Breaking Down an Audition Script
and the number one way to memorize a scene
In the parlance of the Hollywood “industry”, as well as the theater world as far as I’m aware, the scenes (or parts of scenes) you audition with, are called “sides.” I’ve never questioned why, but according to Reddit, this is because sides typically only contain one characters dialogue and a few stage directions for context. AKA one “side” of the story. In any case, sides are the main focus for any audition or callback.
How do you approach learning sides when very often they don’t give you much information? How can you make your audition stand out when everyone is preparing and presenting the same piece of material?
Below is the process I have used since learning it from Amy Lyndon in Los Angeles. While I don’t remember all the steps, I do remember that her class is the best acting class I’ve ever taken. Which is funny, because she doesn’t call herself an acting teacher. Amy calls herself a “booking coach.”
Amy helps people go from “just another talented actor”, to someone who nails sides and books jobs. She is my top recommendation when people ask who they should take classes with. Go see “the Russian skating coach” of actors, Amy Lyndon.
Now that you know where I’ve learned this from, let’s dig in. You’ve got a scene or two to prepare for a callback. Where do you begin? At the beginning.
1) Read the whole scene through thoroughly first. Sides will often have dialogue crossed out, or note “start” and “end” mid page. Read before and after that start and end note! You need that context. The most important step is figuring out what the heck is going on in the scene. Only once you know that can you fully prepare.
2) Once you have a handle on what the scene is about, write that at the top of the script. Not what your character wants, but what a director needs the scene to convey or what the writer is trying to get across. “A marriage proposal” or “confrontation of bullies”. Something high level. Stay objective, see the 10,000 foot view. Why is this scene in the piece? What is its purpose? Write it at the top.
3) Then you can move into what each character wants out of the scene. Again not just the part you are reading for, what does each and every person who talks in the scene want? “For her to say yes.” “To make them stop beating him up.” Note, this is especially helpful for one line auditions! The scene is (almost) never about the barista. Sorry! If you are auditioning for that part it’s probably just “Hand over the coffee.” That’s it.
4) Pick one line in the scene that encapsulates the message of the whole thing. The thesis statement, as it were. “Will you marry me?” “We’re never gonna leave you alone.” This helps keep the focus on what the scene is about, not getting lost in the sauce of if you can make yourself cry or not
5) Now you can move into more subjective work, but only slightly. Look back over the scene and divide it into three parts. A beginning, middle, and end. Usually the middle is the longest part and the beginning and end are sometimes just a line or two. But it depends on the script. Look for where there are changes in mood, information, or new characters appear. Draw a line all the way across the page denoting section 1, section 2, section 3.
Then assign each section an emotion, whatever your character is feeling. Happy, Worried, Defeated. Scared, Confident, Angry. Having three big lines and labeled emotional cues ensures the scene is going somewhere. There’s a roller coaster ride happening, take people on the journey! (perhaps I should write a whole piece on one note performances and the massive yawns they induce.) Make sure you tell a story!
6) Next, break down each line of dialogue into the subtext of what your character is actually saying. We, as humans, rarely are saying exactly what we mean. “Are you done?” really means, “Can I finish those fries?” Go over your lines and write right next to them what you are really saying.
7) This next step is my NUMBER ONE TIP for memorizing dialogue. Go back to the start again and break down the other character(s) lines as your character hears them. Not the subtext of what they are saying, but as you subjectively hear them. Again, we do this in real life all the time! Someone says “Is that what you are wearing tonight?” and we hear “You look ugly.” Once you know what your character is hearing and what they are really saying, a neat thing will happen. The whole scene should magically make sense! Have you ever read a script and thought “Wow, how am I going to memorize that response to that sentence? It doesn’t make any sense.” Dig deeper. What are you hearing and what are you saying. If you’ve done the work right, no line of dialogue is without context and memorizing becomes a cinch! (I am also a fan of reading a scene 3 times through in row to help memorize. That’s my fall back trick.)
Amy has 8 other steps in her booklet, but I confess I don’t use them often enough to have them front of mind. These 7 are my “go-to’s” for every single audition. I don’t approach any scene or monologue without these steps.
Once a script is covered in my scribbles of notes (and big lines marking transitions points) I know I’m ready. Then I can confidently perform for anyone. I may not book the job, but I know I’m performing the scene as needed for the story to make sense. There’s no more guesswork, no weird backstory needed, no stress over “What do they want to see? What do they need?” I know. It’s in the script.
They need someone to deliver a coffee. Or turn down a marriage proposal. Or confront bullies. I can do that. And with step 7 I can memorize any scene within about ten or fifteen minutes. Or close enough to have my eyes up off the page and engaging with whoever I’m reading with.
These 7 steps are also huge if you find yourself being asked to do the dreaded “cold read”. This is when you’re handed a brand new scene (sometimes even for a different character) and given just a few minutes out in the hall to prepare. Take a breath, grab a pen, and dive in. You’ll have a solid handle on the piece before you know it.
The last thing I do after any audition or callback is take my crumpled sides (hopefully I’ve been re-reading and working on them for a bit) and throw them away! Throwing them out helps me mentally go, “There. I came in, I did my job. You can cast me or not. My work is done.” Then I can go home and (mostly) not stress over whether I booked the role or not.
I’m a nerd for story structure and this approach to sides uses a bit more structure than traditional acting classes. But I love it! These steps anchor the scene in reality, provide objectively what the piece requires, and help the story move forward with a beginning, middle, and end. I used these steps recently to book a great role in a local production and I’m super excited to be back on stage this fall! Break a leg!