Preparing Drama-School Auditions

Most professional acting programs choose their students by audition. The process differs in detail from school to school, but the shape is familiar: a first round (often recorded), a live or online recall, and sometimes a workshop or interview. This guide covers how to prepare, in an order that works. For the exact wording of requirements and a comparison across programs, see Monologue and Self-Tape Requirements.

What the process looks like

• NIDA describes two rounds: an online application with a video audition, then an in-person recall for shortlisted applicants. International students must attend the recall in person in Australia.
• TU Dublin's drama (performance) degree requires a three-hour in-person audition made up of a short written application, a group drama workshop, a monologue of two to three minutes performed off-book, a movement session and a question period with staff and students. A self-tape is allowed for applicants who cannot attend because of distance or access needs.
• Toi Whakaari in New Zealand uses a three-hour audition workshop led by acting tutors and graduates (it lists a $45 fee, with options if cost is a barrier), followed by a two-day applicants' weekend for successful applicants.
• Applications to UK conservatoires run through UCAS Conservatoires, whose page includes a section on what an assessment may involve and how to prepare. The Federation of Drama Schools site links to guidance on auditions and applying and to an article about why audition fees are charged.

The takeaway: do not assume the process you have heard about applies everywhere. Read each school's own page.

A working timeline

Six to nine months out: research and shortlist. List the programs you will apply to, their deadlines, audition formats and fees. Note which ask for recorded first rounds and which are live. Use the directory's audition preparation page and program listings as a starting point, then confirm on each school's page.

Four to six months out: choose material. Read the school's instructions twice. Most specify contrasting pieces, a time limit, whether the text must come from a published play and what is excluded (self-written pieces, film scripts, clips). Choose speeches you understand, whose situation is close enough to your own life to be playable, and which you can say aloud without strain. Read the entire play. NIDA, for example, tells applicants to read the full text first.

Three months out: work, not polish. Rehearse with someone who will give honest notes, ideally a teacher or experienced actor, not only friends. Work on the situation: who you are speaking to, what you want from them, what changes during the speech. Prepare a third piece if the school may ask for one at recall; NIDA's actor stream asks for a third piece of your choice.

One to two months out: record, if recording is required. Allow time for several attempts. Check lighting, sound and framing against the school's instructions. Many schools require a single unedited take. Do not edit if told not to. See the self-tape section in the requirements guide.

The final weeks: rehearse in conditions. Practice standing, off-book, in unfamiliar rooms and in front of strangers. For workshop-style auditions, practice being a good partner in group exercises: listening, taking direction and recovering from mistakes.

On the day: arrive ready. Confirm the time, place and dress code, bring any printed materials the school asks for, and eat and sleep. Expect to be asked to adjust your piece. The panel often wants to see how you take direction.

What panels are usually looking for

Schools publish few details about marking, and we do not describe hidden criteria. What the published instructions have in common is attention to preparation, range (contrasting pieces), voice and body, openness to direction and fit with the program. A polished but fixed performance usually shows less than a prepared but flexible one.

Fees, costs and fairness

Auditions can cost money: application fees, audition fees, travel and recording costs. In our records for BFA, BA and MFA programs, 21 list an audition or application fee. Some schools waive fees for applicants who cannot afford them, and some publish concession policies. Check before you apply, and compare total cost across every school on your list.

If you do not get in

Rejection is common and says little about your potential, given how many applicants compete for a limited number of places. Ask whether the school gives feedback, whether you can reapply and when, and consider other routes such as foundation courses, short courses, or ongoing classes while you build experience. Our guide on Acting Degrees vs Diplomas can help you compare alternatives.

Protecting yourself

• Never pay a stranger who promises to "guarantee" your place. No outside coach controls admission decisions.
• Be wary of audition-prep services that take large fees without stating what you get. A good coach describes the hours, the format and the refund terms.
• You should not be asked to do anything that makes you uncomfortable. If any request seems inappropriate, contact the school's admissions office.

For a general checklist of what to ask any provider, see Questions to Ask Before Enrolling.