Develop your Screen Skills AND Audition Confidence in our NEW on-camera and audition class.

Join us for an amazing 6 week course focusing on all things screen. Work directly with StageMilk Founder and acting coach, Andrew Hearle.

Dates: TBC (Early 2024)
Class Details: 6 week course running every Tuesday night 6.30-9pm
Class Size: strictly limited to 10 students
Location: PIP Theatre (In-person) – Savoir Faire, 20 Park Rd, Milton QLD 4064
Price: $695 $495 (Early Bird Special

Class Details

This class will be centred around screen work. As a modern actor you must be confident and relaxed in this format, whether you are auditioning in person, self-taping, or working on-screen for a project.

This class will help you massively improve your screen and audition skills, as well as help you develop overall as an actor.

Across the course you will work on an incredible selection of scenes, hand selected for you, to help you refine your skills. You will explore a range of styles, genres, and characters, to help further your range and versatility on camera. You will also walk away with a portfolio of high quality self-tapes to use for your casting profiles, or to send to agents etc.

We will cover everything from acting techniques and tools, to practical screen craft. You will also be getting personalised feedback on your work each week. We have strictly limited the class so that everyone will get plenty of practical one-on-one time.

This course is aimed at all levels, but once you have completed the 6 week foundation course, there are options for more advanced training. 

More about your teacher, Andrew Hearle: 

Andrew Hearle is the founder of StageMilk.com. Over the last 12 years he has helped thousands of actors around the world to improve their skills across all areas of craft. However, Andrew’s coaching specialises in self-taping and auditioning and every year StageMilk reviews over 1800 tapes.

Andrew has also taught at many of the leading acting schools around Australia and currently teaches at JMC. He has also helped over 100 actors get into the top drama schools around the world including (WAAPA, NIDA, QUT, LAMDA and Bristol Old Vic). Andrew Hearle is an acting graduate of the Western Australian Academy of Performing Arts (WAAPA) and works as a professional actor across film, TV, and theatre. Notable screen credits include Channel Seven’s Peter Allen: Not the Boy Next Door, Australia Story of Us, and recent Australian feature film, Spirit of the Game. He recently played Orlando in Queensland Theatre’s critically acclaimed production of As You Like It. His most recent theatre credit was playing Caliban in The Tempest.

BONUS: During the course you will also be joined by other incredible guest teachers, to help further your screen knowledge.

If you have any questions at all email Andrew@StageMilk.com

For more Brisbane Acting Resources.

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Develop your voice over skills and learn more about this industry

We have run over 20 sold-out courses all over the country, and are Australia’s leading voice over training. Once a year we bring our incredible course to Perth for a two day course. This is a very special program and we are super excited to work with you!

The course will cover everything from Radio Commercials to Audiobooks to Character/Animation, and give you all the techniques and skills required to have a sustainable career in the voice over industry. The course will take place on the weekend and run for two days at one of the top voice over studio in Perth.

We keep our class sizes incredibly small so that we can give every student plenty of one-on-one time. This is the most practical voice over course in Perth and the full course will take place in a studio setting, maximising your time working in a professional studio! You will also walk away with industry standard, professional VO recordings to kick start your career! 

Class Details:

Dates: April/May 2024
Class times: Weekend Course (Saturday/Sunday)
Cost: $880 (Early Bird Special $695)

Testimonials

First of all, I want to say a sincere thank you. This course has provided an incredible introduction to the voiceover industry and I have greatly appreciated the training you have provided across this time. It has been hugely valuable to learn about the industry and take instruction from two people who are so active and successful in the space.

After a busy day in the office, fronting up to most kinds of classes can be an arduous task, but it was always a pleasure to attend this course. I especially appreciate having spent so much of the class time undertaking practical exercises and receiving excellent constructive feedback. I will certainly be recommending this course to anyone I know with an interest in learning more about the voiceover space.

(Tim Garrant, Voice Over Course Graduate)

This course far exceeded my expectations! The commitment, and attention the teachers show to each class member is what sets this course apart from others. You get tailored scripts, individualised feedback and endless support to help you grow every class  They push you to do more than you think you’re capable of. This course is particularly useful for beginners who need guidance in the world of V-O!

(Phoebe Deas, Voice Over Course Graduate)

Just wanted to say thank you and let you know how much I enjoyed the course. You were fantastic and I really learnt a lot. The whole class were really nice. A great bunch of people. I particularly enjoyed the Audiobook recording

(Ben Williamson, Voice Over Course Graduate)

These guys are the real deal and masters of their craft – in each class they really put their hearts into teaching us the effective vocal techniques, VO styles for different media, and the inner workings of the industry. Best of all, they gave each student ample time to work in front of the mic with personalised feedback to improve our reads. Thank you guys – no wonder there’s such a waiting list for the course!

(Ronald Chan, Voice Over Course Graduate)

+ over 100 graduates from around Australia with 5 star reviews! 

The post Perth Voice Over Course appeared first on StageMilk.

Melbourne is one of Australia’s main hubs for Voice Over. This vibrant, and well-loved city is a fantastic place to pursue a VO career. With a myriad of studios, production companies, and some of the leading voice over talent in the country, it’s an exciting place to find work and collaborate. As Melbourne is a key player in the Australian industry it is certainly a competitive place, but it also means that opportunities abound. The exciting thing in the modern VO industry is that there are opportunities at all levels. It will not be easy to instantly sign with a top voice over agent and start working professionally, but with persistence, and some great training behind you, anything is possible.

Melbourne offers voice over work in all areas of the industry including audiobooks, commercial work, TV/Film/Radio promo, ADR, corporate and e-learning and all other major areas of the industry. As Melbourne is also such a creative centre, they also produce some of the most exciting and innovative voice over in the country. This is definitely a great place to be, if you are looking to make this a career or side-hustle.

StageMilk Weekend Voice Over Course

Details:

Teachers: Andrew Hearle (StageMilk Founder and Voice Over Teacher) + Jessica Clarke (EM Voices)
Dates: March/April 2024
Format: Weekend Course (Saturday/Sunday)
Location: in-person, held at one of Melbourne’s top VO studios
Price: Normally $880 (Early bird price $595)

Recent Testimonials

This course far exceeded my expectations! The commitment, and attention the teachers show to each class member is what sets this course apart from others. You get tailored scripts, individualised feedback and endless support to help you grow every class  They push you to do more than you think you’re capable of. This course is particularly useful for beginners who need guidance in the world of V-O!

(Phoebe Deas, Voice Over Course Graduate)

An amazing and priceless look into an industry with so much potential! This VO masterclass has been one of the most incredible experiences I have had in my lifetime. The teachers are so kind with their time and feedback. Getting to work alongside an artist who has remained in the industry was unparalleled as he was able to share insights and trends that he has experienced throughout his amazing career. If you have been thinking about doing something like this I challenge you to bite the bullet and do it! Everyone is so supportive and you come out the otherside with a real grasp on what it takes to be successful in this industry. Fingers crossed they make a 2.0 version!

(Damon Schmidt , Voice Over Course Graduate)

Professionalism and enthusiasm, were absolutely personified, throughout our course. Cannot speak more highly of the course. What a team. Worth every penny, and sorry the course had to end. A BIG Thank you too you all

(Wayne London, Voice Over Course Graduate)

This course has been a real joy! The small group allows maximum time in the booth, and the teachers are all so considerate, to the point, and engaging. Each week, they take you through a different genre of voice-over. You get a huge stack of scripts to choose from and record, just like you would if you were on the job. The course then wraps up with an in-depth home studio lesson, so you can keep practising and begin booking work. You also receive a report card with individual feedback catered to your voice-type and strengths. Takes the guesswork out of voice-over, stops the panic sweats, and makes it accessible and fun. I will definitely be back!

(Monica Kumar, Voice Over Course Graduate)

The course packed in so much practical learning in the most supportive environment. My confidence grew significantly across the course and I walked away with so many tools to get started in the industry. The team were so generous with their expertise and guidance. It was so worth the investment and I wish I could do it all over again!

(Anna McCrea Voice Over Course Graduate)

What a fantastic course! The team bring their immense voice-over and production experience to the studio to get the best out of each person. The small class size and intimate setting means everybody gets a lot of time behind the mic practising on real scripts in a real production scenario. Expert direction and feedback is tailored to each person no matter their level of experience. A must-do for anyone looking to start making some moves in the VO game.

(Lincoln Elliott, Voice Over Course Graduate)

What do you Cover in the Course?

Our course will give you a chance to explore all the major areas of VO. This includes everything from Commercials to Character/Animation to Audiobook/Narration. We only accept a small group so that we can really push you over the weekend to make sure we give you plenty of one-on-one time. As you can see from the testimonials above, this personal element (and limited class size) is really what separates us from other VO courses. We believe you can only make big improvements, by working on the mic, and getting personalised help and support!

The entire course takes place in a professional VO studio, meaning that you are practicing in the actual environment you will one day work in. It also means we are able to record some incredible, industry-standard recordings that you will walk away with! This will serve as a great starting point for you in the VO industry (or a great top up for those who already have a reel and are looking for some fresh content!)

Benefits of the course: 

1. Gain experience working in a professional setting
2. Walk away with all the techniques need to bring any VO script to life
3. Build confidence working in all major genres of VO (and find your strengths and weaknesses)
4. Learn more about the VO industry and how to effectively move forward.
5. Get high-quality recordings to kick start your VO career.

Why Do Voice Over Training with Us?

Many people falsely believe that being a voice over artist is just about having a good voice. They think if you’re voice sounds good, all you have to do is get in front of the microphone and voila! This couldn’t be further from the truth. Of course your voice is a factor, but the main skill is how you use your voice. Can you play with pitch, pace, and volume? Can you connect with the emotion of the script? Can you make our mouths water with the way you describe a new pizza topping, or new coffee brand? Can you read for many hours making limited mistakes? Can you find vocal clarity, confidence and subtly… all in one read?

The skill of VO is all about interpreting and bringing to life scripts, and this work can takes a lot of training. There is a reason some top voice over actors are being paid over $500,000 – what they do is nothing short of extraordinary. There is no other career at this elite level, where you would expect to just walk into an agency or studio have begin earning top dollar. So yes, voice over is a serious skill set and definitely requires training. This will be different for every individual. For instance, if you are an experienced actor, you may find the process of moving into voice over easier as you already have many of the cross over skills. If you are not a performer, you may require more in-depth training, and even specialised voice coaching.

We have now run over 20 sold out courses around Australia and helped 100s of actors get established in the VO industry! 

What to Look for in a Voice Over Course?

These days there are quite a few voice over courses in all major Australian cities. However, there are a few key things to look out for:

1. Practical course. You become a better VO by working on the microphone. Make sure any training you are considering is taking place in a professional studio and is actually about voice over. Yes it can be helpful to learn voice exercises and do some work in a class room, but at the end of the day a voice artist is made in the booth!
2. Small class size. Most major VO courses in Australia take way too many students. Some take up to 16 in a single weekend workshop. There is simply no way that you can get an in-depth experience with this amount of students. So be on the hunt for small classes that limit student intake.
3. Great teachers. Look out for amazing teachers and ideally teachers with plenty of VO experience. Many VO teachers are voice teachers. This is fine, but ideally see if you can work with professional voice over artists that have practical experience in the studio.
4. Watch out for promises. Any course offering instant success, or an amazing voice reel is usually one to be avoided. You want a course that focuses on the teaching, not on the outcome. How can any course make a promise without knowing you? For most aspiring students a single weekend course is just the start, not a golden ticket to an instant career.

All of these

Voice Over Training in Melbourne

Our course is definitely one of the best voice over courses in Melbourne and is hosted by our founder Andrew Hearle. Since 2015 Andrew has taught voice over all over Australia with his company Collective Sound. Though Collective Sound mainly operates out of Sydney, they host a very special 2 day workshop a few times a year in Melbourne. This course only takes a small number of students and is one of the most respected voice over courses in the country. You can either sign up via the Collective Sound page, or using the sign up form above!

The course limits students, so you get a huge amount of practical experience in the studio (on the mic). The entire course takes place in a professional studio and Andrew teaches alongside some of the top voice over artists and producers in the country.

What to do After Finishing a Voice Over Course?

Some voice over courses will leave you with a few recordings, maybe even a basic reel. Unfortunately, voice reels that are created in a class room are seldom good enough to be used professionally.

I know it is a little frustrating after spending a lot of money already on training, but once you do feel like your skills are there, the main priority is producing a great voice reel. A reel is basically your business card in the industry.

Ready to get a demo made? Collective Sound is our recommendation for the Best Melbourne Voice Demos.

This reel will help you move forward in the industry and hopefully open doors. That said, don’t expect that you can produce a reel and instantly have a career. Like any creative pursuit it will take time to develop relationships and establish clients. You may have to look at online platforms, and other more approachable opportunities to begin, but over time, you will begin to make inroads.

As I mentioned at the start, opportunities abound in the voice over industry. It will take time to refine your skills and then find your niche and get established in the industry, but it’s a worthwhile pursuit. VO is incredibly fun, challenging, and can be extremely lucrative. If you love using your voice, telling stories, and being creative, this can make an incredible career, or side-hustle. I highly recommend exploring the incredible word of voice over further.

If you are based locally, we highly recommend you check out: Melbourne Voice Over Course.

The post Melbourne Voice Over Course appeared first on StageMilk.

Original Text Iago Monologue (Act 2 Scene 3)

Iago:
And what’s he then that says I play the villain?
When this advice is free I give and honest,
Probal to thinking and indeed the course
To win the Moor again? For ’tis most easy
Th’ inclining Desdemona to subdue
In any honest suit. She’s framed as fruitful
As the free elements: and then for her
To win the Moor, were’t to renounce his baptism,
All seals and symbols of redeemed sin,
His soul is so enfettered to her love
That she may make, unmake, do what she list,
Even as her appetite shall play the god
With his weak function. How am I then a villain
To counsel Cassio to this parallel course
Directly to his good? Divinity of hell!
When devils will the blackest sins put on
They do suggest at first with heavenly shows
As I do now. For whiles this honest fool
Plies Desdemona to repair his fortune,
And she for him pleads strongly to the Moor,
I’ll pour this pestilence into his ear:
That she repeals him for her body’s lust.
And by how much she strives to do him good
She shall undo her credit with the Moor –
So will I turn her virtue into pitch
And out of her own goodness make the net
That shall enmesh them all.

Iago Act 2 Scene 3 Performance

Here is Kenneth Branagh performing this iconic Iago monologue. The text has been slightly modified, but it’s an awesome version. I would recommend NOT watching this if you are in the process of performing, as you want to avoid any form of imitation in your portrayal of Iago. 

The post Iago Monologue (Act 2 Scene 3) appeared first on StageMilk.

What is Status?

Status is the difference in control or power in a relationship between two or more characters. A high-status character has the power or control over the lower status character or dominates, in some way, the relationship. This status could be blatant like in the relationship of king and servant, or could be more subtle in a domestic relationship. It’s also important to note that status in this context is not just based on social rank. A father isn’t necessarily more high-status than a son, and in my example of king and servant before, you can certainly have a high-status servant—who might on paper have no power—but wield all the power in the scene you are working on (Lear and Fool in King Lear are a classic example of exactly this.)

Status can also be ephemeral, and alter over the course of a play. Elizabeth in Stephen Jefferies’ The Libertine is a great example. She begins as a very low status failed actor and by the end proclaims “I am not the sparrow you picked up in the roadside, my love. London walks into this theatre to see me”—once she has reached the maturity of her acting ability. In her final monologue, she is still technically a low status character (actors at that time were not high in the social standing.) And yet: she stands up to an Earl! Whenever I watch a student work on this monologue I always talk about status. She is so high-status at this point, and if you ignore that the entire story collapses.

The Goal of Working on Status

Exploring status gives you options. Most actors generally bring their own level of status into their acting, but that is very limiting. It’s most common that I see young or inexperienced actors struggling with status. It’s hard to take up space and be in charge, and to embody rulers, or generals, or famous actors is tough!

Status helps an audience understand a scene and story. It brings a human edge to a scene, as it illustrates the underlying desire many of us (or all of us, if we’re honest) feel to jostle around for a more powerful or desirable place in the pack.

It also helps with comedy. Some of the all-time classic comedy duos are clear status relations: Falstaff and Hal, Basil Fawlty and Manuel, Rick and Morty.

Status is always present whether we like it or not. There is always a sense of the status between two or more individuals. This may evolve or even reverse during the course of a story, but it is always present.

Playing with Status as an Actor

Voice

Our voice is the number-one giveaway of status. A high-status character generally is always “on resonance” (they speak with their full voice). They avoid mumbling and uncommitted vocal choices. Generally speaking, they speak slower and with more assurance. Low-status characters often have thinner, higher voices or, as mentioned previously, have a more disjointed or broken quality to their voice. Because low-status characters are often afraid to be truly heard, or afraid of what other think of them, their words often fall short of reaching the other character or can have a drooping energy.

Depending on the status of your character, think about how you breathe as well. Deep, centred breathing is a great indicator of status. And finding that deep breathing will also manifest in a stronger more intense vocal presence.

Movement

Beyond voice, physical work is the most obvious place to explore status. With high-status characters, we almost always have a tall spine. The term spineless, a common mark of a low status character, may hunch or contort their spine. So definitely playing with posture is important.

Think also about the centre of your character.

Do you open out your chest to the world or concave away?

From which body part do you lead when you walk across the room? Head? Chest? Hips?

Also, how you interact with other actors? Think about handshakes, touches. Confident, and open.

Eye contact

Have you ever had a conversation with someone that holds a ridiculous amount of eye contact? They are either a little mad, or incredibly high-status. The ability to be able to truly engage, listen and maintain solid eye contact is one of the main displays of a high-status character. They are also very purposeful with their eyelines (Marlon Brando in Apocalypse Now is a master of status-led eye-line work.)

Low status characters can barely hold eye contact or, at best, are scattered and unassured. Play with darting eyes, or constantly shifting gaze away from the person who you are speaking to. Where does your character feel most comfortable looking in a room, especially with higher-status people?

Attitude

Many of you are reading the above ideas and thinking “I know some people who I really look up to who are very high-status but have the worst posture, terrible voices, etc.!” Well, that’s because attitude trumps all of this! If you walk into a room with ease and confidence, your status smashes through. That is why all the physical work in the world is not going to get you over the line if you are striving for monstrous amounts of status!

High confidence = high status and arrogance. Think Obama (or Trump, if you must.)

One other great way to get inside the status of your character is to think about how others see you. When you are low-status, you walk into situations assuming people will see you that way. Or if not that insecurity, something else (or worse!) “Everyone thinks I am stupid, or ugly, or all the above” When you are high-status, think about how people admire you, respect you, fear you, love you. Use their energy and feed off it!

Emotion

It would be an unhelpful simplification to say high-status characters are less emotional. Most stories involve the very opposite notion: a high-status character is knocked off course and becomes very emotional as a result. But lead roles in film, tv and theatre are all heroes of their tales. No matter what they have been through, there is still an attitude of hope: a drive to pursue their objective and ‘win’ the day.

Low-status characters, on the other hand, are often defeated by problems. They fall more easily into a victim mentality and complain. One example is in the recent TV sensation The Witcher. Geralt, the titular Witcher, is a very high-status character who follows to the tee almost every indicator above—strong physicality, slow and clear speech in a deep register and a certainty in all he does. On the other hand, his comic sidekick Jaskier is far more of a low-status counterpart. He is full of worry and complaints, and every problem they face seems, to him, insurmountable.

Backstory

Your character’s personal history impacts your relationship to other people and the world. In story, we are often playing leaders or other great people. Whether they have achieved fame, or financial success, or even notoriety, they have usually done a lot with their lives. I often say to actors who are portraying top lawyers, or businesspeople: “What is it like to early $2000 an hour? What does it feel like every morning to wake up in a mansion?”

In your own life, your personal history informs how you hold yourself and interact with others. Even me with StageMilk. If you find an article I wrote seven years ago, when no one knew StageMilk and I was just randomly blogging whilst studying acting at University, my articles were full of self-deprecating remarks and other insecurities. And even though some of those uncertainties remain, the fact that millions of actors read StageMilk, and I work with actors everyday, has transformed how I write and interact when giving acting advice.

So think about the history of your character. And play imaginatively with what that does to your character and the way you hold yourself.

Endowment

One final word on status when playing especially with other actors. Status is magnified when those other actors endow you with the qualities of a high- or low-status character. Encourage your scene partners to work with you on this. If you are playing a character that is “intimidating” or “powerful”, their relationship to you will be as powerful as the way you react to them. Acting is always a team sport and how you interact with other actors will help an audience with status.

Practical Section: Questions to Ask Yourself

Hopefully, above I have outlined some of the major areas to investigate when developing status. But I wanted to give you some simple questions to reflect on when you next explore a character. Remember, there are no right answers! Simply explore the questions and see how they inform the work:

1. Is my character high- or low-status?
2. Was that status thrust upon them (i.e. a prince or king) or did they work for it?
3. Is status important to my character?
4. How does my status affect the above areas of my characterisation (voice/movement/relationships)?

Conclusion

If you are currently working on status within your acting, I hope this has been a helpful overview. As I mentioned earlier, it certainly needs to be acknowledged, because it is always there whether you like it or not. There is a power dynamic in every scene, and understanding that dynamic can be the key to bringing the story to life. Let status and the investigation of status inform your choices. Because it is a gateway into understanding the character and how that character interacts with the world.

The post How to Work on Playing Status as an Actor appeared first on StageMilk.

Context

The Winter’s Tale is a strange beast in Shakespeare’s canon. It’s one of his ‘problem plays’, which is to say a work that defies any singular, easy categorisation. It begins as a serious drama, before transitioning into a strange and fantastical almost-comedy. Seriously: Hermione dies and then returns, sixteen years later, as a living statue.

The focus of this article, however, takes place near the climax of the first section. Hermione has been accused of adultery by her husband Leontes—the King of Sicily—and is making her case for her innocence.

Setting

This monologue takes place in a “court of justice”. That can be interpreted in different ways but the important element is that it’s a formal space: a courtroom. Hermione is being judged, and this imposing dynamic plays a key role.

Original Text

HERMIONE:

Sir, spare your threats.
The bug which you would fright me with I seek.
To me can life be no commodity;
The crown and comfort of my life, your favour,
I do give lost, for I do feel it gone
But know not how it went. My second joy,
And first fruits of my body, from his presence
I am barred, like one infectious. My third comfort,
Starred most unluckily, is from my breast,
The innocent milk in it most innocent mouth,
Haled out to murder; myself on every post
Proclaimed a strumpet; with immodest hatred
The childbed privilege denied, which ’longs
To women of all fashion; lastly, hurried
Here, to this place, i’th’ open air, before
I have got strength of limit . Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die. Therefore proceed.
But yet hear this – mistake me not – no life,
I prize it not a straw, but for mine honour,
Which I would free – if I shall be condemned
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
’Tis rigour, and not law. Your honours all,
I do refer me to the oracle.
Apollo be my judge.

Unfamiliar Language

Our first stop, as always, is to identify and define any unfamiliar words or phrases in the piece. This will help give the work some context, and allow you to use the language to your advantage in Hermione’s pursuit of her objective.

Apollo: The god of (among other things) the sun, music and—in this context—divination of truth and the future.

Bug: From ‘bugbear’, an imaginary creature of fear. In this context, the accusations against her are not only frightening, but false.

First Fruits: A biblical term referring to things planted for the future; also a reference to Hermione’s own physical form (and pleasure.)

Haled: Dragged, forced out.

Oracle: Famed fortune-tellers who would speak truths. In The Winter’s Tale, they are asked by Leontes about his wife’s fidelity.

Starred: Pertaining to fortune; in this context, Hermione’s bad luck.

Strumpet: A promiscuous woman.

Notes on Performance

#1 State of Mind

A huge consideration is Hermione’s state of mind. She has been through a huge amount before the start of this monologue and we want to see that as you enter into performance. Consider the ‘moment before’ and given circumstances of the scene, and let them guide you.

#2 Don’t Play the Victim

Once you understand the extent of what Hermione has been through, the obvious summation is that she is in despair and defeated by her situation. This is an unhelpful way to play this monologue. Remember to never fall into the trap of being the victim of the character’s circumstances. Even here she is fighting for what she believes. Plot strong actions and pursue your objective with everything you have!

#3 Find the Love

The interesting thing about Hermione is that even though Leontes has betrayed her so completely, she still feels enormous love for her husband. Remember the character relationships—plot these out on paper before you attempt the scene if you think that might help. Then, in performance, call on these relationships to give the piece dramatic stakes on which you can build.

Good luck!

The post Hermione Monologue (Act 3, Scene 2) appeared first on StageMilk.

This monologue is a gift for an actor. The clear conflict and palpable sense of internal agony makes it active and naturally driven. We see a man desperate to work through these difficult feelings. As it’s a soliloquy you can share this turmoil outwardly, and really take us on the journey with you. It’s a moral battle where Angelo must wrestle with two opposing sides of himself for the first time. Will he then use his power to achieve his base desire, or rise above this temptation?

Context

If you are considering preparing this soliloquy of Angelo’s, first begin by reading the play – at the very least ready the first two acts. Measure for Measure is a challenging play to access due to it’s odd plot line and challenging language. To do this soliloquy justice, you need to wrap your head around what is going on in the play before this moment in Act 2, Scene 2.

In brief, this play is about sex. The Duke of Vienna feels that he has been too lax with laying down the law in Vienna, and sees that the city is rampant with sexual promiscuity and liberty. Not wanting to be a hypocrite, however, he decides to task Lord Angelo with the job of cleaning up the streets, while he leaves town (but really stays in town dressed as a priest to observe Angelo… Shakespeare, right?)

Vienna is rife with red light districts, prostitution and sex outside of marriage. Angelo, upon being appointed as the temporary Duke (Imagine Dwight from The Office, if that helps) imposes strict laws about what is permissible when it comes to people’s sexual behaviour. Sex outside of marriage, for example, is strictly forbidden, and is punishable by death. Angelo hopes the strictness of these laws will ensure that the change in the city is swift and longstanding.

One of the first people to break this law, however, is Claudio, brother of Isabella, who has recently decided to become a nun. (Each character exists on the spectrum of sexual liberty in this play, and it’s important to take note of where each character sits on that spectrum).

Claudio, having impregnated Juliet (Not the Verona Juliet, obviously) has been arrested as the two were not married. Claudio swears that the two would have been married, but they were struggling for acceptance from Juliet’s family. All Angelo sees however is someone who has broken the law, and who must be put to death.

Act Two Scene Two is primarily a debate between Angelo and Isabella, Claudio’s sister. Isabella has been asked by Lucio (a friend of Claudio) to plead with Angelo for her brother’s life. She does so, and after several attempts and gear shifts within the debate, wears down Angelos resolve- dismissing her with an “I’ll think about it”.

Angelo Monologue Act 2 Scene 2 (Original Text)

Angelo: What’s this? What’s this? Is this her fault, or mine?
The tempter, or the tempted, who sins most, ha?
Not she; nor doth she tempt; but it is I
That, lying by the violet in the sun,
Do as the carrion does, not as the flower,
Corrupt with virtuous season. Can it be
That modesty may more betray our sense
Than woman’s lightness? Having waste ground enough,
Shall we desire to raze the sanctuary
And pitch our evils there? O fie, fie, fie!
What dost thou, or what are thou, Angelo?
Dost thou desire her foully for those things
That make her good? O, let her brother live!
Thieves for their robbery have authority,
When judges steal themselves. What, do I love her,
That I desire to hear her speak again?
And feast upon her eyes? What is’t I dream on?
O cunning enemy, that, to catch a saint,
With saints dost bait thy hook! Most dangerous
Is that temptation that doth goad us on
To sin in loving virtue. Never could the strumpet
With all her double vigour, art and nature,
Once stir my temper: but this virtuous maid
Subdues me quite. Ever till now
When men were fond, I smiled and wonder’d how.

Unfamiliar Words

violet: these are flowers commonly associated with virtue and modesty. They are delicate and often linked to purity and innocence.

carrion: carcass, worthless beast, decaying flesh

season: time of year, weather conditions

sense: our senses

woman’s lightness: a woman being lewd or licentiousness

art and nature: the artifice of the courtesan

waste ground: brothels

raze:erase or wipe out

fie: exclamation of disgust, shame or indignation

strumpet: harlot

stir my temper: disturb my mental equilibrium

Modern Translation

What’s going on? Is this her fault or mine?
The tempter or the tempted, who sins the most?
Ha! It’s not her, and she doesn’t tempt either.
It’s me, lying in the sun like violets, but unlike violets (who grow in the sun) I rot like dead meat.
Is it possible for an honest and modest woman to arouse me more than a seductive one?
Having destroyed lots of ground already, do we wreck the church and commit our sins there too?
Oh no, no no!
Angelo, who are you, what are you doing?
Do you sinfully desire her for the reasons that she is virtuous?
O, let her brother live!
Thieves should be allowed to steal when their judges are also thieves.
I want to see her again and hear her speak again, does that mean I love her?
What is this dream I am in?
What a cunning enemy, that uses a saint to bait me- also a saint!
The most dangerous sin is the one which tempts us by using our love of goodness against us.
Prostitutes have never aroused me before, even though they have two weapons for their trade: Their seduction and their looks. But this virtuous girl has stunned me.
Even until just before this, lovestruck men amused me and I wondered how it could be possible to be like them.

Notes on Performance

As with approaching any character, it is often useful to look at what the other characters in the play say about them. Words which are used to describe Angelo, for example, are words like severe, cold and relentless. On the spectrum of sexual liberty, as I have mentioned above, Angelo sits on the end of the spectrum close to Isabella – proudly void of temptation and sexual deviancy.

What is essential for the actor to factor into account is the wearing down which has taken place before this soliloquy. Isabella has pleaded desperately with Angelo for the last ten minutes, and it has been an effective attempt on her behalf. Many other characters have begged for Angelo to be merciful to Claudio, which he has dismissed, stating the importance of him holding true to his original sentence.

He states: “We must not make a scarecrow of the law,
Setting it up to fear the birds of prey,
And let it keep one shape, till custom make it
Their perch and not their terror.”

Angelo believes he is justified in the severity of his punishment of Claudio – this execution will serve as warning for the rest of the city not to continue behaving in the way they have previously.
To approach Angelo as a ‘villain’ at this point in the play may be misguided. He is certainly the antagonist, sure, in that he is inhibiting the release of Claudio, Isabella’s (The protagonist’s) brother. But that aside, Angelo in this moment is a character who has been completely floored. He is stunned by the effect Isabella has had on him, and he is disgusted in himself at what he is feeling. Angelo detests sexual promiscuity, and says himself that he is never tempted by prostitutes, but in this moment he finds himself hopelessly lusting after Isabella’s virtue and innocence.

Much like Sebastian in Twelfth Night, Angelo feels that he is in a dream/ nightmare like state at this moment. This experience is SO unlike anything he has experienced before, and he even goes so far as to ask “What art thou, Angelo?”.

With sex being the primary concern of the play, I feel it is not amiss of me to identify the building of tension in a climactic sense in the moments leading up to this soliloquy. The actor playing Angelo (especially if this speech is being taken out of context and is being used as an audition piece) must not start the speech at a low energy level. Angelo would have caught the scent of his attraction to Isabella much earlier than this moment in the scene, and every one of her actions – pleading with him, begging him on her knees, praying for him, would seem torturous to Angelo and create a building of lust and suspense within him. Start this piece from a place of real charge and energy, and you will find that energy carries you effectively throughout the piece.

As with any soliloquy, it’s important to answer some essential acting questions: Who is Angelo talking to, and what does he want from them? Remember, a soliloquy (monologue) is never just a monologue – it’s never just someone talking to themselves on a stage. They are always talking to something, at some target at a measurable distance from them (to quote Declan Donnellan). Identify who or what Angelo is talking to (His conscience, the audience, a person from his memory, for example) and then identify what he wants. What is his objective? Does he want to rid himself of these feelings? Does he want to tell Isabelle how he feels? You must do the legwork to identify this objective, based on what energises you most.

Conclusion

Enjoy the challenge of this character and this soliloquy. Once stripped back to its essential raw emotional condition, this soliloquy is actually quite simple and accessible. These are words spoken by a man who has had an experience which has changed his self-perception. He no longer sees himself the way he did just minutes before this encounter with Isabelle. Like any revolutionary moment for a human or fictional character, they are to be treated with respect and significance and not treated lightly. Treat this soliloquy with the same intensity and commitment that Angelo does, and you’re well on your way to giving a really effective performance of this speech.

The post Angelo Monologue (Act 2 Scene 2) appeared first on StageMilk.

Valentine has left home and is at the court of the Duke of Milan. Here he meets the beautiful Silvia (the Duke’s daughter), who he has fallen madly in love with. The Duke finds out and is informed of their planned elopement. Furious at the news the Duke banishes Valentine.

In this speech Valentine shares with us his deep love for Silvia and the pain and hurt of being banished. For him to be banished is the same as dying (“a deadly banishment”). The idea of being away from his love is almost unbearable.

This monologue is simple, and delicate, and beautifully vulnerable monologue to work on as an actor. I see this as a completely underrated monologue, and for me it’s one of the best male Shakespeare monologues. There is a beautiful simplicity and authenticity to this monologue and it’s definitely one worth exploring for auditions or performance. 

Running time: approximately 1 minute

Valentine Act 3 Scene 1 Original Text

Valentine:
And why not death, rather than living torment?
To die is to be banished from myself,
And Silvia is myself. Banished from her
Is self from self: a deadly banishment.
What light is light, if Silvia be not seen?
What joy is joy, if Silvia be not by?
Unless it be to think that she is by
And feed upon the shadow of perfection.
Except I be by Silvia in the night,
There is no music in the nightingale.
Unless I look on Silvia in the day,
There is no day for me to look upon.
She is my essence, and I leave to be
If I be not by her fair influence
Fostered, illumined, cherished, kept alive.
I fly not death to fly his deadly doom:
Tarry I here, I but attend on death;
But fly I hence, I fly away from life.

Unfamiliar words:

deadly: deathlike
shadow: illusion
essence: his very being
leave: cease
influence: talking about astrological influence, as in the stars having power over human beings
his: the duke’s or could be death’s
attend on: wait on
from life: from Silvia

The post Valentine Monologue Act 3 Scene 1 (The Two Gentlemen of Verona) appeared first on StageMilk.

Below are two monologues for the fiery, brilliant Beatrice—one of the Bard’s greatest comic characters, female or otherwise—and a piece delivered by her cousin and best friend Hero. Take your time with these pieces, pull them apart and appreciate their language, and enjoy!

Much Ado About Nothing Hero Act 3 Scene 1

Hero, Beatrice’s cousin and best friend, conspires with some friends to help Beatrice fall in love with her tempestuous frenemy, Benedick. In order to fool her quick-witted cousin, Hero resorts to the classic Shakespearean strategy of talking very loudly about things she hopes Beatrice will overhear. In this piece, she is talking to her attendant (servant) Ursula.

N.B.:  This monologue is actually a composite of lines taken from Act 1, Scene 3. While Ursula’s interjections aren’t strictly necessary, it is worth reading the original scene to gain a greater understanding of the context.

HERO:

Now, Ursula, when Beatrice doth come,
My talk to thee must be how Benedick
Is sick in love with Beatrice.

Sees Beatrice coming

Now begin;
For look where Beatrice, like a lapwing, runs
Close by the ground, to hear our conference.
Letting Beatrice overhear the rest:
No, truly, Ursula, she is too disdainful;
I persuaded them, if they loved Benedick,
To wish him wrestle with affection,
And never to let Beatrice know of it.
Nature never framed a woman’s heart
Of prouder stuff than that of Beatrice;
Disdain and scorn ride sparkling in her eyes,
Misprising what they look on, and her wit
Values itself so highly that to her
All matter else seems weak: she cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.
I never yet saw man,
How wise, how noble, young, how rarely featured,
But she would spell him backward.
So turns she every man the wrong side out.
But who dare tell her so? If I should speak,
She would mock me into air; O, she would laugh me
Out of myself, press me to death with wit.
Therefore let Benedick, like cover’d fire,
Consume away in sighs, waste inwardly:
It were a better death than die with mocks.

Much Ado About Nothing Beatrice (Act 3 Scene 1)

The above plan of Hero’s works a treat. This second monologue is the short, impassioned soliloquy in which Beatrice wrestles with her new-found feelings. For the usually-headstrong woman, this speech represents an unusual moment of emotional vulnerability.

BEATRICE:

What fire is in mine ears? Can this be true?
Stand I condemn’d for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.

Much Ado About Nothing Beatrice (Act 4 Scene 1)

Beatrice and Benedick declare their love for each other! You’d think the play would be over, right? Sadly, Beatrice has just watched her dear cousin Hero humiliated at the altar, after her betrothed Claudio was convinced she’d been untrue to him. Having just spoken to Benedick of her feelings towards him, she immediately hits him up for a favour: to murder his friend Claudio as a symbol of his good and just nature.

N.B. As with Hero’s speech, above, this scene is a composite of lines that omit Benedick’s interjections. You may wish to read the original scene for greater context—or even imagine Beatrice is speaking over her true love’s lame attempts to placate her.

BEATRICE:

Kill Claudio! You kill me to deny it. Farewell. I am gone, though I am
here: there is no love in you: nay, I pray you, let me go. In faith, I will go. You
dare easier be friends with me than fight with my enemy. Is Claudio not
approved in the height a villain, that hath slandered, scorned, dishonoured
my kinswoman? O that I were a man! What, bear her in hand until they
come to take hands ; and then, with public accusation, uncovered slander,
unmitigated rancour, – O, God that I were a man! I would eat his heart in the
market-place. Talk with a man out at window! A proper saying! Sweet Hero!
She is wronged, she is slandered, she is undone. Princes and counties!
Surely, a princely testimony, a goodly count, Count Comfect; a sweet
gallant surely! O that I were a man for his sake! Or that I had any friend
would be a man for my sake! But manhood is melted into courtesies, valour
into compliment, and men are only turned into tongue, and trim ones too :
he is now as valiant as Hercules that only tells a lie and swears it. I cannot
be a man with wishing, therefore I will die a woman with grieving.

Conclusion

Much Ado About Nothing is sometimes regarded as a silly play—for some, it’s all in the title, really… However, to dismiss it as nothing more than a farce is to ignore some of the brilliant writing it contains. We hope you enjoy putting these speeches through their paces, and would recommend you check out the best male monologues from the same play.

Good luck!

The post Much Ado About Nothing Female Monologues appeared first on StageMilk.

Although it has this prodigious reputation, no drama school is one fixed thing. LAMDA  is constantly evolving and adapting to the changing industry and, hopefully, this article will help to reveal a little more about the school as it currently stands.

I was fortunate enough to sit down with Vik Sivalingam (Full Interview Below), who is the course leader of the BA program. Most of the information provided here comes straight from Vik and it is incredibly special have these insights to share with you all.

To clarify: this article, and the information provided, is for the flagship three-year Bachelor program. They do have other great courses, including the MFA program (which is a fantastic post-graduate option for artists looking to expand their skills and academic prospects) but this page will be mainly focused on the three-year course. With Vik, I discussed the many changes that are happening at LAMDA, as well as how to give yourself the best shot at getting into this competitive drama school.

So let’s get into it!

Why should you go to LAMDA?

Before we look at how to get into this amazing school, we should ask WHY? One of the things that kept coming up in my discussion with Vik was making sure that LAMDA is a good fit for you. You shouldn’t simply apply because your favourite Marvel Superhero (or the actor who played them) studied there. You need to investigate for yourself whether an intense, three-year program at LAMDA works for you and your goals. To start with:

• Read everything you can on their website.
• Watch interviews and read external information on pages like this.
• See if you can connect with some current students or alumni and get their perspectives.
• Understand the teaching staff, in addition to the methodologies or the ethos of the school.
• Audition and get a sense of how they work in the room.

In my opinion, solid, three-year training is still one of the best ways to get into the acting industry. You build amazing connections, foster a strong peer-support network, develop your skills in a really focused way and come out with the confidence needed to be a professional actor.

For more on should you go to drama school?

Here are some specific positives about LAMDA from my interview with Vik:

First of all, it’s incredibly practical. There is very little academic content, such as writing essays, which has been a problem with many drama schools around the world as universities take over and force courses to be more academic. The course is also incredibly rigorous: you are working with a ton of incredible teachers and getting a lot of contact hours.

Finally, the standard of this school is very high. In my drama school training, I learnt as much from my peers as I did from the teachers. Working with a cohort of some of the best young actors in the country will be hugely motivating, and you will definitely find that at LAMDA.

LAMDA Course details + Common Questions

Before I get into the “how”, I wanted to just touch base with some really common questions that actors have when applying for LAMDA. I hope some of these are helpful.

How long is the course?

The BA program runs for three years full-time.

How many students do they accept?

They accept 30 students from around the world.

Is it practical? (I want to do a more intense training.) 

Yes! LAMDA boasts one of the most practical acting courses out there. If you are looking for a serious, intense, full-time acting training, then this is the right fit for you.

Can you apply to LAMDA as an international student?

Absolutely! This was one of the things I was most surprised by in my interview with Vik. They are very open to international students and, in fact, take a number of international applicants every single year. Given the now-commonplace practice of auditioning for drama school via online submissions, it is now easier than ever to apply from anywhere in the world. The only thing to note is that the fees are higher when you are an international student—although some scholarships/funding may be available upon application.

Is there an age limit?

I asked this question directly of Vik and he had a really interesting answer. There certainly is no official limit but, generally, most actors are between 18-26. You can audition at any age and still get in; but, as he mentioned, if you’re auditioning for the course in your mid-to-late 30s, the question you’ll be asked is “is this the right fit for you”? It’s possible another program like the MFA will make more sense.

How to Get into LAMDA

This is what you came here for, so let’s get into it!

Hopefully by now you are feeling pumped to add LAMDA to your audition list (if you hadn’t already), but here comes the tough bit: you are now up against approximately 2500-5000 applicants. These applicants include many of the best up-and-coming actors from around the world. Pressure on? Well, sort of…

After reading this article, and the subsequent interview, I think you should feel really confident about how to approach your audition.

I work with actors every day helping them prepare for drama school auditions. Here at StageMilk, we have helped hundreds of actors get into the top drama schools around the world. However, instead of just sharing my own tips and tricks, I thought I would do one better in this article and expound some insights directly from the man you will likely be auditioning for!

In our interview, Vik talked about four key factors they use to evaluate an audition:

#1 Authenticity

One of the major things that will help you get into a competitive school like LAMDA is not focusing on the competition. That might sound counter-intuitive, but hear me out. When you think of it as “beating” thousands of actors, it will his lead to you to trying to “get it right” and “be the best”. This competitive attitude pulls you away from your creative, playful and authentic self. Remember, the number one thing they are looking for is authenticity. They want to see you! They want to see your take on your monologue (or in the call-back, your interpretation of the scene). They want to see unique and creative choices, so avoid imitation.

Read the play you are working on again and again and really try to understand the world of your character and the story. Once you have this understanding, make your own character choices, focus on finding “you” within the character (not what you think they will want.)

#2 Curiosity

Of all the clues that Vik gave us in the interview, this one is possibly the hardest to get across in a single monologue (which is what you’ll be showing in your first audition). However, my understanding of this is that they want to work with artists. Artists who are excited and curious about the world of theatre and storytelling.

So the main tip here is to pick a piece that isn’t too well known. Performing an overdone monologue doesn’t tell us anything about you and the artist you want to be. In your preparation for the audition, read tons of plays and explore stories that you resonate with. I think the simple act of picking a unique and interesting monologue will put you ahead of thousands of other actors who jump on Google and just grab the first Oscar-bait monologue that pops up.

Check out our full Monologue Database

#3 Generosity

We didn’t explicitly go into this point in our chat, but I think Vik was talking about two things:

One is the generosity you bring in your work. This means bringing your heart and openness into performance. How engaged are you when listening to your fellow actor? How vulnerable are you with the work? How present are you within your monologue or scene?

Secondly, I think generosity becomes an influential factor in the later auditions (the call-back stages) when you start working with other actors. At this point, you are not in competition: they are looking to see how well you work in a group. So your openness, kindness, and generosity is what will shine through. Remember they are creating an ensemble of 30 actors that will have to work together for three years, your ability to work in a group is paramount.

#4 Play

When Vik said this to me, I had a little internal smile. “Play” is one of my most common acting notes when I am teaching. Especially in the work of young actors, there is a desire to show off one’s skills, to be seen and respected as a “serious actor”. In taking the craft seriously and wanting to do a great job, this can often lead to earnest and overwrought performances, as well as actors getting caught in patterns. What happens when the judging panel stops you, mid-performance, and asks for a totally different objective or interpretation? Be ready to experiment. Do your work, make your preparations, but keep your process open and flexible. Great acting work is playful and spontaneous and we want to see this quality in your first monologue audition.

WATCH the Full Interview with Vik Sivalingam (Course Leader at LAMDA):

Tips for Getting Accepted to LAMDA

The four main areas I’ve outlined above should give you plenty to focus on. However, I wanted to share a few final personal tips and ideas to consider when preparing for your audition. I encourage you to integrate some of these ideas into your preparation over the next few months.

Avoid overdone monologues

I mentioned this above, but it warrants repeating. LAMDA is unique in that the first round is just one monologue. That puts a huge pressure on a single piece of work. Therefore, take the time to find something you really connect with. Vik talked a lot about wanting to find and work with “artists”, and so what you pick—and the message behind it—is crucial.

Practice monologues

Almost every early drama school audition uses MONOLOGUE as the audition tool. Yet very few actors are practising the craft of monologue performance. It is a unique way of performing and, thankfully, one you can get way better at with practice. I would encourage you to practice a number of different monologues before landing on the one you will audition with. Explore different genres, styles and attitudes. If you have a bit of time before your audition, see if you can play around with at least 5-10 monologues just to help you get used to this format. Even if you end up using none of them at all in your final audition, the practice will help you strengthen the preparation of whatever choice you end up making. For more on this subject, we have an amazing resource to help with monologue practice you should look at.

Scene work preparation

I was surprised to hear that at the call-back stage for LAMDA, actors are working on a scene. In most drama schools, you continue to use monologues even in the later stages of auditions. If you haven’t done a lot of plays, or scene work, this will be a challenge. So, once again: make sure you regularly practice scenes so that when you get that all-important call-back you are ready to go. See if you can get together with some actor friends and practice working on scenes, or else join a scene club like ours here at StageMilk!

More on our amazing scene club.

Practice taking direction

In your first audition, it’s all you. You are the director and performer. However, if you are fortunate enough to get a call-back, you need to realise that it is no longer just about the choices you make. The key thing they want to see is how well you can take direction and “play”. This, again, is a skill you can practice. Imagine what direction they might give you and implement those changes in your rehearsal. The worst thing you can do is get your work locked into a pattern.

If you’re uncomfortable with the idea of working with a director—it might be a new skill, or you’ve been traumatised by first-year, film-school tyrants—think of it this way: when you take direction, you’re showing LAMDA the kind of student you will be. Bring opinions to the room, bring ideas and passions … but be ready to learn from and trust your teachers. They’ve got your best interests at heart.

More on taking direction as an actor.

Work on your physicality and voice

Your physical and vocal expression are as important as your acting skills. In fact, in the call-back you will work almost as much on physical and vocal work as you will on scene work. If I was serious about heading to drama school, I would consider working with a professional voice coach and also working regularly on my physicality. That might mean yoga, tai chi, taking a dance class—anything to help you with physical confidence and expression.

(c) Alex Brenner

Graduation and Showcase

One area a lot of young actors are interested in is what happens after the course, and how much a LAMDA degree might help you in the industry.

The first element is the all-important showcase, where agents and casting directors get to see your work. LAMDA offers both public shows and a dedicated industry showcase, which means there are many opportunities to get exposure for your future career. As it’s situated in London, you are immediately connected with the heart of the British industry. This is one benefit over other, less central schools such as Bristol Old Vic or The Royal Conservatoire of Scotland.

After graduating, hopefully you will pick up an agent; from then on the LAMDA name will definitely come in handy throughout your career. This school has a fantastic industry reputation and it certainly looks great on the CV! Here is a little video with some more insights from students:

Conclusion

LAMDA is one of the most well-respected and long-standing drama schools for a reason. It’s a great institution and, although you can never get the full picture sitting on the outside, I think if you are serious about a three-year drama school degree, LAMDA should definitely be on your audition list. It will be tough, and might take a number of years to get in, but if you do you are assured solid training and a great head start in the industry. I wish you all the best, and remember: if you have any questions or need any help, we are always here!

IMAGES: All images provided by LAMDA with their permission. 

The post How to Get Into LAMDA appeared first on StageMilk.