The Differences Between Notes From an Acting Coach and A Director

Imagine yourself in an audition. You may be reviewing a monologue or reciting lines from a scene as you nervously wait to be called in. While preparing, you remind yourself of the notes that you were given by your acting coach. Once in the audition room, you slate and perform your monologue or scene. What happens next is the wild card. The panel of casting, film, and/or TV directors might smile and say, “Thank you, next!” Or they may give you direction and adjustments. In order to take the direction given, you need to have the foundational skills to act and the ability to understand the language and concepts. A casting director or director expects the actor to be trained and ready for the role they’re auditioning for. To succeed in your audition, you need to understand the differences between working with coaches and directors, and the notes you’ll receive from both.

If you’ve ever worked with me or another acting coach, you’ll understand what I’m about to say. A coach helps students dive deep into a character’s motivations, objectives, and struggles. It’s a collaborative process to help the actor find their truth in the character. Sometimes you’ll be playing a character similar to you. Other times a character could not be more different than you. It’s the job of the coach to help you understand the scene and character while helping you to make strong and interesting choices. 

A director may give a note that says, “Go bigger.” I often give actors notes that say “Go deeper.” A casting director may ask the actor to speak faster. I might say, “Find the urgency that makes you speak faster.” These notes help guide students to think about their character beyond a surface level. It’s not my job to tell students how to act. One of my biggest pet peeves is when actors ask me how they should say a line. I’ll never answer that. Instead, I might have them reframe the question to ask, “Why does my character say that or what do they want right now?” They will then know how to say the line.   

When an actor is brought into an audition, the casting director or director believes that they can play the role and play it well. That being said, they may still give direction to see if the actor can make the adjustment and not get stuck in one way of playing something. A casting director or director may often give notes to the actor such as “more energy please,” “incorporate more gestures,” or “speak louder or more slowly.” They may even give a line reading to get what they need from the actor quickly. It’s the actor’s job to justify these notes with why their character may do these things. 

The director looks for actors that can listen and follow direction. They’re not only looking for great actors but actors that can be flexible. Onset there is an exorbitant amount of pressure on directors to get scenes done in a timely manner. Actors that can’t incorporate style notes and adjust their performances will have more difficulty booking work. Casting directors are also looking for a level of confidence. As I always say, “only confident actors get hired.” If the actor has worked hard with their acting coach or teacher the actor will be prepared to incorporate casting director comments with ease. Also, the more auditions you do, the better you’ll understand how to interpret and apply any director’s notes.  

Working with an acting coach can be a different experience than working with a director. However, both are essential experiences for the actor to learn, grow, and work in the field. When an actor is ready to audition, they need to understand the key differences between how directors and coaches give notes. Directors give notes that should be followed while coaches give notes to help you develop your performance organically. It’s essential to train as an actor either in classes or one on one with a coach so you’re ready to audition and perform, but ultimately it will be the director that hires you and guides your final performance. 

5 Ways Young Actors Can Improve Their Diction

Having clear and proper speech is essential. It’s how we communicate and share our ideas, and, more importantly, it lets us express emotion. For an actor, the voice and the body are tools that work together to tell a story. If one can’t be properly understood, how can a young actor do their job and get an audience engaged? Many of my younger students have trouble understanding and controlling their voices. Here are five ways young actors can improve their diction.

1. Tongue Twisters

“I want a cup of coffee in a proper coffee pot.” The first step to mastering diction is making your tongue flexible and the best way to do that is by exercising it, just like any other muscle. Start with something slow, making sure you’re enunciating the vowels. Then speed up and try to keep your jaw relaxed without dropping any syllables. If you want to work on controlling your voice quality (which actors can change to convey emotions), slow it down and assign different emotions to the tongue twister, noting how your voice changes with each. These can be really fun ways for students to gain better control over their voices.

2. Breath

Voice is produced when the air in the lungs passes over the vocal cords, making vibrations. If an actor doesn’t have proper breath support, they won’t be able to control their vocal intonations and will probably get tired more easily, too. But there’s good news! You’ve been breathing since you were born, so you’re already a master. First, make sure you have good posture. This will help you to maintain good vocal health. The voice can only be produced by an exhale, so actors need to work to build their breath support in a way that gives them better control (this is true for singers as well). Try placing a hand on either side of the area below your rib cage. Stand with good posture, inhale slowly, and hold your breath without straining for a count of six. Then exhale slowly while you count to 15, then 20, then 25, etc. This will help you to build your stamina and give you better volume onstage without needing to strain your voice.

3. Relax

Having a relaxed throat, lips, and tongue is the key to maintaining a healthy voice. Just make sure that before you begin any exercise or performance, including tongue twisters, your body and throat aren’t tense or strained. This will prevent you from being hoarse when you speak and sing.

4. Dialects

“The rain in Spain stays mainly on the plain.” Dialects are diverse and specific. Even if we say we can do an English accent, it’s unclear whether that means Southern English, Midland English, Northern English, Cockney, Geordie, or any one of the numerous tongues specific to the region. As such, to really master a dialect a young actor needs to have an ear for intonation, cadence, phrasing, inflection, and pitch. Working with a coach can be a great place to start, but there are also numerous books and CDs available to help (some personal favorite authors are Edda Sharpe, Jan Haydn Rowles, and Jerry Blunt). Make sure you have a solid grasp on the basics of diction before you begin. This will make it easier to start developing more fine-tuned skills.

5. Voiceover Work

We’ve seen a huge spike in voiceover work for actors during the pandemic, and we don’t predict this increase will dwindle any time soon. Voiceover work is a great way for young actors to flex their diction muscles once they understand diction because it relies solely on voice. It requires a good command of speech, tone, and inflection, but couples that with a need to understand character and intention. Voiceover work requires training and effort before it can be mastered, but when you think you’re ready, it can really help you to use your voice creatively which will help you master other work as well.

In our classes, we always start with a vocal warmup to wake up the lips, teeth, and tongue. This is because diction and vocal control are paramount to a good performance! When an actor can enunciate and use their voice to convey emotion, they can form deeper connections with viewers. If they start building these skills when they’re young, they’ll be unstoppable in whatever career path they choose.

7 Tips for Child Actors Who Want To Create Their Own Content

With productions shut down and theaters only now starting to open up, many of my students have been asking how they can stay sharp in their acting. The great thing about living in the digital age is that students don’t need to wait for opportunities to come knocking at their door. YouTube, Instagram, and TikTok are all great platforms for young actors to create their own content, garner some attention, and have fun doing it. Here are some pro tips for students who want to start creating their own content.

1. Know your strengths. 

Knowing the skills you want to showcase is the first step to creating engaging content that speaks to your individuality. If you’re a singer, tell your story through a one-person musical. If you’re a comedian, do some impressions. The best thing about creating content is that you can tailor your videos to highlight your greatest strengths. When you’re beginning to grow your channel and find your niche, individualized content can be a great place to try new things and test out what works for you.

2. Tell a story. 

In acting, it’s important to ground your performance in truth, so both you and the audience can have a deeper connection with the material. Creating content is no different. The most engaging material is always the most genuine. When you tell a personal story, your sincerity and interest shine through to viewers. You can tell your story in whatever way is most comfortable to you: singing, poetry, dancing, or comedy, to name a few. What’s important is that your videos have structure which helps you connect with viewers in a sincere way.

3. Know your platform. 

In the age of digital media, there are many ways such as YouTube, Instagram Live, TikTok, and Snapchat to distribute your content. It’s important to understand the platform you’re using so you know the best ways to convey your stories and messages. If you’re using TikTok, for example, you only have one minute to draw the viewer in and leave a satisfying conclusion. Alternatively, on YouTube you have the option to make videos of whatever length you like, so you have more freedom to decide how long you need to keep viewers engaged. Understanding these differences can push your content to the next level, and get your videos more attention.

4. Quality over quantity. 

One mistake I see many young students make is thinking that they need to make 10 videos per day for their content to be successful. It’s always better to make one movie you’re proud of than to bombard viewers with enough content to monopolize all of YouTube. If you have some time on your hands and you want to make three good videos, go for it. But don’t feel obligated to produce a lot of content if it means the quality of your videos will suffer.

5. Work with a pro. 

It’s always a good idea to get help from a seasoned pro when you’re just starting out. If you want to make a singing channel, consult with your voice coach to make sure your voice is on pitch. If you want a cooking channel, ask a chef. Editors can also help you stitch together your clips in a thoughtful way. While there’s no reason you can’t just jump in and get creative on your own, getting some help from a pro can always make your videos stand out and catch some attention.

6. Use the right equipment. 

If you’re a young actor submitting video auditions, chances are you already know the importance of having a good camera and microphone. The equipment you use can help viewers connect with you and become more engaged. That doesn’t mean you have to go out and buy the most expensive camera. Most smartphones these days have great cameras. What is most important is that your audience sees and hears you well.

7. Have fun. 

People enjoy watching an actor, dancer, or aspiring magician who loves what they do. If you’re not having fun making your own content, maybe it’s time to switch it up. Try a new format or a new skill. When you’re enjoying yourself it makes the whole experience worthwhile allowing  you to have more creative freedom with your work 

If Lin-Manuel Miranda has proven anything, it’s that actors don’t need to wait for a casting call to find success. By creating content, young actors can get creative with the ways they view their work and get some behind the scenes experience too.

How to Know When a Child Actor Needs a New Reel

Kids grow and change quickly. New heights, haircuts, styles, and skills appear daily as they mature. In the entertainment industry, your image, age, and type all play a part in determining what jobs you’ll be right for. Just as you need to update your headshot regularly to stay current, the same needs to be done with a demo reel. Here are the signs your child actor needs a new reel.

Old FootageIf your child is 15 but their reel is still using footage from when they were 8 years old, it’s time to update the reel. Even if the acting is good in the clips, the reel no longer reflects who your child actor is today. Casting directors need to get a sense of who they are now. They’ve grown and matured and it’s time for the reel to showcase that. 

New Style and Type 
In entertainment, an actor’s type is the role they’re most likely to play based on their personality and physical appearance. This can range from the bratty little brother to the girl next door to the bookworm. Your type is important for casting directors to decide where you best fit and what roles you exemplify. So, if your child’s reel was shot when they were an awkward middle schooler, it’s not going to reflect who they are after they dyed their hair blue or became the prom queen. Current footage will help them get the roles that fit their style and personality.

Skill Kids
Don’t just change physically. As they age they also improve their craft and learn new skills. If your child’s reel isn’t an accurate reflection of where they are in their abilities, it’s time for new footage that showcases that. If they’re a stronger actor now than they were when they filmed their reel, get new footage that showcases that. If they’ve learned a new talent that they can use to get cast, they can add that too.

Quality
Whenever you’re constructing a demo reel, the quality of the footage is important to show professionalism. If a reel is made up of home movies that you shot with your phone, it’s time to upgrade. Even phones have been updated and the camera quality has improved. If your child doesn’t have footage from a professional project, it may be time to invest a bit to get better quality footage. I work with a professional demo reel company that writes original scenes for my students to film on a professional set. Just as a professional athlete needs the best equipment like shoes and gear, so does the actor need good quality footage to showcase them properly. 

Getting Called for Ill-Fitting Roles
This is the most common result of a child outgrowing their reel. When a child’s agent or manager sends them on calls, oftentimes they’ll be called for younger roles because their reel footage isn’t up to date. It can also result from footage that just doesn’t capture who they really are, regardless of how much they’ve grown. If you notice your child being called for roles that aren’t right for them, it’s time to get new footage. Remember, a demo reel is meant to market their personality to casting directors. If they’re being called for parts that just aren’t right for them, it’s time to try again.

Rep Request
It’s not uncommon for a child’s agent or manager to request new reel material because they aren’t getting the results they want when they submit the child for auditions. This could be for any number of reasons like poor quality footage, the child looking younger in the reel than they do in real life, or the child not showing their full range. If your child’s agent or manager asks for new footage, be sure to get it to them. Your rep works hard for your child to get them seen by casting directors in the audition room A good quality reel can be instrumental for them to market a young actor and get them auditions. 

Since child actors grow and change quickly, assess their footage twice a year to make sure it accurately portrays them currently. As long as it accomplishes that they should be in good shape as you look for opportunities on your own or through your child’s rep.

5 Shakespeare Monologues for Kids

One of the most troubling areas of study for young actors is Shakespeare. They feel challenged by the language, vivid characters, and scenes that are often foreign to them. Young actors are typically still growing vocally, physically, and emotionally. Working on Shakespeare helps connect all these different moving pieces so that they can work with confidence. It’s a great way for them to expand their craft, and when given the right material, they can actually have a lot of fun with it.

Here are five Shakespearean monologues for your young actor to explore.

1. “A Midsummer Night’s Dream”: Puck What better character to get kids interested in Shakespeare than the mischievous, high-energy Puck. Puck has many great monologues in the show, from breaking the fourth wall to provide helpful commentary to carrying out King Oberon’s demands, and they can be performed by any child. They rhyme and have consistent rhythms, making them easier to memorize and fun to perform, and the playful nature of the character really gives young actors space to explore the style and make bold choices. It’s a great way to get kids interested in the Bard through material they can have fun with. The various monologues can be found in Act 2, Scene 2, Act 3, Scene 2, and Act 5, Scene 2.

2. “A Midsummer Night’s Dream”: Snug the Lion This is a great segue into Shakespeare for very young actors. It’s short and easily understood with some coaching and it provides the adorable irony of a gentle child playing a fierce lion. The monologue can be found in Act 5, Scene 1. In it, Snug explains that although he was cast as a lion in the play, he’s still a gentle creature who may be somewhat afraid of the women in the audience. It’s a great way to introduce kids to dynamic writing, as it balances a nuanced character with humor without losing Shakespeare’s signature lyricism.

3. “Macbeth”: Witches “Double, double toil and trouble! Fire burn and caldron bubble.” These wicked ladies are perfect for helping kids expand their range, playing completely opposite to their personalities while still having to find ways to connect with the characters. The monologue can be found in Act 4, Scene 1, and follows them as they list their ingredients to cast a spell, while also explaining the outcomes of using magic. Kids love getting to play these heightened, extreme personalities while still working to find the humanity hidden beneath the surface.

4. “The Tempest”: Ariel Another gender-neutral, mysterious character, Ariel is a spirit inhabiting Prospero’s island. In Act 3, scene 3, he explains to his shipwrecked guests how he and his spirit friends were the cause of their destruction, chastising them for the poor behavior of the nobility. Its writing is deep and rich, giving young actors a large canvas to work with, and the heightened character allows them to step out of their shells and work with confidence (after all, you do need confidence if you’re going to tell someone they were “belched up” by the sea). This is a great piece for young actors to explore with physicality, giving them the chance to build a spirit and how they think it would move.

5. “As You Like It”: Rosalind This speech is essentially an extended insult, as Rosalind mocks Phoebe for being boring yet egotistic because of the men who fawn over her and can be found in Act 3, Scene 5. The long string of insults flows well because of the engaging language, which will keep young girls excited and connected to the story. It’s also a great avenue for kids to express some of their unspoken frustrations, which is always a cathartic experience.

Working with Shakespeare allows young actors to improve their craft in all genres. Dynamic language and nuanced characters help push them to better understand themselves. These five monologues are great ways for them to start exploring that nuance with scenes that they’ll enjoy. If they need help understanding the language, No Fear Shakespeare is a great resource, although it shouldn't be used as a substitute for reading the full plays.

6 Shakespeare Monologues for Teens

Every young actor dreams of the chance to deconstruct and explore Shakespeare. High stakes, vivid language, rhythm, and poetry all come together to create a perfect storm of lyricism in his work. This is the kind of material that will really push a young actor to dig deep with his nuanced characters, and it’s pretty popular in the high school scene. That said, it can often be difficult for teens to find material that they can connect to and understand. 

Here are six Shakespeare monologues for teens that can be found online. If your teen needs help understanding the language, No Fear Shakespeare is also a great resource (though it shouldn’t be used as a substitute for reading the plays).

1. “King John”: BlanchIf you want high stakes, you can’t get any higher than deciding whether to support your family or your husband in a war. The imagery in this monologue in Act 3, Scene 1 cuts to the core. Blanch wonders if “loud churlish drums, brayers of hell, be measures to our pomp.” She begs her husband to reconsider his allegiances as he threatens to take up arms against her beloved uncle, King John. The strong conflict gives young actors the freedom to play heightened emotions, which, coupled with the complex relationship between Blanch and her husband, makes this monologue a great challenge for any girl looking to expand her acting horizons.

2. “A Midsummer Night’s Dream”: Helena Always a fan favorite, here the conniving Helena laments her inability to woo Hermia’s suitor Demetrius. Her desire for beauty, as though confirming her appearance to match Hermia’s will make her worthy of love, is one many teen girls can relate to as is her lovesick despondency. There’s also an opportunity for some comedy when she becomes increasingly overdramatic as the scene goes on. The monologue found in Act 1, Scene 1 begins with the line, “How happy some o’er other some can be,” and provides a fun exploration into a misunderstood character that can work with a number of different choices.

3. “A Midsummer Night’s Dream”: LysanderElsewhere in our Midsummer love-rectangle we have Lysander, begging Hermia’s father to allow her to marry him instead of Demetrius. Aside from the hilarity of calling Demetrius “spotted and inconsistent” to his face, Lysander showcases unexpected bravery in this scene, essentially standing up to the adults in the room, which is a dream that all teens share. It’s a great scene for a timid teen who wants to expand his range and can be found in Act 1, Scene 1 beginning with, “You have her father’s love Demetrius.”

4. “Henry VI Part 1”: Joan of Arc Who wouldn’t want to play one of the toughest, most headstrong women in history? In Act 5, Scene 4 Joan of Arc attempts to escape execution by reminding her tormenters of their own moral failings during the war. Her terror knowing her execution is near is juxtaposed by her need to remain composed as she argues for her life. Her simultaneous anger at the men who call her a witch gives this monologue great versatility with the tools to make creative choices. The language in it can be challenging, so it may require a dictionary nearby for the first read-through. But if you’re a headstrong, independent actor and looking for a character to showcase that, you may be the perfect witch to play her.

5. “Romeo and Juliet”: Romeo A tale as old as time, “Romeo and Juliet” is filled with dynamic monologues for teen boys to explore (including his balcony monologue in Act 2, Scene 2, although that one is slightly overdone). The character is age-appropriate and has the same confusion about life indicative of being a teen. His monologues tackle themes of love, fate, and grief, and use complex metaphors to paint a dynamic picture of what it means to grow up. This makes it an easy character for boys to understand and provides a vehicle for them to improve their craft with nuanced writing.

6. “Two Gentlemen of Verona”: LaunceIn Act 2, Scene 3 Launce explains all the reasons why his dog is the cruelest member of his family, being the only one to not cry when Launce left. Unfortunately, he can’t stop mixing his metaphors, confusing himself in the process. The language in this speech is definitely a challenge, even tripping up Launce, but it’s a hilarious, self-aware piece that an actor can really have fun with. It’s a break from Shakespeare’s typical style of comedy, playing with language and poking fun at his usual use of metaphor. It really gives an actor the space to play with and become more acquainted with the Bard’s style. 

Shakespeare is valuable for any teen actor to study. His plays persist centuries after they were written largely because of their universal themes and characters. They’re great ways for actors to better understand their crafts, but also to understand themselves.

How a Child Actor Can Get Cast in an Indie Film

Q: How can my child get cast in an indie film? —Jane S.*

Independent films can be a great launching pad for an actor’s career. That being said, getting cast in an indie film is not much different from getting cast in any other medium.

The first things to consider are your child actor’s talent, readiness, marketability, and type. Actors get cast if they fit the role and have the skill level needed to play the character. If your child does not have representation, such as an agent or manager, to submit them for roles being cast, there are many online resources you can turn to in order to find out about casting opportunities in indie films. Backstage is the first place to go to look for open calls, opportunities to which anyone can apply. Make sure your child has a good picture representing their current age and type, and a résumé to go with it. If there is any video footage you can upload of them acting on-camera, this is also helpful for casting directors, so they can see how your child looks and acts on film.

Beyond casting sites, read the trade papers to find out about upcoming projects. Follow indie directors on social media so you know what may be coming up, and follow sites like Women in Film and IFP, as well as Facebook groups for independent filmmakers, to get a heads up on upcoming projects. Casting directors look for a well-rounded, authentic child who can bring their acting chops to the table and give a compelling performance. That means training is key. Through classes and workshops, your child may also have a chance to show their work to casting directors who cast indie films.

Recently, I moderated an online forum with casting directors to speak about the changes in the industry today. One of my guests casts specifically for indie films, and she said she looks to social media when casting, so having an Instagram account or YouTube channel with videos and photos can be helpful.

By exploring these avenues, you can find opportunities for your child actor to get cast in an indie film.

5 Comedic Monologues for Kids

Let’s be honest. Comedy is hard! Understanding timing, the secret to comedy, and the drama beneath the character’s warped reality is not easy. The first step to improving your child’s comedic game is finding good material. There are plenty of online reservoirs of simple comedic monologues that can work, but I prefer to look to published plays, TV and film scripts, and even novels for more layered, nuanced material. 

Here are five comedic monologues I find work great for young children.

1. “Charlie and the Chocolate Factory” by Richard R. GeorgeEvery kid in town knows and loves “Charlie and the Chocolate Factory.” The play, written by George, is based on the classic book by Roald Dahl. The monologues in it are surprisingly scarce on the audition scene. One particular monologue I like comes courtesy of Veruca Salt, who demands her wealthy father get her a Golden Ticket when she decided she just had to have one. It’s a great character piece for girls who have enough energy to nail Veruca’s over-the-top brattiness. From the engaging story to the unexpected shift in tone at the end, this monologue is a slam dunk to entertain even the most reserved audience.

2. “The Loman Family Picnic” by Donald MarguliesI love this monologue because of its self-aware writing. It’s riddled with jokes that kids might not understand, but the character, Mitchell, is confused right alongside them. In the monologue, Mitchell explains to his Dad his plan to write a musical comedy version of “Death of a Salesman” titled “Willy!” with emphasis on the exclamation point. Mitchell’s attempts to connect with the adults in his life, including his father and his teacher, provide a dramatic backbone for the piece that kids can relate to while his creative interpretation of a classic work makes for an entertaining finale.

 3. “The Fifth of July” by Lanford WilsonThis is another high-energy piece that works best for outgoing kids. It follows 13-year-old Shirley as she regales the audience with tales of her future successes when she’ll “do something astonishing.” What will she be famous for, exactly? She’s not sure. But she’s certainly enthralled by the possibilities. Her unflinching self-confidence is itself funny to witness, but the writing takes it a step further by piling on the melodrama, even having Shirley pretend to be a woman who died of amazement after seeing her gifts. The excitement that Shirley has while looking toward the future is endearing and hilarious, making the piece great for kids to impress with their willingness to make bold choices.

4. “You’re a Good Man Charlie Brown” by John Gordon and Charles M. SchultzCharlie Brown may be the ultimate underdog of children’s literature. In this monologue he once again manages to self-sabotage his attempts to woo the cute little redheaded girl, even putting a lunch bag over his head when he realizes she may actually be looking at him. The arc of his monologue takes the audience on a full journey as Charlie Brown goes from being generally worn down by the world to being hopeful that the little redheaded girl may look his way to realizing his best option is just to count down the 2,863 lunch periods until he can be free of eating daily peanut butter sandwiches. The hilarity comes from his utter lack of self-awareness. He goes from quickly throwing a bag over his head to wondering why the girl won’t look at him, and can’t seem to decide whether he really wants her to look at him at all. The comedy isn’t as high-energy as some of the other monologues on the list, making it great for a quieter student looking to show off their comedic skills.

 5. “The Young Girl and the Monsoon” by James RyanIn this piece, our young girl laments the hypothetical gain in weight she’ll experience if she eats her father’s oily broccoli. She’s definitely overdramatic, but the unfortunate reality is that low self-esteem is an issue that many kids face and one which is captured so brilliantly by this confused, anxiety-ridden piece. It’s a conflict kids can understand that is presented by a hilariously talkative little girl, creating a comedic environment rooted in a real, albeit overblown fear. 

In addition to these five monologues for your young performer to showcase their comedic chops, there are plenty more out there. Just as long as it’s age-appropriate, there’s an interesting conflict, and there are plenty of changes of intention, your child will be ready to ace whatever audition is thrown their way.

5 Dramatic Monologues for Kids

I’m not a big fan of generic monologue books. Every now and then I’ll run across a piece that is well-written and works nicely, but most of the time they’re trite and obvious. Instead, I look for monologues from plays, movies, and even novels, which contain conflict and good character work. These can be hard to come by for kids under age 12 though.  

So here are five dramatic monologues for kids that are sure to push your child to improve their acting skills.

1. “A Little Princess”This whimsical book-turned-movie-turned-musical follows Sara Crewe, an imaginative 11-year-old who is forced to move into a boarding school after her father dies in combat during World War I. In one scene, she assures her fellow students that their loved ones watch over them in heaven even when they can’t be seen.

I love this monologue because of its sincerity. Sara’s optimism, cheerfulness, and genuine heart shine through in every word, and those are qualities that many young girls already possess and celebrate. Beyond its surface-level charm it offers a multi-layered character to develop. Sara’s description of heaven is detailed and unique, enough so to reveal why she maintains such a cheerful attitude without fully dismissing the effect her mother’s death has had on her. It highlights Sara’s naivete without being condescending, making it a perfect monologue for naive children to relate to.

 2. “The Member of the Wedding”This coming of age story follows 12-year-old Frankie as she follows her older brother on his honeymoon. In her monologue, Frankie explains her awe in realizing the extreme loneliness she felt before understanding what it meant to “belong to a ‘we.’ ” This monologue is perfect for auditions because of the distinct changes Frankie undergoes throughout. While the piece climaxes when she decides to follow her brother to Winter Hill, there’s no shortage of personal realizations and emotional beats as she comes to that understanding. Frankie’s universally shared desire to find her place makes the monologue both relatable and entertaining as she comes to terms with her desires in unique, childish ways. Additionally, the character herself is more spunky than Sara Crewe, making it good for more spirited girls who may have a hard time connecting to Sara.

 3. “Irreconcilable Differences”This film monologue expertly tackles mature themes such as neglect and emotional abuse while still highlighting the innocence of its protagonist, Casey. In it Casey argues for legal emancipation from her absent parents, explaining the decency she feels adults owe to one another and the obligation they have to care for their children. Casey’s simplified view of right and wrong is blunt and honest. This is why her monologue is good for kids; it bridges the divide between youthful innocence and adult maturity through the eyes of a child. The monologue is essentially a plea for attention, respect, and understanding, and that’s something kids can understand in a world where their voices are often overlooked. Casey must articulate her desire for independence to a room full of adults who still see her as naive and incapable, and that’s a conflict young girls can understand.   

4. “Nine Months”While “Nine Months” is a comedy film, Truman’s monologue is actually dramatic. In it the young boy explains to his new therapist why he was forced to go to therapy after his father had a mid-life crisis and he began acting out to get attention. The monologue begins with some comedy, as Truman admits that he sawed the heads off of his dad’s golf clubs and super glued his credit cards to his wallet. But in the end, when he finally confesses that “kids need their dads,” it becomes a heartfelt monologue with the depth necessary to challenge a young actor to understand the character. The need for attention isn’t a foreign struggle for young boys, making this the perfect monologue for them to add to their repertoire.

5. “Runaways”The musical “Runaways” features a cast of about 20 teens and children, each one having a song, scene, or monologue about why they ran away from home. It’s a great source of material because of its dynamic writing. Each monologue has a unique voice, yet they all have the same lingering sense of uncertainty that’ll have the audience on the edge of their seats. Some of my favorites are AJ’s monologue when they explain why they had no choice but to leave their unstable home, when Eddie asserts that they believe there is a problem with the world while begging that their teacher doesn’t flunk them for their criticism, and Lazar’s monologue, in which the child explains why superheroes can only be found in comic books. Most of the monologues will work for kids of any gender, and while many were written for teens, they’re still great material for younger actors.

All these dramatic monologues will help your child ace their audition and showcase their skills, but there are plenty of other plays, TV shows, and books out there with dynamic monologues for young actors. As long as the conflict is good, the tactics used to overcome the conflict change, and your child can relate to the material, there will be nothing keeping them from reaching their full acting potential.

7 Comedic Monologues for Teens

From balancing the drama inherent in comedy to understanding wacky, slightly awkward characters, tackling comedic monologues can be one of the most difficult tasks a student undertakes. The first step to nailing comedy is finding good material. This can be challenging as students often fall into the trap of choosing generic monologues without depth or focusing on surface-level gags. It’s important to remember that monologues should be active instead of passive and be age-appropriate and relatable. It’s OK to piece together several small speeches to make a monologue cutting as well.

I’ve spent decades reading plays and helping young actors choose the material. Here are seven comedic monologues I’ve chosen for teens to look at.

“A Midsummer Night in the OC” by D. Tupper McKnight

A modern interpretation of the jealous maiden, Helena’s monologue here oozes with teen insecurity and angst. Beneath the entertaining one-liners about “Teenage Mutant Ninja Turtles” and middle school, we can see her insecurities peeping through as she tries to convince Demetrius, an equally awkward boy, to return her affection. It has all the humor of Shakespeare’s original play, “A Midsummer Night’s Dream,” mixed with modern references that teens are sure to connect to.

“Serendipity and Serenity” by Jonathan Marc Sherman

Jonathan Marc Sherman wrote several plays for the Young Playwrights Festival in his youth, so you can rest assured he knows how teenagers think. That understanding comes through in every line of dialogue. His dark humor is tinged with adolescent fear without being overly melodramatic. You may be familiar with his play “Women in Wallace,” which itself has a great monologue. But he’s also written more obscure plays full of the authenticity that is essential to character-based comedy. I’ve seen Lionel’s monologue from this play, which takes place in a bathroom, performed by both boys and girls and it’s always a winner.

“All This Intimacy” by Rajiv Joseph

The title says it all. The character Jen’s hilarious attempts to wring some emotion out of her boyfriend are foiled by her own ineptitude in her monologue here. While we laugh at her seriousness as she spars with the laryngitis-stricken boy, we can also appreciate her genuine attempts to understand her place in the world, a connection that endears us to her beyond the surface-level humor.

“Dags” by Debra Oswald

This piece really does call out the oxymoron of adolescence. Teen girls will relate with not fitting in, attempts to be popular, and waking up with pimples which will ruin your day. Told through the eyes of a girl with her head in a bag, the monologue really just gives teens an opportunity to let loose about the stress of adolescence. It dials up the melodrama, angst, and confusion, making it easy to connect with it and really have fun. Written by an Australian writer, some of the words can be changed to Americanize it.

“Everything Will Be Different” by Mark Schultz

The confusion of this character is both hilarious and endearing as he tries to convince Charlotte, a girl who doesn’t know him particularly well, that they should “be like boyfriend and girlfriend or something.” After he stumbles through history’s most awkward pick-up monologue, the audience will be rolling at his final, darkly random apology over the death of Charlotte’s mother.

“From Up Here” by Liz Flahive

This piece is a more mature version of “Everything Will Be Different.” It has all of the awkward, stumbling romance that Schultz writes, but the character Charlie is slightly older and more in control of what he says. It’s a dynamic monologue, with beats of contemplation juxtaposed with Charlie’s anxious ramblings. It is an easy monologue for lovesick teenage boys to understand.

“I Ought to be in Pictures” By Neil Simon

Is there anything more awkward than a girl and her dad having “the talk”? Not when Libby is in charge. Although Libby doesn’t have one long speech you can splice together some of Simon’s witty dialogue. This cutting is more of a dramatic comedy as Libby transitions from her initial nervous ramblings about her crush into the pain she feels over her strained relationship with her mother, and the lyricism is impressive throughout. The subject matter is more mature, so I’d recommend it for an older teen, but Libby’s sporadic changes in tone make this an impressive monologue for anyone who likes a multi-layered character to explore.

When looking for a great monologue to perform, read this past article of mine to understand how to choose a compelling piece. While searching for your next comedic piece you are sure to have fun exploring different playwrights and styles of writing to see what speaks to you.