What LAMDA
is looking for: Each piece should last no longer than three minutes
and there must be a clear contrast between the two (This would be because they
want to see my acting range and the levels of versatile you can bring to their
school). After presenting your work to the panel, you will be interviewed
briefly as part of the audition process (The interview can help the audition
panel to get to know me as a person which would be useful for them as they will
be able to judge if I am able to be a successful student). You should be
prepared to discuss your reasons for wanting to take this course (This will
also help the panel to better understand me as well as what I hope to get from
the course I wish to take) and bring a portfolio showing examples of your work
(This will help show my past experience as an actor as well as help them
gravitate my past acting skills as well as my development since I started
acting). We do not ask applicants for specific academic qualifications or
grades (This shows they don’t want to judge me on your grade but on how well I
can perform, the commitment I show and how much of a passion I show).
Unsuccessful applicants may re-apply at any point during the same
audition/interview period. There is no limit to the number of times an
individual can apply to LAMDA (This also shows they believe in second chances
as well wanting to see if I can grow as an actor after being turned down as
well as how I improve myself).
LAMDA School Audition: one monologue from an Elizabethan or Jacobean play
Name of play: Love Labour’s lost
Plot: A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.
Character: Berowne
Monologue:
And I, forsooth, in love!
I, that have been love's whip,
A very beadle to a humorous sigh,
A critic, nay, a night-watch constable,
A domineering pedant o'er the boy,
Than whom no mortal so magnificent.
This wimpled, whining, purblind, wayward boy,
This signor-junior, giant-dwarf, Dan Cupid,
Regent of love-rimes, lord of folded arms,
The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets, king of codpieces,
Sole imperator and great general
Of trotting paritors -- O my little heart!
And I to be a corporal of his field,
And wear his colors like a tumbler's hoop!
What? I love, I sue, I seek a wife!
A woman that is like a German clock,
Still a-repairing, ever out of frame,
And never going aright, being a watch,
But being watched that it may still go right!
Nay, to be perjured, which is worst of all;
And, among three, to love the worst of all;
A whitely wanton with a velvet brow,
With two pitch balls stuck in her face for eyes.
Ay, and, by heaven, one that will do the deed,
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her! Go to, it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue, groan:
Some men must love my lady, and some Joan
LAMDA School Audition: one monologue from a play written in either the 20th or 21st Century, but not a piece written by you or by an unknown or little-known author.
Name of play: Five finger exercise
Plot: The play focuses on the Harrington family, who are spending a holiday together in their cottage in Suffolk, England. There is a snobbish mother, Louise, who fancies herself a Parisian aristocrat; a working class father, Stanley, who has done quite well for himself and his family in the furniture business; a troubled and sensitive son, Clive, who is just entering college, drinks too much, and is trying to find himself; and a smart-mouthed, feisty, fourteen-year-old daughter, Pamela. The fifth character is a young German music tutor, Walter, employed by the Harrington’s to teach Pamela to play piano.
Character: Walter
Monologue:
Clive? What's the matter? Are you all right? Why are you sitting in the dark? I've been talking to your father. He thinks you hate him. Clive, listen to me. The Kings of Egypt were gods. Everything they did was right, everything they said was true, everyone they loved became important. And when they died, they grew faces of gold. You must try to forgive your parents for being average and wrong when you worshipped them once. Why are you so afraid? Is it - because you have no girlfriend? Oh, you are so silly. Silly. Do you think sex will change you? Put you into a different world, where everything will mean more to you? I thought so, too, once. I thought it would change me into a man so my father could never touch me again. I didn't know exactly what it would be like, but I thought it would burn me and bring me terrible pain. But afterwards, I'd be strong and very wise. There was a girl in Muhlbach. She worked in her mother's grocery shop. One night I had a few drinks and, just for a joke, I broke into her bedroom through the window. I stayed with her all night. And I entered heaven. I really did. Between her arms was the only place in the world that mattered. When daylight came, I felt I had changed for ever. A little later I got up. I looked round, but the room was exactly the same. This was incomprehensible. It should have been so huge now - filled with air. But it seemed very small and stuffy and outside it was raining. I suppose I had thought, 'Now it will never rain again,' because rain depresses me, and I was now a man and could not be depressed. I remember, I hated the soap for lying there in the dish just as it had done the night before. I watched her putting on her clothes. I thought: 'We're tied together now by an invisible thread.' And then she said: 'It's nine o'clock: I must be off' - and went downstairs to open the shop. Then I looked into the mirror: at least my eyes would be different. They were a little red, yes - but I was exactly the same - still a boy. Rain was still here. And all the problems of yesterday were still waiting. Sex by itself is nothing, believe me. Just like breathing - only important when it goes wrong. And Clive, this only happens if you're afraid of it. What are you thinking? (He pauses.) Please talk to me.
LAMDA School Audition: one monologue from an Elizabethan or Jacobean play
Name of play: Love Labour’s lost
Plot: A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.
Character: Berowne
Monologue:
And I, forsooth, in love!
I, that have been love's whip,
A very beadle to a humorous sigh,
A critic, nay, a night-watch constable,
A domineering pedant o'er the boy,
Than whom no mortal so magnificent.
This wimpled, whining, purblind, wayward boy,
This signor-junior, giant-dwarf, Dan Cupid,
Regent of love-rimes, lord of folded arms,
The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets, king of codpieces,
Sole imperator and great general
Of trotting paritors -- O my little heart!
And I to be a corporal of his field,
And wear his colors like a tumbler's hoop!
What? I love, I sue, I seek a wife!
A woman that is like a German clock,
Still a-repairing, ever out of frame,
And never going aright, being a watch,
But being watched that it may still go right!
Nay, to be perjured, which is worst of all;
And, among three, to love the worst of all;
A whitely wanton with a velvet brow,
With two pitch balls stuck in her face for eyes.
Ay, and, by heaven, one that will do the deed,
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her! Go to, it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue, groan:
Some men must love my lady, and some Joan
LAMDA School Audition: one monologue from a play written in either the 20th or 21st Century, but not a piece written by you or by an unknown or little-known author.
Name of play: Five finger exercise
Plot: The play focuses on the Harrington family, who are spending a holiday together in their cottage in Suffolk, England. There is a snobbish mother, Louise, who fancies herself a Parisian aristocrat; a working class father, Stanley, who has done quite well for himself and his family in the furniture business; a troubled and sensitive son, Clive, who is just entering college, drinks too much, and is trying to find himself; and a smart-mouthed, feisty, fourteen-year-old daughter, Pamela. The fifth character is a young German music tutor, Walter, employed by the Harrington’s to teach Pamela to play piano.
Character: Walter
Monologue:
Clive? What's the matter? Are you all right? Why are you sitting in the dark? I've been talking to your father. He thinks you hate him. Clive, listen to me. The Kings of Egypt were gods. Everything they did was right, everything they said was true, everyone they loved became important. And when they died, they grew faces of gold. You must try to forgive your parents for being average and wrong when you worshipped them once. Why are you so afraid? Is it - because you have no girlfriend? Oh, you are so silly. Silly. Do you think sex will change you? Put you into a different world, where everything will mean more to you? I thought so, too, once. I thought it would change me into a man so my father could never touch me again. I didn't know exactly what it would be like, but I thought it would burn me and bring me terrible pain. But afterwards, I'd be strong and very wise. There was a girl in Muhlbach. She worked in her mother's grocery shop. One night I had a few drinks and, just for a joke, I broke into her bedroom through the window. I stayed with her all night. And I entered heaven. I really did. Between her arms was the only place in the world that mattered. When daylight came, I felt I had changed for ever. A little later I got up. I looked round, but the room was exactly the same. This was incomprehensible. It should have been so huge now - filled with air. But it seemed very small and stuffy and outside it was raining. I suppose I had thought, 'Now it will never rain again,' because rain depresses me, and I was now a man and could not be depressed. I remember, I hated the soap for lying there in the dish just as it had done the night before. I watched her putting on her clothes. I thought: 'We're tied together now by an invisible thread.' And then she said: 'It's nine o'clock: I must be off' - and went downstairs to open the shop. Then I looked into the mirror: at least my eyes would be different. They were a little red, yes - but I was exactly the same - still a boy. Rain was still here. And all the problems of yesterday were still waiting. Sex by itself is nothing, believe me. Just like breathing - only important when it goes wrong. And Clive, this only happens if you're afraid of it. What are you thinking? (He pauses.) Please talk to me.
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