Maybe you’ve fallen into the same trap as me. It seems like a smart idea: auditions are nerve-wracking barriers of entry to every production, so why not attend more auditions for the sake of getting used to them? Auditioning is a very different skillset in some ways than actually performing, and hands-on practice is always the best method of improvement, right?

Not necessarily, I’ve come to realize. Maybe it’s more appropriate to say not all hands-on practice is created equal, and going to auditions for the sake of practicing auditions isn’t always beneficial.

Let me explain.

Here’s how I was attending practice auditions: I’d find an audition for a show I wasn’t particularly invested in getting into– it might be fun, sure, but it definitely wasn’t a passion project– and do some bare minimum prep (it’s just for practice, after all) and show up. I’d spend a lot of time reflecting on how I felt in the room, or trying to crack the code on how to be less nervous. I’d practice breathing exercises to calm down beforehand, try interacting with the production staff in different ways, test out a million little micro-adjustments to my process to see if I could magically make my auditions better.

Maybe you already see where I was going wrong.

After attending so many practice auditions, I discovered a simple truth. The major barrier I was facing in the audition room wasn’t my nerves, or how I carried myself in front of the team, or the guided meditations I did in the car on my way there. The problem wasn’t any of that extra stuff. The problem was very simply how I was auditioning, or more accurately, how I was preparing for that audition.

Not how I was mentally psyching myself up for it. How I was literally picking, planning, and prepping my material.

Actors are famously a neurotic bunch, and who can blame us? The art of acting is esoteric and complicated. Read any book on acting method by any of the greats and tell me it makes total practical sense and never veers off into woo-woo emotional/mental jargon– I’ll wait, and I’ll be waiting for a long time. Acting is a psychologically complex art that creates psychologically complex reactions, so it’s not particularly surprising the entire process is so mired in emotional mumbo-jumbo.

It’s very easy to get mired down in all this. Make no mistake, this is the art of acting, and an actor looking to do truly engaging work will have to grapple with all of this baggage eventually.

But you can’t let it get in the way of fundamentals. You must be able to be seen. You must be able to be heard. And in an audition, you must be able to pick and perform material that shows you are a good fit for the project.

This is the skill you need to build for auditions. You only have one 32 or 16-bar cut to show what you can do. You better make it the best it can be!

The reality is that much of this process is done outside the audition room. No need to attend auditions for practice, really– in the broad sweep of things, you’ll probably attend and be cut from enough auditions as it is that you’ll get your practice whether you’re seeking it out or not. Instead of worrying about that, worry about spending your time on perfecting what you’re showing off.

Here are the broad steps I’m taking, that you can try too, to have better auditions without the need to waste auditions on practice:

For musical theatre/vocal auditions:

1. Choosing a robust selection of songs and cuts for your musical theatre audition book
   • This will include 2-4 pieces for each of the major time periods/”eras” of theatre (Jazz Age, Golden Age, 60s/70s, Contemporary/Pop, etc), in a variety of styles and tempos
   • Select cuts that tell a story, or provide plenty of room to grow: showcase changes in mood, variety in range, evolution in volume/tempo/intensity, etc
2. Doing book work to prepare those cuts
   • Sitting down with paper and pencil to hone in on acting beats and objectives, or find other spots to utilize my acting toolkit
3. Practicing those cuts dilligently
   • Practice them as you will perform them, with the acting beats you’ve already worked out. Try practicing with a variety of different backing tracks, so you’re prepared to try it in different ways in case the audition accompanist isn’t quite on your same page.
   • Work on these with a voice instructor, if you have one (and consider getting one if you don’t)
   • Periodically return to and “dust off” cuts you haven’t done in a while, to keep them in good shape

For play/acting auditions:

1. Choosing a selection of monologues for your audition book
   • This will include 1-2 pieces each from different major genres (Shakespearean/Elizabethan/Renaissance, Verse/Poetry, Classic Plays, Contemporary Drama and Comedy, etc)
2. Doing book work to prepare these
   • Sitting down with paper and pencil to hone in on acting beats and objectives, or find other spots to utilize my acting toolkit
3. Practice these diligently
   • Practice them as you will perform them, with the acting beats you’ve already worked out. Make sure they are fully memorized.
   • Work on these with an acting instructor, if you have one (and consider getting one if you don’t)
   • Periodically return to and “dust off” monologues you haven’t done in a while, to keep them in good shape

Once your material is in a really good spot, you’re ready to bring it to an audition. Don’t worry about showing up to an audition just for practice if your material isn’t really up to snuff– it ultimately won’t be worth your time!

If you’re concerned about lessening your nerves in an audition, remember this: when your material is really good, and you know you can do it really well, and you know you’re as prepared as you can possibly be for the audition, then you will automatically be less nervous, every time. Give it a try.

For more audition tips, check out my ultimate guide to auditioning.

Ready to find some auditions? Check out How to Find Auditions for Theatre and Film in 2026.