
| Larry Gleason Monologues |
MONOLOGUES are yours working? are yours contrasting? should you get rid of them? should you keep what you have? are you stuck in a rut? or just unsure? THEN, check this page out for MONOLOGUES for class for agents for theater for schools for auditions for individual shows for entrance programs MONOLOGUES to grow to stretch to brush up to go deeper to expand repertoire to improve what you have to improve audition |
Announcing! Actor Weekend Specials 2012 $60 per hour session NEW! 90 minute session for $90 NEW! 120 minute session for $120 February 12 Fully Booked February 19 Available slots February 26 Fully Booked Now booking for Sundays in March Starting at 10am on Sundays All 60 minute sessions are just $60, including studio rental. All 90 minute sessions are just $90, including studio rental. All 120 minute sessions are just $120, including studio rental. Slots are available for one-on-one or group work. Claim an hour or more for yourself or for your group. Work solo or with your group on monologues, scenes or cold readings for theater, film and TV. Call 917.549.5173 to secure your slot. Can't make it to the Specials? Larry is available other days and times at regular rates. |

| Larry Gleason 917.549.5173 |

| Simply click here for: Classical and Shakespearean Monologues. or here for: Contemporary Monologues. You'll find Shakespearean, Classical and Contemporary Monologues on which Larry has coached many actors. Need a monologue coach? Find out more info here. Or contact Larry directly: info@larrygleason.com (subject line: 'Monologue Coach') |
Other Days and Times, Regular Rates: Larry will work with you at your home or at a rental acting studio. You are responsible for booking and the cost for a rental space, if needed. Here are studios in Midtown Manhattan out of which Larry works. When asking for a studio, say that you need a room for two people doing monologue work. For groups, make sure the space is large enough to accommodate the number of people. Please check my schedule prior to booking to make sure I am indeed available. Call Larry for regular rates. Here is the studio list below: Studios 353 (Jean Blevin, owner) 353 West 48 Street, 2nd floor 212.757.2539 $15+ all times, 15x16, 11x16 www.studio353.com Champion Studios 257 West 39th Street (near 8th Ave) 14th Floor 212.307.7707 call for new rates www.championsstudios.moonfruit.com Center Space 48 West 21st St (btw. 5th/6th Ave) 4th floor 212.929.2228 call for new rates Ripley-Grier Studios 520 Eighth Ave at 36th Street, 16th floor or 131 West 72nd Street 212.799.5433 actor hub, rooms: $15 and $16 and up www.newyorkspaces.com Shetler Studios 244 West 54 St, 12th floor 212.246.6655 offers 50% off “same day of booking” rate Weekend and Union rates www.shetlerstudios.com Simple Studios 134 West 29th Street, 2nd floor (btw. 6th/7th Ave) 212.273.9696 call for new rates www.simplestudiosnyc.com |
The Two Contrasting Monologue Audition Preparation: Find two contrasting monologues no more than two minutes in length each. Some auditors will allow more time, some less, even as little as one minute per piece. The shorter the time allowed the stricter they will most likely be—even to the point of stopping you with a timer. Pay attention to what they say in the casting notice or audition materials. Choose a comedic and a dramatic piece; or a classical (from Ancient Greek to Shakespeare all the way to Shaw and Chekov) and a contemporary piece. Choose material in your age range (+ or – 5 years). Choices should reflect realistically how you should be cast. Most auditors want text from published plays. Movie script monologues are also becoming accepted as long as it aren't the famous ones. Refrain from original material whether it be your own or your friend’s. Consider profanity or vulgarity carefully and only when the venue is appropriate and only when it’s vital to the character you portray. Don’t choose it to shock or stand out. If your audition is in a church basement or for children’s theater, it’s a good bet off-color material will not be a good choice. Good monologues are about an emotional journey, where your character learns or realizes something very important. This is usually called ‘The Turn” in the monologue. Good monologues have a Beginning (moment of reaction), Middle (debate or discovery) and Ending (moment of decision). Get coaching if you are inexperienced or looking for a competitive edge. The material should reflect your strengths, range and ability. Be sure your material is well rehearsed. The audition should not be the first time you hear it aloud in front of somebody. Get a friend, a peer or a coach to see what you’ve rehearsed. Presentation: Entering the room You are on view the moment you walk in the door. Don’t go in costume. You are dressing for two characters, not one. Your clothes should be neutral and clean so as not to distract from your work. Don’t use props. If you must, you only get one. The audition is about you, not about how well you use props. As you enter, keep your monologues on the back burner, idling, ready. Pre-audition Housekeeping If someone introduces you to the person or panel, just say hello and express how nice it is to meet them. If you are on your own, introduce yourself and hand over your picture and resume. Shake hands only if invited, do not initiate. If a casual conversation is begun by the auditors, engage them, but be prepared to begin your work once the simple exchange is over. Go to the center of the room or stage, look for your light if needed, and introduce the two pieces you will be presenting. There is a zone between you and the auditors, the first third of the room. Do not violate their space. A good coach will help you get it just right. Your Audition Do not make your auditors part of your work. Look center over their heads. Breathe. Establish your circumstances, where you are and to whom you are speaking. This concentration will override any nerves you have. Then, when you are ready, begin. After the first piece, take a brief moment to transition and refocus on your new circumstances of your second piece. There are occasions when an auditor will ask you to speak right to them. This is becoming very rare. The Wrap-up Express your thanks. Gather your things and exit the room. Do not initiate a post-audition conversation. If your auditors want to engage you in conversation, then by all means talk with them. Let them control how long they wish to talk. Once they say thank you, it is time to leave. Outside, when no one is looking: Fist pump! You nailed it! Larry Gleason audition/monologue coach 917.549.5173 |
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