Find a monologue that sounds like you.

Choose age-appropriate material, understand the rules for your audition, and perform with confidence—without trying to sound older than you are.

If you're the actor

Your audition guide

Find the right piece, understand what is allowed, and learn what audition panels actually want to see.

If you're the parent

A practical parent guide

Understand the real costs, check a coach before paying, and recognize the warning signs of a scam.


A question almost every teen asks

Can I use a piece with swearing in it?

Sometimes—but the rule depends on your age group and the exact event. Even the same organization can have different rules for junior and senior performers.

Florida Thespians — Junior
Students will NOT be allowed to use adult language in any performance.

A breach disqualifies the piece and a letter goes to the school principal. Their wording: not a negotiable point.

Published rules · verified Aug 2026
Florida Thespians — Senior
You are required to flag material that "may possibly offend".

Asterisk it on the registration form, say so in your introduction, and allow a moment for anyone who wants to leave. Content codes cover language, sexual situations and violence.

Published rules · verified Aug 2026

Same organisation. Two age brackets. Opposite regimes. That is why there is no universal answer here, and why the only reliable instruction is to read the rules for the specific event you are entering.

Broadly, three regimes exist. National US educational theatre has no profanity rule at all — the Thespy rulebook restricts where material comes from, not what it says. State and regional festivals vary wildly, and some are absolute. College auditions almost never publish a rule, but the professional convention is consistent:

"Keep your college auditions PG-13; leave the R rating for acting class."

Tom Morin, actor and acting coach, New York

The trap: you may not be allowed to quietly soften it

The obvious workaround is to cut the swearing. At a college audition, nobody is checking. But at an EdTA-adjudicated Thespy, the rulebook says you may not change scripted text without written permission from the rights holder — so editing the language is itself a rules problem. Two pieces of good advice that contradict each other, depending on the room.

Sex, drugs, self-harm and violence

More restricted in practice than swearing, and mostly unwritten at college level. The topic is rarely banned outright. What gets punished is material whose only function is to shock, and material whose emotional demands run past your actual life experience.

"…two full minutes of discomfort, where everyone in the room wanted to teleport."

Christopher Peterson, founder, OnStage Blog — on a shock-value audition
Free and ready to perform

Four monologues written for ages 15–16

These are original pieces with no copyright confusion and no monologue-book restriction. You can perform them, film them, and make them your own.

See all 34 monologues, filtered to teen pieces →

Check before you choose

Some schools tell you exactly what not to bring

Most "overdone" lists are opinions. These examples come directly from university audition requirements, so using a listed play can mean breaking the rules—not simply making a common choice.

Rutgers, Mason Gross School of the Arts19 plays to avoid · published requirement
RedThe RehearsalProdigal SonOur TownFencesPuffsThe Laramie ProjectAlmost MaineAngels in AmericaShe Kills MonstersOleannaDeath of a SalesmanFleabagChewing Gum DreamsSylviaI Hate HamletReasons to be PrettyGoodbye CharlesLady Macbeth
Also barred: musicals, TV, film, anything from a monologue book, and pieces cut together from a scene.

The two highlighted above appear on recommended lists elsewhere

Fences and The Laramie Project are barred at Rutgers and simultaneously recommended in mainstream teen monologue round-ups. There is no universal blacklist — there is only this school's list, this year. Read it before you fall in love with a piece.

The University of Cincinnati CCM publishes its own shorter list of "hackneyed pieces" — Brighton Beach Memoirs, Biloxi Blues, The Odd Couple, Boys Life — and separately advises against anthologies and pieces written in dialect.

Avoid preventable mistakes

Three college-audition rules that surprise students

Trap 01

One package cannot serve every school

Juilliard requires Shakespeare, in verse. NYU Tisch bars classical material outright. You cannot build a single pair of pieces that satisfies both — and the schools will not tell you this, because each one is only describing itself.

Trap 02

Some schools cap each piece. Others cap the total.

Michigan, UNCSA and Otterbein limit your combined time. Tisch, Juilliard and the UK schools limit each piece. Two ninety-second monologues can be perfectly compliant at one school and disqualified at another.

Trap 03

Prescreen rules are not live-audition rules

They differ at Tisch, RADA, DePaul and Royal Central. Some schools don't prescreen at all — UNCSA states plainly that it does not accept taped auditions. Michigan won't take a YouTube link; Syracuse requires one. Framing specs differ too: DePaul wants waist-up then full-body, Michigan specifies four-to-six feet then two-to-three.

RADA gives you two weeks

Applicants have two weeks from application confirmation to submit the self-tape. A student who applies without material already prepared has effectively already failed. Prepare first, apply second.

Every deadline and requirement on this page is checked annually. Confirm against the school's own current page before you rely on it — these change every cycle.

You do not have to prove everything

How do you know when a piece is trying too hard?

Ask one question: does the piece require life experience you do not have yet, or acting technique you are still developing? Technique can be trained. Pretending to have lived a life you have not usually feels forced.

"You should look for a monologue that serves you."

Cristina Duarte, Dramatics

Which reverses the instinct. Most teenagers pick the hardest, most emotionally extreme piece they can find, on the theory that range is what gets noticed. Panels read that as strain — and they spend the whole minute watching the strain instead of watching you.

"Just show them who you are now. Remember that you are enough."

Mary Anna Dennard, college audition coach

And for whatever it is worth coming from the people who run the panels — a University of Texas faculty member's summary of the form itself: "Monologues are horrible animals." Nobody enjoys them. You are not failing at something everyone else finds easy.

For parents

What can this cost—and how do you protect your family?

Before spending money on applications, travel, coaching, or representation, use these practical checks to understand what you are buying and avoid scams.

One family's complete bill

There is no published average, so here is one real, itemised, first-person account of a full BFA acting application cycle — presented as one case, not a benchmark.

Massachusetts family · one BFA Acting cycle
Academic application fees$895
Artistic application fees$625
ACT score sends — 24 schools$456
Acting coach — monologue prep and school list$2,800
Travel for auditions$2,685
Travel to visit the final three schools$4,268
Total$11,729
Published by the parent, Debbie Schwartz, on Road2College. One family's numbers — yours will differ, and roughly 60% of that total is travel.

For context on the individual line items: published coaching rates run from around $75 a session to $200 an hour, and Washington State's Attorney General puts a headshot sitting at $100–$300. Note that the coaching figure comes from a coach, in an article that reads promotionally. We have flagged that rather than quietly citing it.

Do you need a coach?

Here is the finding nobody publishes, and it is the most useful thing on this page: every named source we could find arguing that a coach is necessary sells coaching. No independent, disinterested authority says it. The entire published literature on "do you need a coach" is written by coaches.

That does not make coaching worthless. It does mean you should treat the question as unsettled and vet whoever you hire.

01If you're in California, check the permit database first. Anyone providing child performer services to under-18s for a fee must register with the Labor Commissioner, complete Live Scan fingerprinting and pass an FBI background check. From 1 January 2026 that explicitly covers coaches. The list of current permit holders is public and searchable.
02Ask what happens if you cancel. California's Krekorian Act requires specified contract language and a ten-day cancellation period for talent services, including training.
03Ask what the money buys, in writing. Hours, deliverables, and who you're actually working with.
04Ask for references from families whose cycle has finished — not from current clients.
05Walk away from any guarantee. Nobody can promise an outcome, and the ones who do are selling something else.

The permit requirement is California law and does not apply in most other states. Check your own state's position — and note that a permit confirms a background check was run, not that the coaching is any good.

The one rule that catches almost every scam

A union, a state attorney general, a federal agency and every credible author say the same thing in near-identical terms:

"Legitimate agents and managers don't charge upfront fees. Ever."

Bonnie J. Wallace, author, The Hollywood Parents Guide

A real agent is paid a commission out of money your child has already earned. Money never flows from you to them first. Washington State's Attorney General puts it as being paid after they find the work, not before. The FTC adds that real agencies won't ask you to pay for a test shoot or to "secure your spot."

And the cleanest version, from a parent advocacy foundation that takes no industry money: any company that asks for money to audition is not legitimate.

What it looks like when it happens

Scouts approached families at Long Island shopping malls and told parents their children had a special look. An initial photo shoot cost $750; contracts ran to $3,000, and one parent was escalated from $750 to $6,000. Families were told their children had jobs waiting with named national retailers. The jobs never existed. Over $250,000 was taken before the county district attorney prosecuted.

Same playbook turns up in mall and casino approaches in other markets. If someone finds you and then asks for money, that sequence is the warning.

Are you allowed in the room?

Almost no college publishes a policy on this — not in the FAQs, not in the Unified Auditions material. The single most common logistical question a parent has is unanswered across the major published sources. Assume you will not be in the room, and ask each school directly in advance.

Where a professional child casting session is concerned, the answer is clearer and it is usually no:

"If the parents are there, it changes the dynamic."

Jo Hawes, children's casting director, UK — on auditions, not college

On a working set the position reverses entirely and presence is mandatory: within sight and sound of your child at all times, including hair, wardrobe and makeup.

Keep preparing

Choose what you need help with next

Practice it. Time it. Watch yourself improve.

Record your monologue, check the time limit for your school, and review the performance the way an audition panel will. It is free, and nothing is published without you.

Open the self-tape tools
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