and Audition Coaching
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
for individual shows
for entrance programs
to brush up
to go deeper
to expand repertoire
to improve what you have
to improve audition
Actor Sunday Specials
$50 per hour session
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.
to secure your slot.
Can't make it to the Specials?
Larry is available other days and times at regular rates:
$75 plus cost of studio rental, if needed, at any Manhattan location.
How To Book
|Simply click here for:
Classical and Shakespearean Monologues.
or here for:
You'll find Shakespearean, Classical and
on which Larry has coached many actors.
Need a monologue coach?
Find out more info here.
Or contact Larry directly:
(subject line: 'Monologue Coach')
Other Days and Times,
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:
(Jean Blevin, owner)
353 West 48 Street, 2nd floor
48 West 21st St (btw. 5th/6th Ave)
check out new rates
18 West 18th Street
520 Eighth Ave at 36th Street, 16th floor
or 131 West 72nd Street
244 West 54 St, 12th floor
134 West 29th Street, 2nd floor
(btw. 6th/7th Ave) 212.273.9696
Have another studio you like? Okay!
As long as it is Manhattan!
Larry will work with you at a rental acting studio. You are responsible for booking
and the cost for a rental space, if needed. 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 at
917.549.5173 for regular rates.
If you have access to a suitable working space such as a Manhattan apartment
or studio, Larry can come to you, no additional cost. Outside Manhattan, travel
time and cost may apply.
The Two Contrasting Monologue Audition
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
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.
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.
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.
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
Outside, when no one is looking:
Fist pump! You nailed it!