Performance Audition Requirements

For admissions auditions, the School of Theatre requires two, 2-minute contrasting modern monologues:

Modern/Contemporary Period: theatrical, non-film, 1880 to present
Classical Substitution: If a student wishes, he/she may choose to substitute one of the modern pieces for a classical text. If so, the monologue should be in verse, and preferably Shakespearean – see suggestions below.

Students are asked to bring a picture and resume with them to the audition. No additional material is required unless a student wishes to present a portfolio of work representing additional interests in theatre; e.g. if a student has written a script and has a writing sample or if a student has a portfolio of directing or design work.

Auditions are conducted in a workshop-style, meaning faculty members reserve the right to ask questions about or give direction to the student for one or both monologues. Such workshop interaction may or may not happen, and it is not guaranteed for all auditions. Students should not view working or not working with faculty during the audition as judgment on the quality of the work itself; for some auditions, time simply does not allow for such a workshop approach.

A brief interview will follow the audition, providing the faculty member with an opportunity to get to know each student in their own words. In total, each audition/interview can take anywhere from 8-15 minutes.

Generally the School of Theatre auditions between 700-800 applicants each year, with the intention of admitting an incoming performance freshmen class of 40-45 students. The School will offer acceptance to just under 100 students.

The audition season for regular decision candidates spans from the second weekend of January until the final weekend of February.  In addition to continuous auditions in Boston, the School also conducts a national tour beginning in February that takes faculty members to New York City, Chicago, Los Angeles, and Houston. For a complete list of dates and location information, please visit our Artistic Review Dates page.

Shakespeare Suggestions for Women

Joan La Pucelle from Henry VI; Part I; Act I, scene ii
(“Dauphin, I am by birth a shepherd’s daughter…”)

Tamora from Titus Andronicus; Act II, scene ii
(“My lovely Aaron, wherefore looks’t thou sad…”)

Portia from Julia Caesar; Act II, scene i
(“Is Brutus sick? And is it physical…”)

Lady Anne in Richard III; Act I, scene ii
(“Poor key-cold figure of a holy king!”)

Helena, from All’s Well That Ends Well

Portia, from The Merchant of Venice

Cressida, in Troilus and Cressida; Act III, scene ii
(“Boldness comes to me now, and brings me heart…”)

Shakespeare Suggestions for Men

Sebastian, from Twelfth Night; Act IV, scene iii
(“This is the air, that is the glorious sun…”)

Romeo, from Romeo and Juliet

Edgar, from King Lear; Act II, scene iii
(“I heard myself proclaim’d…”)

Richard, Earl of Gloucester from Henry VI

Proteus, from Two Gentlemen of Verona; Act II, scene iv
(“Even as one heat another heat expels…”)