

5. Keep it short (1-2 minutes). If you are told two minutes, make it ninety seconds. Most of the time, auditors see what they need to in thirty seconds. They may be sitting for hours listening to actors. They will appreciate you keeping the monologue short. Trust me.

6. Read the entire play. This is the only way you will completely understand the character and the story. The more you know, the more fully realized the performance will be. 

DON’T:

1. Pick a monologue with a dialect. Unless the project your child is auditioning for requires one.

2. Perform a monologue from a movie for a theater director. 

3. Pick a piece that can’t stand on its own. It must make sense when taken out of context.

4. Do monologues that contain profanity and sexual content that may make the auditor uncomfortable.

5. Choose overdone monologues that you find on the Internet or in monologue books. There is plenty of good, fresh and new material out there.