Is it necessary to have theatre experience before I begin auditioning at KCT?
You do not need experience in order to audition, although it’s extremely helpful. Participating in school plays, church plays, and taking advantage of any opportunities to speak or sing in public can all increase your confidence. Creative Dramatics classes, such as those provided at KCT, will help you gain knowledge and ability, as well as boosting your confidence. Always list any relevant experience on your audition form.
Is there a cost to audition or to appear in a play at KCT?
KCT does not charge actors who are cast in its plays. Each auditioner is given equal and free access to the audition process. When you are cast in a show you must attend the show that is running during the rehearsal period (at a cost of $14). As a cast member, you will receive more than 60 hours of hands-on, practical theatre training in a professional, educational environment–all at no charge. The theatre relies on donations for 25% of its annual revenue, and actors and their parents are encouraged to donate to our non-profit organization.
I am auditioning at KCT for the first time. Should I expect to be cast?
Every actor who auditions should “expect” to be cast; you should certainly have your schedule as clear as possible during the rehearsal evenings. In all of our plays, an average of 20% to 25% of each cast is made up of actors making their KCT debut. The practical truth is, however, that it often takes three to four auditions before we find the right part for you. Most of the veteran actors at Knoxville Children’s Theatre auditioned two to four times before receiving their first part. In fact, your chance of being cast improves with each successive audition. The process for becoming a regular performer at KCT is to audition consecutive times until you are cast in a supporting role. If you fulfill your duties with this role, you are more likely to receive a larger or more intensive role.
Are there any ways I can improve my chances of receiving a role before the audition?
Yes, there are several. Perform anywhere you can, as often as possible. Memorize your audition piece thoroughly, using a loud, clear voice. (An auditioner’s nerves can cause memorization issues without thorough preparation.) Attend acting classes in school, at private lessons, at our theatre, or anywhere you find them to increase your knowledge and get critical feedback. One of the easiest ways to improve your chances of receiving a part is to attend as many KCT shows as possible. This small time-commitment of two hours a month is very meaningful. Seeing as many plays as possible helps you (1) to understand the level of professionalism required to perform at KCT; (2) to develop a critical eye for evaluation of overall theatre concepts, and (3) to compare and contrast a variety of acting styles in order to evaluate their merits. Attending shows is also the only way you have right now to support the company and its efforts. Attending only auditions, and never attending productions, doesn’t show support for a company in which you are hoping to participate.
Are there any ways I can improve my chances of receiving a role during the audition?
Yes, there are several. Know the lines of your audition monologue. Speak in a voice that can be heard 35 feet away (the distance between the back of our stage and the back row of the theatre). Be emotionally expressive, not only in tone of voice but also in body posture, hand gestures, and facial expression. Show the director that you are “directable.” (For example, the director may ask you to repeat your monologue, but expressing it this time as “angry” or “very sad” or “excitedly happy.” When you can switch emotional expression, you show the director that you can instantly and innately respond to direction.) Ask questions. Have a parent accompany you to the audition, in case the director has questions. Write legibly on the audition form. Answer truthfully on the audition form about any conflicts you may have for the rehearsal period. (Arriving at the first rehearsal with a handful of additional conflicts will result in removal from the production.)
How and when will I be notified if I have been cast? Will I be notified if I am not cast?
The general accepted practice in professional theatres is to notify only those who are cast. KCT, however, notifies all auditioners of the complete cast list. The process of being cast goes like this: you will receive an e-mail at the address provided on the audition form, informing you of the role and how to proceed. This is known as an “offer letter.” You will have 24 hours to accept your role. If, for any reason, you cannot accept your role, an offer letter is sent to another actor for that role. And that actor has 24 hours to accept the role. After all roles have been accepted, the complete cast list is e-mailed to every auditioner. Be prepared to begin rehearsing within five days of being cast. Occasionally, we receive an inquiry about not receiving the complete cast list. Ninety-nine percent of the time, this is due to the e-mail address on the audition form being illegible.
How do I find a monologue?
For our auditions, we prefer that you choose a monologue from a published play. Any of the plays we’ve produced at KCT are excellent places to begin your search. We strongly encourage you not to select a speech from the same play for which you are auditioning—directors want to see how you interpret a new character, not an imitation of what you think the show requires.
We also suggest looking beyond the standard monologues that get performed over and over. For example, pieces from Annie or You’re a Good Man, Charlie Brown—especially Sally’s coat-hanger-sculpture monologue—are perfectly fine, but they are extremely common. A unique choice helps you stand out before you ever speak a line.
There are many monologue websites, but most offer standalone monologues—pieces written specifically for audition use and not tied to any play, story, or character. These can be entertaining, but they don’t give you a chance to show that you understand:
a character’s journey
the world of a play
a moment inside a larger story
For that reason, we recommend avoiding them.
Children’s literature is full of moments that adapt beautifully into monologues. Many of the books you already know and love have been adapted into plays—including quite a few from KCT’s own production history.
Books also give you the advantage of creating the character in your imagination, rather than copying a performance you’ve seen. Because of this, we ask that you don’t use monologues from movie or TV versions of books. When a young actor chooses a Hermione monologue from the Harry Potter films, for example, it almost always looks exactly like the film performance. That doesn’t help you develop your own artistic voice.
If you love a book and have your own idea of who the character is, literature is an outstanding place to look.
Here is the promised step-by-step method you can share with students:
Look for:
a confession
a realization
an argument
a description of something important
a moment of fear, excitement, or discovery
If the passage has emotional movement, it can become a monologue.
If the book says:
Mary looked down at her hands. She didn’t know what to say. Dickon asked, “Tha’s got a bit o’ garden, hasn’t tha’?”
Turn it into Mary’s internal voice or spoken thoughts:
I didn’t know what to say. My hands were shaking, and suddenly my face felt hot. He kept asking about a garden—my garden—and I didn’t have the heart to tell him the truth.
This keeps the story active and personal.
Cut:
long descriptions of scenery
unnecessary dialogue from other characters
anything that doesn’t add to the emotional or dramatic moment
Keep the parts that show a want, a fear, or a change.
Aim for 20–30 seconds. Directors want to see:
clarity
connection
character point of view
focus and confidence
A short, strong moment is better than a long, unfocused one.
In other words, the character must:
start in one emotional place
experience or realize something
end in a slightly different place
That shift—even a small one—is what makes the monologue feel alive.
E-mail the Artistic Director at [email protected]. Good luck!
