How to Find a Monologue for an Audition

Posted on February 21, 2026January 11, 2026 by Thtrthts

Good audition monologues can be hard to find. They’re a staple for self-tape auditions and are a common element of community theater auditions as well. Having a few monologues for auditions prepared and kept in your audition book can ensure you’re ready just in case you need one.

Whether you’re preparing for upcoming audition or class, or just want to practice your acting skills, this guide will help you figure out how to find good audition monologues easily!

What Makes a Good Audition Monologue?

As we’ll examine in a moment, it’s simple enough to find a monologue. Finding good monologues that show off your acting talents well is a whole other ballgame.

A good monologue…

Will be an appropriate length for the audition
- Pay attention to what the audition notice asks for. Generally, this will be 1-2 minutes in length.
Will be an appropriate style for the audition
- A good rule of thumb is to bring a contemporary comedy monologue for a contemporary comedy production, and so on– there could be exceptions to this rule, but this will be standard.
Contains strong, varied acting beats
- Avoid monologues that are too “one-note”– look for ones with a good “switch,” so you can show different moods and acting abilities in one monologue
Is well-prepared and well-memorized
- Don’t fret about finding the “perfect” monologue that you’ll have to cram the night before the audition. A monologue that you have in your back pocket, that isn’t necessarily stylistically ideal for the audition, will be better than one that isn’t ready for an audience. We’ll talk a little more about prep later in this guide!

Note: A good monologue does not have to be well-known. In fact, picking a lesser-known monologue may provide the opportunity to surprise the audition panel and pique their interest with something new.

Now that we have a basic idea of what to look for– something of adequate length and style, that isn’t too one-note and that we are ready to thoroughly prepare and perfectly memorize– we can talk about how to find monologues for auditions.

How to Find a Monologue Online

You don’t need to know a lot of famous soliloquies from classic plays to find a good audition piece. There are a wealth of resources online to assist you in your search.

Backstage has a robust catalogue of monologues and a handy search tool to help you find options suitable for you.

MonologueGenie is another good choice. While it lacks the search functionality of Backstage’s catalogue, the site is somewhat easier to browse, and you can see more options at one time. Select pages for gender, length, or genre.

DailyActor‘s monologue database includes monologues from TV and Film, which may be appropriate for your needs, depending on what you’re auditioning for. More options are always valuable, anyway– some theatre monologues are dreadfully overdone for stage auditions.

Generally, however, I have found finding monologues online to be rather tedious and not especially satisfying. This is why I heartily recommend the next option instead…

How to Find a Monologue From a Play

The obvious drawback of this method is that it requires you to read plays in order to find your monologues– it’s not exactly time efficient.

However, assembling a passive library of monologues by keeping track of potential moments in plays you’re reading is one of the best ways to find monologues that speak to you. Some of the best monologues come from plays!

Here’s a step-by-step process for how to turn play dialogue into a monologue:

Read a play. I know that step is pretty self-explanatory, but it’s the hardest part of this process.
Find a scene where a character has either a long, uninterrupted chunk of text, or several long lines in a row with some interruption. The latter can be a little tricky to spot, but practice helps.
Remove any interruptions or unnecessary stage directions. You may have to tweak some lines just slightly to make what’s left make sense.
Copy/paste this to a fresh Word document, or print a copy of the page from the script.

Done! In case this isn’t super clear, here are two examples to better illustrate what I’m talking about.

This first example (From Qui Nguyen’s She Kills Monsters) requires essentially no adjustments. There’s one interruption, but this can be easily remedied by removing the interruption and adding a word so Agnes says “no, it’s not okay” instead of just “no, it’s not.” (You don’t actually need someone to say Vera’s line– your audience will understand why your character is proclaiming “no, it’s not fine!” seemingly out of nowhere.)

Here’s another example of a scene that requires slightly more finesse to turn into a monologue, but it still works just as well:

Once you start looking for monologues from plays, you’ll find that you have a lot of options! Hopefully this provides a good excuse for you to revisit your favorite plays– or read some new ones– and look for scenes you can adapt.

Monologue Books?

It’s true that there is a veritable mountain of published books containing nothing but audition monologues. You may have good luck with these, and keeping a few in your actor’s library may be helpful for you. Generally, though, these are unnecessary to actually find a good monologue, and the offerings tend to be stale. If you really want to plumb this resource, consider checking your local library first rather than purchasing them. Getting your monologues online or directly from plays will probably serve you better nonetheless.

How to Memorize a Monologue

There’s really no getting away from repetition when it comes to memorization. For more in depth tips, consider looking at guide to memorization for actors.

Some quick and dirty suggestions to get you started:

Read it many times, both silently and out loud. If it’s from a play, read the whole play, if you can.
Break down the monologue into smaller chunks to make memorization easier. Work on a section at a time.
Practice in many different places, in many different ways, and in front of many different people, if at all possible. The variety is good for your memory and helps prepare you for reading in an unfamiliar audition environment.
Try recording yourself reading the monologue (video or audio recording) and watch or listen back to it. Listening to the audio can be a handy way to refresh yourself on the words even when your hands and eyes are busy, like while you’re driving or cooking.

Once you’ve found a great monologue and it’s memorized and well-practiced, you’re ready for your audition!

Read more plays, or scour the sites provided above, and see what options you can find! When you find a good one, save a copy to your computer or print it out and keep a physical copy, so you’ll always have some monologues in your back pocket!

Guides and Tips, Theatre

Does a Community Theatre Production Need an Intimacy Coordinator?

Posted on January 31, 2026January 1, 2026 by Thtrthts

“Intimacy coordinator” is a relatively new title for a job many actors, directors, stage managers, and choreographers have found themselves taking on for many years, in pursuit of solving a problem theatre folk have always faced: the potential discomfort involved in rehearsing and performing sexual content on stage.

Intimacy coordinators are becoming steadily more mainstream in the theatre and film industries, and in the performing arts at large. That said, many question the need for the profession– if actors have figured this stuff out since long before the advent of the first official intimacy coordinators in the early 2000s, why should a film production or theatre company pay someone to insert themselves into the process?

The answer is simple: it’s true that the art of acting has made do without intimacy coordinators for hundreds of years, and it’s also true that actors have often had adverse experiences with sexual harassment and abuse, as well as plain old discomfort and embarrassment, stemming from working on sexual content without adequate safeguards. Intimacy coordination provides actors, directors, and everyone else in the room with tools to help navigate potential pitfalls associated with working on sensitive material.

As the profession becomes more mainstream in professional theatre, community theatre artists may find themselves itching for the same assistance. This article explores when and where an intimacy coordinator may be helpful in community theatre settings, and will hopefully help directors and theatre managers navigate whether or not the investment is right for them.

Benefits of Intimacy Coordinators for Community Theatre

If you’re not familiar with what intimacy coordinators do, it might be helpful to start by exploring the benefits of intimacy coordinators and bringing in an intimacy professional.

Intimacy coordinators…

Take pressure off of actors and staff alike by providing tools and advice for dealing with intimate material
Provide working vocabulary and practical tips to minimize discomfort during the process, even when working on potentially awkward or uncomfortable scenes
Serve as valuable sounding boards or consultants during rehearsal, or step in and play a more active role in choreographing moments of intimacy
Are well-versed in trauma and mental health practices (but are not therapists), and can provide resources or guidance to assist artists struggling with challenging content
Help tell the story on stage, while making sure those telling the story are also attended to
In general, help protect everyone in the room, without being the “sex police,” by making sure everyone’s on the same page and that expectations are being clearly communicated and fulfilled

In short, intimacy professionals can make navigating theatrical intimacy safer and less uncomfortable for everyone involved. Whether a team has specific concerns, or actors are just a little nervous about getting sexy in front of their fellow cast members, intimacy coordinators can help ease the tension and steer the room towards happier and more productive conversations and practices.

Signs You May Want an Intimacy Coordinator for Your Production

Now that we’ve examined some of the benefits of intimacy coordination, let’s examine some signs that you may need an intimacy professional on your project:

The Show Contains Particularly Sexual, Sensitive, or “Heavy” Content

Some shows contain more mature content than others. Productions that deal with highly charged and potentially triggering material can often benefit from an intimacy coordinator. Not only can an intimacy professional provide tools for the actors to advocate for and safeguard themselves, they also provide tools and insight for the good of the theatre company as a whole. They should be able to advise on best practices regarding auditioning, casting, and creating content warnings in addition to assisting in the rehearsal process. This kind of input can head off potential issues before they arise, and keep the cast and crew safe and comfortable during the entire process.

The Production Team or Theatre Managers are Wary About Handling the Material Properly

Directors or choreographers may be uncomfortable attempting to block or choreograph moments of intimacy. Lighting designers may be uncertain of best practices for lighting scenes with nudity, and costume departments or backstage dressers may need help navigating these scenes as well. At any step of the process, there can be many points where a staff discovers they don’t feel adequately equipped to deal with intimate content, and having an intimacy professional on hand to guide them can be invaluable. Besides making the process easier and the learning curve smoother overall, it can also provide production teams and theatre administrators with useful tools they can keep in mind for future productions.

The Show Contains Sexual Content the Production Staff Lacks Knowledge Of

For example, if your show is about sex work, or perhaps contains depictions of BDSM culture, but the director and other leading creatives are not secure in their understandings of these communities, it may be beneficial to call in someone who is. You may research intimacy coordinators who specialize in niche subject areas, like kink, group dynamics, or scenes of non-consent. Even if you aren’t looking to hire a specialist outright, consulting on a production or providing resources for the team to do their own research is a common service many intimacy professionals offer.

You Have Actors (or Staff) Asking for One

If anyone working on the production is uncomfortable with the material, or is simply searching for more guidance as to how to explore sexual material in the least uncomfortable way possible, consider reaching out to an intimacy professional. This can help prevent further issues down the line and covers your bases just in case. If someone is asking about bringing in an intimacy professional, it’s probably a sign that having one will be helpful.

You may also consider checking out Evelyn Fogleman’s article, “Understanding Intimacy Coordinators: A Guide To Knowing When You Need One.”

How to Find and Hire an Intimacy Coordinator

If you feel like an intimacy professional would benefit your production, your next step is to look into hiring an intimacy coordinator.

Theatrical Intimacy Education offers a useful checklist for navigating who best fits your production’s needs.

Intimacy Directors and Coordinators International hosts a database of professionals certified through their training program. Note that certification is not necessary to work as a theatrical intimacy professional!

You should also explore the intimacy professionals working in your area: if funding is a concern as a community theatre operation, finding someone close to home is likely to be more cost effective. You can try Googling “intimacy coordinators in [city name],” but an easy approach is to find program information for regional theaters in your area and look for the names of the professionals they work with.

If hiring a professional is not right for you at this moment, you still have options: there are lots of ways to learn more!

Resources for Navigating Theatrical Intimacy

One of the great things about theatrical intimacy tools is that they can be used by more than just intimacy professionals. Actors, directors, choreographers, and everyone else “in the room” can benefit from learning more about theatrical intimacy best practices, so they can bring these useful tools into the rehearsal room, and even pass them on to others.

Even if you don’t need an intimacy coordinator for your next production, you may find the following resources helpful:

Book: Staging Sex by Chelsea Pace and Laura Rikard

Staging Sex is full of best practices and no-nonsense tips for handling stage intimacy. Written by the co-founders of Theatrical Intimacy Education, this book is an excellent starting point for learning about intimacy, or a solid refresher for those with some training.

Book: The Intimacy Coordinator’s Guidebook edited by Brooke M. Haney

Brooke M. Haney gathers contributions from a variety of intimacy professionals in the field to create a diverse collection of viewpoints. The book explores various specialty considerations and best practices for intimacy coordinators, and makes a useful companion to Staging Sex by providing additional context and perspectives.

Live Workshops: via Theatrical Intimacy Education

Theatrical Intimacy Education (TIE) hosts workshops year-round via Zoom, with occasional in-person weekend intensives across the United States and internationally. Workshops cover a variety of topics and are designed for a variety of backgrounds and levels of understanding, so there are options for everyone, whether you’re just dipping your toes in or interested in more advanced training.

Live and Pre-Recorded Workshops: via Open Intimacy Creatives

Open Intimacy Creatives also offers workshops, however Open also provides the option to purchase pre-recorded workshops for on-demand viewing. If you have pressing questions or need training on your own time, consider browsing their library. If you are interested in more structured training, consider checking out their cohort programs.

Guides and Tips

The Ultimate Guide to Surviving Tech Week (Updated for 2026)

Posted on January 24, 2026December 19, 2025 by Thtrthts

I have a sickness of the mind, and it is that I kind of get a kick out of tech week. The idea of 12-hour rehearsals gets me sort of jazzed. The head-down, one-foot-in-front-of-the-othergrind of tech week is very fulfilling to me. It’s a week to throw the entirety of my energy squarely at two targets: put on a good show and don’t die. It’s like a week of wilderness survival but for a theatre kid. It’s exhilarating and when it’s done you get to show off all your cool scars (some figurative, most literal).

I’m a dweeb about tech week preparation, it’s true. If tech week is wilderness survival, I am your overenthusiastic survival guide. I will get through it and I will get you through it, too. Just heed my advice.

Continue reading →

Guides and Tips, Theatre

How Do Actors Learn Their Lines?: A Guide to Memorization for Acting

Posted on January 17, 2026December 19, 2025 by Thtrthts

When I tell people that I’m an actor, one of the responses I often get is how do you memorize all that? Memorizing your lines is a necessary part of performing in theatre or film, but a deceptively difficult one that you usually won’t be taught how to do in acting courses or textbooks. The assumption is that actors already know how to memorize a script quickly: but if you’re just starting out, this can be a huge hurdle.

This article will examine how to memorize lines fast from a theoretical perspective and provide some practical tips and exercises to try. By the end, you should have all the tools you need to memorize a monologue, scene, or song, so you can find more success in rehearsal.

How Do Actors Learn Their Lines?

The short answer to this question is it varies, and there are as many different ways to memorize your lines as there are actors on planet earth.

The even shorter answer is just one word: repetition. But there are lots of different ways to practice repetition, so even this short answer requires much longer explanation!

If you’ve ever done community theater, or maybe participated in school theatre, then you know that much of the rehearsal process is spent learning and running (and re-running) show material, both to prepare and perfect it for the final performance and to help the actors remember everything. Repetition over the course of the rehearsal process helps actors keep track of lines and blocking.

But in professional theatre and film, actors are often expected (not always, but often) to have the full material memorized at the start of the process. Professional theatre rehearsal processes are usually only a few short weeks long, so quick memorization is key; TV and film actors often have rather minimal rehearsal before getting in front of a camera. In these cases, actors must get their repetition by practicing at home. (Practicing at home is also necessary in long rehearsal processes– don’t think you’re off the hook just because your school’s rehearsal process is 3 months long!)

Memorization is largely the process of making connections between neurons and strengthening those connections with repeated exposure to stimuli— hence the importance of repetition. Repeated exposure to lines, blocking, or music helps solidify the neural pathway in the brain, leading to faster and easier recall.

So that’s easy enough, right? Just repeat it a lot and you’re good to go?

In theory, yes, that’s all there is to it; but that’s easier said than done. Let’s look at some tips to help turn that theory into practice.

Memorization Tips for Actors

Here are some tried-and-true techniques for actor memorization:

Getting very familiar with the script is a necessary step one. Reading and re-reading the script isn’t a super efficient technique for memorization, but plan to do it at least a few times on your own outside of rehearsal.
Running lines with a partner is a classic option. Try this with and without your script in hand to quiz yourself. Speaking the lines aloud with someone else can be more helpful for memorization than just reading them alone.
Learn a little bit at a time. Don’t try to memorize the whole show in one sitting. Pick a page or two per day, or more if your rehearsal period is short. The next day, review the previous section, then go on to the next. Periodically review in larger chunks (like all of act one, or the first 20 pages, etc).
If you don’t have anyone to run lines with you, you can make an audio recording of your lines. Try making two copies: one where you say your lines out loud, along with other people’s cue lines, and one where you only say the cue lines. This way, you can listen to the “full” copy when you need to remind yourself of the lines, or the copy with only the cue lines when you want to test your recall.
Some actors like to make line flashcards with the cue line on the front and their line in response on the back. If you make these flashcards with pen and paper, you get the added benefit of writing the lines out longhand, which can also be helpful for memory.
As you get further into the rehearsal process and get your blocking or choreography, practice your lines and your blocking (or your lyrics and your choreography) together. Connecting the motions to the words can help both stick in your mind.
Space out your line-study sessions. Information sticks better in your memory when you practice it over time, rather than trying to cram it all in one big chunk. This can be as simple as studying for 30 mins, eating dinner, and then coming back to study for another 30 mins– a little distance where you start to forget, but then jog your memory soon after, can be beneficial.
The human brain loves variety, so trying it many different ways can help information stick. For instance, try reading or reciting lines very fast, or very slow. Try reading them as you plan to on stage, and then try reading them as much unlike how you plan to read them on stage as possible. Study in different places and using different methods.

Experiment with these and see what works best for you. Now that we’ve taken a look at the basic memorization methods actors use, let’s look at how you can use them in specific situations.

How to Memorize a Monologue

Figuring out how to memorize a monologue is a real challenge. Whether you’re preparing for an audition, or have a lengthy chunk of text to remember for a performance, monologues are difficult because you don’t have anyone else to work off of.

To memorize a monologue, make sure you have a good sense of how the whole thing flows. Since it’s much shorter than a full play, there’s no reason not to read the full text several times. Then, break it down into sections. It may help to paraphrase or quickly summarize each section to cement them in your head: “First, my character arrives at the house and opens the door. Then she talks to the person who opened the door. Then she realizes the person behind the door isn’t who she expected. Then…”

It may also be helpful to look for landmarks in the text to help you keep track of what’s next. For instance, if your character is telling a story about her birthday party, where she got a pet cat, but her mom didn’t want her to have the cat, so her mom drove it to the shelter, but then her dad brought it back, you might remember just a few key words: party-cat-mom-shelter-dad. This way, even if you forget a few words here or there, you’ll remember the general direction you need to go in.

Spaced repetitions are especially useful for memorizing monologues. Read the whole thing, then set a timer for 15 minutes. Do something else, and when the timer goes off, recite the whole thing again. Rinse and repeat. By getting busy with something else and almost forgetting what you’ve worked on, then reminding yourself just as you memory is starting to flag, you strengthen your memory much more than repeated recitations over a shorter window of time would.

It’s important not to underestimate a monologue. Don’t try to cram and learn it all the night before your audition: it won’t go well!

How to Memorize a Scene

It’s easier in some ways to memorize a scene than a monologue, since you have other people in the scene with you to help you stay on track. Of course, there’s always the possibility that they might mess their lines up, so it’s critical to make sure you know yours even if they don’t know theirs.

It’s very important to memorize the cue lines that come before your lines. You may know all your lines, but if you don’t know when to say them, you’ll be lost. Line flashcards can be helpful for this.

Practicing as a group or with a friend is great when working on scenes. Try running lines together before or after rehearsal, or whenever there’s downtime during rehearsal. The benefit of practicing with others is that you’ll start to pick up on their quirks of characterization or delivery, and those emotions can help your brain strengthen the memory of the lines.

If your friends are too busy to practice with you, you can try recording your lines on an audio recording app to practice them by yourself.

How to Memorize Song Lyrics

Memorizing song lyrics is usually easier than lines because you’ll have the music to keep you on track. If you’re struggling, though, or need to memorize song lyrics fast, there are a lot of little tricks you can try.

One technique for memorizing song lyrics is to write out the last word of each line, or the rhyming word of each line (these are usually one in the same, but not always). For instance, for the first stanza of the song “Safer” from First Date is as follows:

I know that I have issues,
I face them, I swear
Think I overcome them
then turn, they're still there
Wish that I was different
I'd like to let go
But when I try to change
There's my past saying "no"

If you’re having a hard time remembering these, you might write out, issues/swear, them/there, different/go, change/no. Listening for the rhymes can help you remember what comes next: if you know the next line has to end in a word that rhymes with go, you might be closer to remembering “no.”

Another tip for memorizing song lyrics is to listen to the music behind the words. You may find little musical flourishes that help you remember what the words are. When performing the song, you’ll also have an easier time following the accompanist or orchestra (or pre-recorded track) if you’ve been paying attention to exactly how the music sounds at each line.

How To Memorize a Script Fast

If you need to memorize a whole script quickly, you’ll want to work in sections to make the full text more approachable. Work on a chunk of a page or two at a time, and only add more pages when you feel decently confident about what you did before. Work your way through the script section by section, periodically going back to review the section before your current section. Don’t try to start from the beginning every single time– you’ll find that the start will be really solid, but you’ll forget everything else!

Much like I suggested in the how to memorize a monologue section, it might be helpful to paraphrase or summarize each section of the script. If you know “on this page, I tell him off for talking to my girlfriend” and “on the next, I punch him for it,” then you’ll be able to follow the general flow of the plot even if you misremember a line or two.

Making an audio recording of your lines is really helpful for rapid memorization, because 1) you can listen and rehearse hands-free while cooking, driving, or applying makeup, and 2) you can physically speed up the recording to go play more quickly if time is short.

Ultimately, though, the best way to memorize a script is to take it slow and steady: practice a little every day, and review regularly. Cramming a script at the last minute isn’t very effective.

Famous Actor Memorization Techniques

Everyone learns differently, so examining different techniques for memorizing lines can be helpful. What works for one person may not work for you, and that memorization tool you use for every single production might be useless to a friend. I have my own personal methods I like to use. Trying out a lot of ideas and seeing which ones stick can be very useful.

Here are some techniques famous actors use to memorize their lines:

Robert Downey Jr. writes out the first letter of every word he has to memorize. In an interview with Today, he gave the example T-N-S-I-M-G, which he says stands for, “there’s no shame in my game.”
Terry Crews uses a method I suggested earlier in this article: he records his lines using a voice recording app and listens to them on a loop. This way, he can work on memorizing lines even while exercising. Michael Barra similarly records lines so he can work on them without asking a friend or family member to read the scene with him.
Anthony Hopkins said he read his scripts over 200 times in order to memorize them. Like I said before, this probably isn’t the most time-effective option, but who am I to argue with Anthony Hopkins? Repetition is a necessity for learning any new material.
Tom Holland says he waits to learn his lines until the day of filming, which probably isn’t the best advice for new actors– but he claims it helps him stay flexible and take direction in the moment. He says that all lines fall into three categories: “asking a question,” “answering a question,” or “telling a story,” and that remembering when your character is doing which can help you remember what you’re supposed to say.
John C McGinley writes out his lines longhand and annotates the page with actionable verbs. He also practices his lines while juggling (yes, literally, that’s not a metaphor) to test his knowledge and ensure he’s ready.
Sarah Paulson also writes out her lines, and sometimes records them, and also suggests getting up and moving around while practicing. Like McGinley, she likes to test herself: “If you can do all your lines while making dinner, you probably know them pretty well.”
Brittany Snow also advocates getting up and moving, saying she’ll pace around her apartment while running lines with her husband.

This really illustrates that everyone is unique when it comes to memorization. Experiment and try lots of different methods so you can figure out the ones you like best!

Final Thoughts

Learning how to memorize lines is only a small part of learning to act, but it’s an extremely crucial one. There are a million ways to answer the question how do actors learn their lines?, which is both reassuring and frightening. On the one hand, it means there really is no wrong way to do it. On the other, it means there are many ways to try it, and that requires experimentation.

If you have any favorite methods of memorization for acting, drop them in the comments so we can try them out!

Guides and Tips, Theatre

Auditioning for the First Time? Start Here

Posted on January 10, 2026January 3, 2026 by Thtrthts

The start of a new year is a perfect time to try new things! If your resolution is to give acting a try, you’ve made a good choice. Theatre, however, comes with a lot of unwritten rules, and if you’ve never done it before, you might be at a loss where to start.

This is a quick-and-dirty guide to get you started on auditions. It’s not an in-depth audition guide, but it will guide you through what you need to know as simply and directly as possible.

Finding Your First Audition

If you’re unsure how to find auditions in the first place, maybe start with this guide: How to Find Auditions for Theatre and Film

The answer needn’t be long and complicated, though. Auditions are easier than ever to find thanks to online tools.

Many community theatre auditions are posted on social media, so consider checking Facebook for Events happening near you, or look for a Facebook group for local performing arts events and auditions (many areas have one of these).

You can also search for theaters near you via Google and browse their website for audition information.

Ideally, your first audition shouldn’t be one that’s a day or two away. Try to find one that’s not too soon, so you have time to prepare!

Planning Your First Audition

Once you’ve found an audition opportunity near you, you should closely analyze the audition notice, that is, all the information the company provides about where you need to be, what you need to do, and how you need to do it.

Here’s an edited audition notice I found on Facebook, as an example.

☎️AUDITIONS: 
Dial M for Murder
By Frederick Knott, Adapted by Jeffrey Hatcher
Directed by [DIRECTOR NAME]

[THEATRE NAME] is holding auditions for Dial M for Murder, the suspenseful thriller made famous by Hitchcock. If you love twists, psychological tension, and smart storytelling, this one’s for you!

🗓 AUDITION DATES:
Tuesday, January 13
6:30–10:00 PM
Sunday, January 18
11:00 AM–7:00 PM

CALLBACKS:
Saturday, January 24
11:00 AM–2:00 PM

CAST BREAKDOWN:
• Tony Wendice (he/him): 30s–40s, British. Charming, calculating, and dangerous.
• Margot Wendice (she/her): 30s–40s, British. Intelligent, kind, and trapped in a loveless marriage.
• Maxine (she/her): American. A bold, rising crime novelist with a sharp mind and a protective heart.
• Lesgate (he/him): 30s–40s, British. A desperate con with a criminal past.
• Inspector Hubbard (he/him): 40s–50s. A methodical detective determined to uncover the truth.

WHAT TO PREPARE:
Actors may prepare one monologue from the play or a monologue of their choosing.
You may also be asked to read from sides.
📲: SIGN UP HERE: [insert link]
📂 AUDITION MATERIALS (schedule, sides, monologues): [insert link]

This audition notice provides a lot of information, and that information is valuable for preparing your audition.

Perhaps first to note is the cast breakdown. Are you potentially appropriate for any of the parts? This play seems to have roles primary for actors in their 30s to 50s, so if that’s not you, you’ll probably want to audition for something else. (Note that an actor’s playing age may not be their real age– if you can pass for the age of the character, that’s good enough.)

Then, double check the essentials like time and place. Can you make it to auditions, or do you have other plans that evening? Where is this theatre, is it close enough for you to consider driving there multiple nights a week for rehearsal? This particular notice also provides a rehearsal schedule, listed in the link at the bottom. This won’t always be provided, but since it is this time, you should review that and make sure you can be at the majority of rehearsals.

With all of the essentials clear, you can look at the real meat of the audition notice: what you need to prepare.

This notice says you need to prepare a monologue, and provides a link for you to access monologues from the play. (It says you can provide your own monologue if you’d like, but for your first audition, picking one of theirs would likely be easier.) The notice also says you may read from “sides,” which are brief, selected scenes from the play that you’ll read with others.

Note that this audition notice is just a sample. Audition notices can vary in plenty of ways. Here are some other things you may see or want to take note of:

Notice that this audition listing advertises a day for callbacks. These are a round of invite-only secondary auditions, used to narrow down actors for specific parts. You can get a part without being called back, but it’s still good to note when callbacks are and whether or not you’d be able to attend, just in case you are offered one.
If you’re auditioning for a musical, the notice will also include directions for your vocal audition. Usually they will ask for a 32- or 16-bar cut (that is, for 32 or 16 measures of music– 32 bars is often approximately 1 minute of music). They will also usually request a certain style of song, eg, “Please prepare 32 bars of a contemporary musical theatre selection.” If you’re not sure what this means, you can always Google it and find examples!
Musical auditions will also frequently (but not always) include dance portions. Make sure to read carefully: if you need to dance at an audition, you’ll want to plan your wardrobe accordingly. At a dance audition, you’ll follow the choreographer through a brief combination.
This audition notice asks you to sign up for a time slot. Not all will– sometimes you’re welcome to show up at any time. If there is a sign-up, though, you should definitely fill out the provided form.
Some audition notices may request “two contrasting pieces.” This is maybe most common with musical theatre auditions asking for two song cuts, usually one upbeat and one slower song to give a fuller idea of your vocal ability, but you’ll sometimes be asked for contrasting monologues, too. Make sure you read carefully so you don’t miss important info like this.
Some notices may mention headshots and resumes. If you don’t have an acting resume or a headshot– which you almost certainly won’t as a beginner– just don’t worry about these. You can get them later.

Reviewing all of this information makes your next steps clear. Let’s talk about these now.

Preparing Your First Audition

Now that you know what you need to prepare, we can talk about how to prepare it. This section is divided into subsections for common audition components.

Preparing a Monologue

Step one is selecting a monologue. For the sample audition notice I provided, all you need to select is a monologue, and they make it easy by providing some to choose from. For others, you may need to find your own. I have an in-depth guide on finding monologues for auditions, but here are the basic principles:

You can find monologues on monologue websites (find them easily by Googling “audition monologues [for men/women/all ages/child actors, etc]”). You can “make your own” monologues by lightly adapting scenes from plays, but this probably isn’t the best option for beginners. Start by preparing a tried and true monologue!
Pick a monologue that is of an appropriate length (generally around a minute, and definitely under 2, but pay attention to if the audition notice requests a specific length)
Pick a monologue that fits with the style of the play (ie, don’t audition for a contemporary comedy with monologue from a Shakespearean tragedy. You want to pick something from a similar time period, and in a similar genre: comedy for comedy, drama for drama, etc)
Pick something you LIKE! You’ll have to spend a lot of time preparing and memorizing the monologue, so make sure you can stand to do so!

Once you’ve made your selection, you can begin working on and learning the material.

There are a million ways to do this. An easy start for beginners is to print out the monologue. Read through and with a pencil mark anything you want to emphasize: key words, moments of emotional intensity, places where you want to speak quickly or slowly. You could mark moods, like “say this angrily,” but a more actorly way to approach it is to mark intentions, like “I want to make the listener feel stupid for saying whatever he just said to me,” or “I want to let everyone know what a jerk my character’s son is for what he did.” It doesn’t have to be perfect– feel free to play with different intentions until you find ones that feel good.

There’s a whole wild world of acting technique out there that will help you refine your approach to monologues, but this is a good standard baseline to begin with.

Practice performing the monologue frequently, on different days, at different times, and maybe even in front of some friends and family. Make sure you practice reading it aloud, not just in your head! The more you practice it, the more it will stick in your memory. Audition monologues should be memorized, so repetition is key! I have a separate in-depth guide to help you memorize your monologue, but there really is no cheat code for skipping many, many repetitions.

There’s no need to bring a physical copy of your monologue to the audition, but you may want to, just in case you want to review in the lobby before the audition.

Preparing for Cold Reads

Cold reads are a common element of auditions– that is, picking up a scene you most likely haven’t seen before and performing it cold (with no preparation). Sometimes you’ll read the scene with other auditioning actors, and sometimes you’ll read with a member of the production staff. Cold read auditions are somewhat more common than monologue auditions these days, especially for community theatre.

The point of cold reads, generally, is that they require no prep: the idea is to see how the actor works and adapts on the fly. Still, some audition notices (like the one I provided above) will supply you with the scenes that will be used for cold reads. If it’s possible to view the sides ahead, it’s generally highly encouraged to do so. You don’t have to explicitly prepare them or memorize them (unless otherwise suggested in the audition notice), but building a passing familiarity with each is beneficial. Try reading them all aloud, to reduce the risk of tripping over your tongue in the audition room.

If sides aren’t provided in advance (and even if they are), consider finding the full script of the show you’re auditioning for and reading it ahead of time, if at all possible. Familiarity with the plot and characters will help you make better acting decisions in the audition.

Preparing a Vocal Audition

Much like with a monologue, step one is selecting your song(s). I have a more in-depth guide for this on my site, but here’s the quick and dirty:

When picking a song, pay close attention to what the audition notice is asking for. Do you need to prepare a specific style of song? Of what length? Do you need one cut or two? Especially note whether there will be an accompanist in the room, or if you’ll need to find a backing track to sing with.
An easy way to start finding audition songs is to simply Google “audition songs for tenors/men/mezzo sopranos/children/etc.” You can also try Googling “audition songs for [show name]” or “audition songs for [character name].” Almost any song can work as an audition song, but finding really good ones requires some more audition know-how, so sticking with suggestions from others is a good starting point.
Make sure whatever you pick is right for your voice part and not too hard to sing. If you have trouble singing it while relaxed at home, you’ll definitely struggle to sing it in the higher-stress environment of the audition room.
Occasionally you may go to an audition where you’re allowed and even encouraged to sing a song from the show: this can make finding songs and materials much easier, but it’s rather uncommon.

Once you’ve chosen your song, you’ll need to prepare your materials:

If the audition notice asks for a backing track, you’ll have to track one down, and your song options may be slightly limited by what you can find. Search on YouTube and maybe Google for karaoke tracks for your song. Appcompanist is a fantastic app that I highly recommend for auditions, as you can tweak the key and tempo and many other settings as you like, though there is a paid subscription.
Note, too, that if you need a backing track, you need a way to play that backing track. Auditions that ask for backing tracks will generally provide a Bluetooth speaker, so ensure you have a device capable of connecting via Bluetooth. This also means keeping your device charged and potentially downloading your materials to your device so you don’t have to worry about spotty internet or cell service.
Sheet music will be required if your audition will have a piano accompanist, and it’s useful to have even if the audition won’t have one. The easiest way to ensure your music is in the right key and written legibly for a pianist is to buy sheet music from a site like MusicNotes, though you can have luck tracking down sheet music PDFs for free. For a beginner, I’d recommend buying from a reputable site to be safe.
Preparing your sheet music for the accompanist is key. It helps them play their best for you without worrying about page turns, and it also looks more professional. You should:
- Print out your sheet music, preferably double-sided. If you can’t print double-sided, tape pages together back-to-front, to effectively create double-sided pages.
- 3-hole punch your sheet music.
- Put your sheet music in a 3-ring binder, so the accompanist can easily turn the pages. Don’t bother with lamination or page protectors, these often have a shiny glare that can get in the accompanist’s way while playing.
- Mark where in the music your cut will start and end. Here’s an example of how that might look:

Finally, you can begin the work of practicing your song!

Like preparing a monologue, practice the song in many different ways, places, and times of day. Your song will need to be memorized. Repetition is key. It’s useful to print out a second “scratch” copy of your music and use this to take notes on, similar to what I suggested in the monologue section.

One of the most beneficial things a beginner can do ahead of a musical theatre audition is to find a voice teacher you can take a few lessons with to work on your song. This way, you can practice singing it with an accompanist, and they can give you plenty of tips on preparation and auditioning. This is maybe the best thing you can do to prepare, so I HIGHLY recommend it if you can swing it.

Preparing for Dance Calls

There’s not much to do to prepare for a dance audition, short of selecting appropriate clothing. You may want to stretch before the audition. Overall, remember that a big part of this portion of the audition is seeing actors’ personalities and attitudes, so just be prepared to bring your best self.

Performing Your First Audition

You may find my article What to Expect in Your First Audition handy.

On the day of the audition, you’ll want to arrive 10-15 minutes early to the theatre. Generally, there will be someone at a desk checking people in and handing out audition forms. These are brief applications that provide the team with more information about you. Fill this out, have a seat, and wait for your turn.

Remember that you’re always auditioning. Once you get on the premises, remember to be polite and respectful at all times. Making a bad impression never bodes well for casting.

You will eventually be called into the audition room to perform your selections. You may be in the room alone with the show staff, or there may be other actors in a group with you.

When it’s your turn, you can hand off your music binder to the accompanist, or hook up your device to the speaker to play your backing track, or simply take the stage for your monologue/cold read. Before you sing or read a monologue, you should slate, that is, state your name and what you’re performing: “Hi, my name is Bobby Smith, I am singing “Chip on Your Shoulder” from Legally Blonde,” or “Hi, my name is Susie Gonzalez, I will be reading a monologue from John Cariani’s Almost, Maine.” (Make sure you know the name and author/source of your piece to be able to slate!)

Auditioning for the first time can be scary, but remember that the production team just wants to see you do your best. No sweat. Auditions can be a lot of fun, too! If you relax and appreciate the short opportunity to perform, you may find that you enjoyed yourself more than you expected.

After your audition, it’s best to put the whole thing out of your mind: you’ll probably have to wait a while to hear about the cast list. Planning some activities with friends immediately following the audition can help take your mind off it, but really, the waiting is always the hardest part.

Remember, even if you aren’t cast, putting yourself out there is always worthwhile! Sometimes a director needs to see your face and your talents more than once before you start booking roles. The more auditions you go to, the better your chances of being cast.

Final Audition Tips

Auditioning doesn’t have to be complicated to start with. It’s one of those things that can be simple to start, but can take a lifetime to master. The more auditions you do, the more you’ll learn!
Always remember to stay cool and calm. Even if things go wrong, try to keep your emotions in check. People will want to cast folks who seem pleasant and friendly over people who are extremely talented but seem like nightmares to work with.
There are a lot of very good books out there about auditioning, such as Michael Shurtleff’s Audition and Michael Kostroff’s Audition Psych 101. Consider picking one of these up if you want to learn more, or browse further resources on this blog.

Guides and Tips

How to Find Auditions for Theatre and Film in 2026

Posted on January 3, 2026December 17, 2025 by Thtrthts

Whether you are a professional actor with years of experience or a hobbyist who’s just getting started, figuring out where to find auditions can be a big stumbling block. Consider this article your ultimate guide: we’ll examine a number of painless ways to find theatre and film audition opportunities quickly and successfully.

How to Find Local Auditions for Theatre and Film

Here’s an easy way to get started: take stock of the companies who are putting on local and regional productions you’re already seeing. They must be having auditions for those productions– visit their websites to find how you can audition for them.

Your friends are also an invaluable resource here. Ask around: Where are you auditioning this week? Where did you hear about that audition? What’s the next opportunity you’re auditioning for? You can hear about a ton of opportunities just by keeping your ear to the ground.

How to Find Auditions on Social Media

Since you’re likely already on it, why not try using it to get some parts? One of the more useful applications of social media for actors is to use it to search for opportunities. Maybe think twice before ditching your Meta accounts just yet…

A simple start is to follow as many local companies and artists as you can. Audition notices are often posted on social media pages, and following ensures they’re likely to cross your feed. Actors you befriend on Facebook or Instagram are also likely to put other audition opportunities on your radar– on Facebook, for instance, a friend marking themselves “interested” or “going” to an audition event will often show up on your feed, showing an opportunity you may not have realized you had. Local casting agents, if you know any, are great to follow as well.

Another helpful option is to look for a local or regional audition group or page where many companies share notices. This way, even companies that you or your friends don’t follow– maybe even brand-new companies!– can make their way to your feed. For me, locally, this is the Pittsburgh-area Auditions An’at group on Facebook. A cursory search on that site also brought up groups for many major metropolitan areas, so check to see what’s available in your region. There are also groups that share casting calls or open audition notices for national tours, or big film opportunities. Join whatever is useful for you, and if you find the group unhelpful, you can always remove yourself from it later.

Note that groups and pages of this sort will often be unique to a particular medium. If you’re looking for theatre auditions, join groups that cater to that. If you’re looking for film auditions, join those groups. You may also find groups for companies hiring dancers, musicians, or party actors (think Princess Parties, etc), and groups specifically for extras for film. Be sure you’re exploring all your options!

Of course, it doesn’t hurt to periodically search for keywords like auditions or casting call in the search bar on Facebook or Instagram, and use search tools to tailor the query to your local area. You may find some surprises!

How to Find Auditions on the Web

For professional theatre and film auditions especially, you’ll want to check out casting sites like Backstage, Playbill, and more. Not all of these sites are created equal, so make sure you’re using the ones that are most relevant and effective for you.

Playbill‘s job search is completely free, which makes it a valuable starter option. Their search is also robust, allowing you to filter through lots of options easily.

Backstage is a paid option, but it’s a gold standard for a reason. If you can swing the funds, it’s a great resource– it may just not be the most beginner-friendly. The yearly subscription is about $120.

Actor’s Access is free to join, but you have to pay for a subscription in order to submit to any listings. This can still be a useful tool to see what’s out there, even if you’re not willing to pay yet. The yearly free is about $68.

Casting Networks is another free-to-join, pay-to-use option that offers a 14-day-free trial. There are a lot of opportunities on this site, but it is one of the more expensive ones at $30/month.

Members of the actor’s union can also use the search via Actor’s Equity member portal. It’s free for union members.

Non-union members may find the Non-Equity Theatre List useful: it’s a free resource that catalogues 300+ non-equity theaters you can search for opportunities. Purchase with a one-time $25 payment, and pay $5 to access future upgrades to the list as desired.

This video is a good resource that compares some of the above options and also explores some new ones. If you’re interested in more info about each, give it a watch:

As I said above, too, you may find good results just by looking at the websites of theatre companies who are producing shows you’re already going to see. Keep an eye out, too, for companies doing local improv-heavy pop-ups (think themed bar events) or Princess Parties and jot down their names so you can look for their Hiring or Audition pages later. Search around, pay attention, and see what you can find!

An Agent will help you Look, too

If you are at the appropriate stage in your career, consider searching for an agent. One of the benefits of an agent is that they are searching for you— so you don’t have to waste your own time combing through pages and pages of options, and they’ll send you opportunities you’re a good fit for. A good agent can save you a lot of time and help you get booked faster, but of course, not everyone is ready to make this move. This article can help you examine if it’s the right move for you.

Closing Thoughts

How do I find auditions? is one of the first questions every actor must ask. Finding audition opportunities for theatre and film is half the battle of landing roles and jobs.

Attending more auditions, broadly speaking, tends to boost your chances of being cast, so having as many opportunities as possible on your radar is beneficial. It’s also important to do your best work in the audition, though. If this article helped you find some auditions, consider checking out my Ultimate Audition Guide next, to help you nail it and get booked!

If you have any tried-and-true methods for finding auditions to share, please drop them in the comments below.

Guides and Tips, Theatre

How to Make Your Own Hands-Free Practice Tracks from your Musical Rehearsals

Posted on November 7, 2024November 7, 2024 by Thtrthts

Practicing outside of rehearsal is necessary in order to do your best work in a musical. Many actors take recordings during music rehearsals so that they can practice on their own later. This is great, but as a busy person, and I often find that I don’t have time to review those recordings I made with such conscientious aims. Those recordings end up going un-reviewed, and so they mostly just clog up space on my phone.

What I have discovered as a busy person who is often on-the-go is that my commute is a great time to review. To use this time, however, I need a rehearsal track that I can use hands-free while driving. If I were to sit at home and practice, I could just search through the recording manually to find the parts I need– but I obviously can’t do that and drive at the same time.

Enter my preferred new method! It takes some time, but it’s worth it, and I learn my parts well. I also end up with a resource that is easy to share with my whole cast!

Here is how I make my own practice tracks in Audacity:

Step 1: Record your music rehearsal
Step 2: Import the recording to Audacity
Step 3: Cut out everything but the voice parts
Step 4: Export to your phone
Step 5: And practice

Step 1: Record your music rehearsal

You can either use a built-in audio recording function on your phone (iOS comes with the “Voice Memos” app), or download something special. I use the app “Voice Record Pro.”

Be sure to place your phone somewhere neutral, where it won’t pick up a lot of background noise– for instance, you don’t want it in your lap if it’s going to catch a lot of sound from you picking up and putting down your music or turning pages. I usually just put it on the floor under my chair, away from my feet so I won’t step on it.

Record the entire rehearsal. Feel free to pause the recording during any breaks, but just don’t forget to restart it when you start singing again!

Step 2: Import the recording to Audacity

You can use a different program if you’d like, but Audacity is my preferred. It’s free and quite easy to use. For this step, I send the recording from my phone to my laptop (usually I AirDrop it, but you could also use any number of cloud or messaging routes), but you could also edit the audio right on your phone if you wanted. Voice Record Pro has the ability to do this, I just find it easiest to do the editing on a computer where I have finer control.

Step 3: Cut out everything but the voice parts

Comb through your recording in your audio editor. You want to delete any idle chatter and silent “dead space” to create a recording that is concise and straight to the point. Think of it like making a “highlight reel” of the rehearsal, keeping only the important parts. I like to keep some of the music director’s instructions so that the audio makes sense in context: Ie, I’ll keep things like “Look at page 53… at measure 37, altos sing…”

You can also edit out repetitions. If the music director plays the alto part 3 times to teach it, maybe only keep one. You can always simply replay that section of the audio if you need to review. I even cut out extraneous words for brevity. If the director says “Okay, um, next the altos come in here, uh, and they sing…”, I will cut it down to “Next the altos come in, they sing…”

You can be as granular or basic about this as you want. The point is to take the long rehearsal and cut it down so that it is short and easy to review and understand. I have edited 3-hour rehearsals down to only 15 minutes before.

Audacity makes this very easy to do. After importing your audio, you’ll see something like this:

Be sure to “zoom in” so that you’re able to review the audio quite closely: the numbers across the top of the working area are seconds. I am sometimes trimming out individual seconds of audio (or less) while working on these recordings.

The areas where people are singing is usually easy to spot, as those are the places where you see the tall “spikes.” Areas of relative silence are also easy to see, as they’ll look like flat lines. Regular speech will fall somewhere in between these.

Listen to the recording and pause occasionally to cut out unnecessary parts. If you zoom in and watch closely, you’ll be able to “see” the words being said in Audacity. You can select where a word starts and ends by simply clicking and dragging, and delete that section by pressing the “delete” key.

In this picture, I’ve selected the music director saying “um” followed by a second of silence to cut it out of the recording. I played the recording and was able to easily “see” the um in the track, as well as the silence that followed– trimming it makes the recording just a little cleaner and more concise.

It’s not all that granular, though– here’s almost a minute and a half that I’m cutting. You can see there’s a bit of us singing at the beginning (just a repetition of something we’d done before) followed by a lot of talking. No need to keep that! Select it all and delete.

The downside here is that you pretty much have to listen to the whole recording while you’re editing it. It’s time consuming. The upside of that is that it helps you learn, though!

Ultimately, this is your recording to do with as you see fit. You can choose whether you want to keep all the voice parts, or only your own. You can decide how much chatter you want or how much repetition you want. I like to trim my recordings to be as neat as possible while keeping all the voice parts, so I can share the recording with the whole cast– I started doing this as a stage manager making rehearsal resources for my actors! I also like to keep at least one run of the entire song in the file.

I like doing this because you can hear how things sound with your cast. Unlike with canned practice tracks, you don’t have to worry about the recording not making sense to you based on what you experienced in rehearsal– it’s literally your rehearsal! You can also hear how your music director wants things done, and can get an ear for how your own soloists are choosing to time their choices.

There are certainly easier ways to record a music rehearsal, but I think my way has a lot of benefits!

Step 4: Export to your phone

Once your recording is freshly trimmed, give it a final “proof listen” and then export the file. You can save this as an .mp4 file for audio listening, or turn it into a .mov file so it can be uploaded to a cast page, such as a Facebook group. The idea, anyway, is to have the file somewhere you can use it easily.

Step 5: And practice

Your practice track is done! You should now have a track with which you can simply press play and review your music completely hands-free. This is perfect for reviewing in the car on the way to rehearsal– or work, school, or anywhere else you have to go. You can also, of course, sit down with your music and play this track while you practice at home.

Here’s an example of a practice track I made for our cast during a production of Legally Blonde.(Featuring a meme I made from a rehearsal pic… lol.)

I hope this is useful for other performers!

Guides and Tips, Theatre

5 Strategies for Practicing Lines with a Partner

Posted on October 22, 2024October 13, 2024 by Thtrthts

Learning lines is one of the least fun parts of a rehearsal process. Nonetheless, it is necessary, and it is therefore necessary for actors to figure out ways to improve at it.

Working on lines with a partner can make the memorization process much more entertaining. Though we sometimes must inevitably practice alone, there are a variety of ways that we can work on lines with a partner… and a variety of ways that are much more beneficial than merely reading the scene back and forth a number of times.

Continue reading →

Guides and Tips, Theatre

5 Strategies for Practicing Lines Alone

Posted on October 17, 2024October 13, 2024 by Thtrthts

Have you ever heard a director say that “rehearsal isn’t for learning your lines, it’s for learning everybody else’s?” The adage is one of many actors’ least favorites, as it is often spoken by directors in the act of chastising actors for not knowing their part.

Acting requires a hefty amount of memorization. This is an intimidating element of the art for many. Thankfully, though, memorization is a skill, and all the average actor needs to get their memorization up to snuff for a show are a few memorization techniques that work for them.

You might not always have a partner around to practice lines with. Luckily, there are plenty of strategies for memorizing lines that one can work on privately.

Continue reading →

Guides and Tips

20 Life Hacks for an Easier Tech Week

Posted on September 24, 2024August 24, 2024 by Thtrthts

I’ll admit it: I enjoy tech week. I find the adrenaline rush of such a busy week absolutely thrilling.

One of the reasons I enjoy it so much is because I have learned a lot of tips and tricks over the years for making it the best experience it can be! Instead of spending the week bogged down in stress, try out these hacks:

1. Make sure you know your material before tech week starts

Tech week is not the time to be learning lines or blocking! Do all your cramming before tech week– tech week will be stressful enough without the added worry of feeling like you forgot to study for an important test.

2. Plan ahead with meal prepping

It’s a huge relief to know what you’re going to eat when you get home from the theater. This is doubly true if you’re juggling a hectic work-rehearsal balance. Make some food ahead and separate it into perfectly-sized, re-heatable portions. Depending on how busy the week is, you might need to plan both lunch and dinner. Pre-packaged frozen options that you can simply pop in the microwave are also a lifesaver.

If you don’t plan ahead, you’re more likely to wind up paying a lot of money for overpriced gas station or convenience store fare. Plan out your meals, and plan out your snacks, too!

3. Put together a “tech bag”

I like to keep a tote or duffle bag stocked with everything I need to make it through tech week. This will include any necessary items for the show, as well as anything I personally need to be healthy and prepared. I put this together before tech week begins, so I don’t have to worry about it later. Some suggestions:

My script/libretto
Necessary costume pieces
Bobby pins, hair ties
Makeup bag
Deodorant, hand sanitizer, wipes
Mouthwash and floss
Bandaids
Reusable water bottle

Depending on the needs of your production, your list will probably look quite different, but this is a good starting point.

4. Finish any important projects in advance

I’ve been the person who says “I can just finish this homework assignment during tech week.” Subsequently, I’ve also been the person who fails a class because they didn’t turn in a homework assignment that was due during tech week. (That’s a long story…)

If you have any big work or school projects coming up during tech, get them out of the way before tech week begins, or else get them as completed as possible. You really want to be able to dedicate as much time and energy as you can to tech week– I often find that tech week just demands so much of me, that trying to make time for much else rarely goes well. You never know what might come up.

5. Work on your sleep hygiene

It’s really hard to get proper sleep during tech week, I know. Try your best to get it anyway!

Sleep is very important for physical health, mental acuity, and emotional wellbeing. All of these will be taxed by the demands of tech week. Do the best you can to get enough sleep for your personal needs.

One thing I have found very helpful is to set aside a few minutes before bed to decompress. Lower the lights and read, journal, or meditate. Tech week stress can easily translate to a night of tossing and turning, so do whatever you need to sleep through the night.

6. Take care of your immune system

Getting sick during tech week sucks. ‘Nuff said.

Tech week is a great time to overcompensate for your immune system. Take your vitamins. Wear a mask when you’re around lots of people. Wash your hands regularly, and use hand sanitizer after interacting with high-touch surfaces.

Getting enough sleep and paying attention to your nutrition and hydration are also important facets of maintaining your health. These can all be challenging pursuits during tech week, but it’s for the best! Make every effort to keep up with these health needs.

7. Set aside some funds

Between gas money, snack money, and unexpected purchases of props or costuming needs, I always find tech week to be an expensive time. While planning can help mitigate this (see no. 2 on this list), it’s also helpful to plan for the worst and save some extra cash.

You never know what might arise during tech week. Spend mindfully, and prepare some emergency funds just in case.

8. Make personal hygiene as easy as possible

Obviously, maintaining your hygiene is important at baseline. The hack I offer you in this pursuit is to make taking care of hygiene needs as simple as you possibly can, so that you never find yourself “too tired” to shower or brush your teeth at the end of the day.

There are a lot of tiny barriers that can make following through on an important task just annoying enough that we lose our motivation. Your goal is to remove as many of these barriers as possible. Set out your face wash and skincare products for the morning/evening instead of putting them away in a closet or cabinet that you’ll have to dig them out of later. Make it a rule that you’ll shower before eating or getting into bed. If you find you’re wanting to spend too much time in bed in the morning to get up and wash your face or brush your teeth, take these hygiene products with you to work so you can do them a little later. Keep deodorant in your purse or in your desk at work so you can apply on the go.

And remember, a little is still better than nothing. It’s better to take quick shower and skip washing your hair than to skip showering altogether because you feel rushed. Do what you can!

9. Have a plan B for child or pet care

Having contingency plans is always helpful. If you have pets or children who need looked after while you’ll be away from the house, it’s not a bad idea to line up alternate babysitters in case of emergency. Finding emergency childcare can but a big source of stress and panic, so having some plans in place ahead of time can be a relief.

10. Consider renting a room

This one is a little niche. If you’re working at a venue that is far away from your home, booking an Airbnb or reserving a room in a hotel can save you a ton of hassle during tech week. This obviously costs a good chunk of money. If the venue is far enough away from your home or job, you may actually save by doing this instead of spending money on gas!

If it makes sense for your finances and personal sense of peace, give this a try. I’ve never done it myself, but I have friends who swear by it!

11. Time your caffeine well

I’m just going to assume that you’re going to end up drinking caffeine during this week. You’ll most likely need it.

Planning a good time to drink this caffeine can be beneficial, especially if you get acid reflux like me and have to limit your caffeine consumption as a result. If you drink your caffeine too early in the day, you might find your energy flagging by rehearsal time. If you drink it too late, it might negatively impact your sleep. If you drink it too close to show time, or too long after a meal, you might find yourself feeling jittery and anxious.

Plan your day accordingly. Caffeine consumption can absolutely make you feel a lot worse if you do it in an unwise manner. I’ve talked about my personal caffeine habits on this blog before.

12. Mind your nutrition

It’s hard to eat well when you’re in the middle of a busy tech week. Like I said before, pre-planning meals is really helpful for a variety of reasons, but it’s also helpful to think about what you’re eating and when.

I’m not going to guilt trip you about poor eating habits during an extremely chaotic time– that would be counterproductive. What I will remind you is that variety is really valuable in your diet. You don’t have to eat a salad every day, but finding time to fit in some different foods can do wonders for both your physical health and general mood. Eating the same stuff all the time gets boring! Mixing it up a little can help you eat just that much healthier.

Eat long enough before rehearsal that you won’t have issues with indigestion, but soon enough before that you won’t be hungry.

13. Keep some quality-of-life necessities at the theater

When you’re carting everything back and forth from the theatre to your home every night, it’s easy to forget something important, ESPECIALLY when you’re under the stress of tech week. For this reason, having some necessary tools and supplies that stay at the theater can help alleviate a lot of worries.

My top recommendation in this regard is to acquire a secondary phone/device charger and leave it in your dressing room. I’ve taken my bedside phone charger to the theater and forgotten it TOO many times. There are a number of other useful things to keep at the theater though, too, including show makeup and skincare products (if you can spare it/aren’t using your everyday supply), deodorant and mouthwash, and some securely wrapped snacks. If it’s an item that forgetting would prove catastrophic, keeping it (or a copy of it) at the theater saves a lot of heartache.

As long as you’ve got the space and resources (and permission, if necessary) for it, no “necessity” is too weird. I have a friend who brings a personal cooler full of Redbull to keep at the theater during tech week. Every time she brings it out, I’m always a little jealous.

14. Have some emergency-quick-fix materials on hand

Just in case of emergency, I like to bring a number of supplies that could be used to fix a costume or prop in a pinch. Generally, these include a sharpie, scissors, safety pins, body/garment tape, a mini sewing kit, a backup roll of mic tape, and a mini glue gun. These aren’t perfect solutions, but they aren’t meant to be– the idea is just to have something on hand in case, say, the zipper on your dress breaks 2 minutes before you’re supposed to enter.

Realistically, chances are, someone else at the theater will have this stuff. But why leave it up to chance? If you bring them, you’ll know exactly where they are so they can be available at a moment’s notice. Nothing’s worse than knowing someone backstage has a roll of mic tape but being completely unable to find it.

15. A tech week massage is a game-changer

A few years back, I cleaned out my wallet during tech week and found a gift card for a salon that did massage therapy. I was able to book an appointment before a dress rehearsal, and I have been dreaming about tech week massages ever since.

This is obviously an investment and wouldn’t be attainable for everyone. I haven’t had the disposable income to make it happen again ever since that first time. But if you can swing it… wow does this make you feel like a brand-new human.

16. Comfort is king

Staying as comfortable as you possibly can really helps make the long hours of tech week a lot more bearable.

I’ve taken a lot of tech-week comfort tips from actors I’ve known over the years. I know actors who bring comfy slippers and fluffy robes to wear backstage before they’ve put their costumes on. I personally like to bring a portable humidifier with me to any spaces that tend to be dry, and I’ve been known to haul my air purifier into particularly musty, dusty dressing rooms. If the space is usually too warm for you, bring in a fan!

Comfort in costume is also important. Insoles or heel liners can be a lifesaver when dealing with uncomfortable shoes.

17. Don’t be afraid to skip the cast parties

Going out after a performance is a traditional part of tech week for many. It’s been a long week, and a cast party helps blow off some steam.

But then again… it’s been a long week. Don’t let FOMO make you feel like you have to attend a post-performance outing! I’ve found saying goodbye to everyone and coming home for a relaxing, solitary bubble bath to be incredibly freeing.

If you want to party, absolutely go party! Just don’t feel pressured.

18. Candy makes everyone feel better

Something I’ve learned over the years is that tensions tend to run high during tech week. One thing that makes tensions run higher is hunger.

Picking up a variety bag of candy or chocolate bars at the dollar store and leaving it out for everyone to share boosts morale like you wouldn’t believe. It also makes you popular! Just don’t eat in costume.

19. Tidy as you go

Keeping your dressing room neat can be a challenge, but it’s absolutely worth it. If you notice that the situation is getting a little out of control in your corner of the dressing room, it pays off to do some intermittent cleaning when you have a chance. Otherwise, you’ll have to do all the cleaning at the very end of the process when you’re most exhausted. Maintain a level of organization so your future self, and your fellow dressing room partners, will thank you.

20. Don’t forget to breathe

I’ve said it several times in this article, but let me say it again: tech week is stressful! Taking time to unwind and be in the moment is important. Find space for a few calming deep breaths, even if only for a few seconds. Staying calm helps prevent issues born from panic, rushing, and lack of attention. If you feel yourself getting worked up or feeling out-of-control, you owe it to yourself and everyone around you to go take a breather.

Final Thoughts

Tech week can be whatever we make it. Don’t forget the importance of mindset, and definitely don’t forget to take care of yourself! If you play your cards right, you might find you even enjoy your next tech week.

If you’re looking for more tech week survival tips, check out my Ultimate Guide to Surviving Tech Week, or Do This, Not That: Tech Week Edition.