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Here are some monologue suggestions for audition preparations. Preparation is the best way to have a stress-less audition.  We want your child's experience to be fun and positive.

**AUDITION SUGGESTIONS: 1 minute MONOLOGUE & 16 bars from a SONG, or the chorus for younger children. Monologue and song of your choice. They are from a website called​. There are many more monologues on the internet and in specialty books, that are not part of movies.  This particular website also has many more, but the ones here were all deemed appropriate for youth auditions.  Feel free to be creative.

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  • Here is a SAG-AFTRA guide to creating an ACTORS RESUME.

  • Here is another guide created by RMCT with tips on creating a CHILDS ACTOR RESUME.

  • Here is a PDF list we've prepared of audition suggestions for younger students, mostly middle school and younger: MONOLOGUES (Valuable Resource for Children's Audition Monologues, many of them with a wide array of dramatic and comedic content for a range of ages, abilities, and character types).

101 Dalmatians
written by John Hughes, from the novel by Dodie Smith

Cruella De Vil: You beasts! But I'm not beaten yet. You've won the battle, but I'm about to win the wardrobe. My spotty puppy coat is in plain sight and leaving tracks. In a moment I'll have what I came for, while all of you will end up as sausage meat, alone on some sad, plastic plate. Dead and medium red. No friends, no family, no pulse. Just slapped between two buns, smothered in onions, with fries on the side. Cruella De Vil has the last laugh!

written by Roger Allers, Ron Clements, Ted Elliott, John Musker, & Terry Rossio

Kudos and much thanks go to Sara for this monologue, it is very much appreciated. It has been edited slightly for this page.

Genie: Aaaaahhhhh! OY! Ten-thousand years will give ya such a crick in the neck! Whoa! Does it feel good to be outta there! (pretends to have a microphone) Nice to be back, ladies and gentlemen. (to Aladdin) Hi, where ya from? What's your name? Aladdin! Hello, Aladdin. Nice to have you on the show. Can we call you 'Al?' Or maybe just 'Din?' Or howbout 'Laddi?' (suddenly is wearing a kilt) Sounds like "Here, boy! C'mon, Laddi!" Do you smoke? Mind if I do? Oh, sorry Cheetah, hope I didn't singe the fur! Hey, Rugman! Haven't seen you in a few millennia! Slap me some tassel! Yo! Yeah! (high-fives carpet) Say, you're a lot smaller than my last master. Either that or I'm gettin' bigger. Look at me from the side, do I look different to you? That's right, you're my master! He can be taught!! What would you wish of me, (as Arnold Schwarzenegger) the ever impressive, (inside a cube) the long contained, (as a ventriloquist with a dummy) often imitated, but never duplicated....he multiplies into about 7 different Genies)...duplicated, duplicated, duplicated, duplicated, duplicated, duplicated, duplicated, duplicated, duplicated.... Genie! Of! The Lamp! (as Ed Sullivan) Right here direct from the lamp, right here for your enjoyment wish fulfillment. Thank youuuuu! (back) You get three wishes to be exact. And ix-nay on the wishing for more wishes. That's it, three. Uno, dos, tres. No substitutions, exchanges or refunds. Master, I don't think you quite realize what you've got here! So why don't you just ruminate, while I illuminate the possibilities!

A Cinderella Story
written by by Leigh Dunlap

Kudos and much thanks go to Jessica Campion for this monologue, it is very much appreciated.

Austin (Chad Michael Murray): Okay, I know you think I'm just some...
Sam: Coward? Phony?
Austin: Okay, just listen.
Sam: No, you listen. You turned out to be exactly who I thought you were. I never pretended to be somebody else. It's been me all along. And it was me who was hurt in front of everybody. Look, I didn't come here to yell at you, okay? I know what it feels like to be afraid to show who you are. I was. But not anymore. And the thing is, I don't care what people think about me... because I believe in myself. And I know that things are gonna be okay. But even though I have no family, and no job, and no money for college... it's you that I feel sorry for. (pause) I know that guy that sent those emails is somewhere inside of you, but, I can't wait for him... because waiting for you is like waiting for rain in this drought. Useless and disappointing.

Austin (Chad Michael Murray): Okay, I know you think I'm just some...
Sam: Coward? Phony?
Austin: Okay, just listen.
Sam: No, you listen. You turned out to be exactly who I thought you were. I never pretended to be somebody else. It's been me all along. And it was me who was hurt in front of everybody. Look, I didn't come here to yell at you, okay? I know what it feels like to be afraid to show who you are. I was. But not anymore. And the thing is, I don't care what people think about me... because I believe in myself. And I know that things are gonna be okay. But even though I have no family, and no job, and no money for college... it's you that I feel sorry for. (pause) I know that guy that sent those emails is somewhere inside of you, but, I can't wait for him... because waiting for you is like waiting for rain in this drought. Useless and disappointing.

written by Melissa Mathison
Elliot: Coke. You see, we drink it. It's a, it's a drink. You know, food. These are toys, these are little men. (showing him Star Wars action figures) This is Greedo, and then this is Hammerhead, see this is Walrus Man, and this is Snaggletooth and this is Lando Calrissian See...and look, they can even have wars. Look at this. (He play-acts with two characters who both shoot and kill each other, making appropriate noises) Look fish. Fish eat the fish food, and the shark (a toy) eats the fish, and nobody eats the shark. See, this is PEZ, candy. See you eat it. You put the candy in here and then when you lift up the head, the candy comes out and you can eat it. You want some? This is a peanut. You eat it, but you can't eat this one, 'cause this is fake. This is money. You see. You put the money in the peanut. You see? It's a bank. See? And then, this is a car. This is what we get around in. You see? Car. (E.T. takes the car and child-like puts it in his mouth to eat it.) Hey, hey wait a second. No. You don't eat 'em. Are you hungry? I'm hungry. Stay. Stay. I'll be right here. Okay? I'll be right here.

And just for of the saddest moments in film history


(Michael's friends, Mary, Keys, Michael and Gertie watch as Elliott bids his friend goodbye.)
Elliot: Stay.
(E.T. touches his heart--which fills his entire chest)
(Elliott repeats the gesture)
Elliot: Ouch...
(They embrace.)
(E.T. touches his finger lightly to Elliott's forehead...his fingertip glows)

E.T.: I'll be right here.
Finding Nemo
written by

Dory: No. No, you can't. ...STOP! Please don't go away. Please? No one's ever stuck with me for so long before. And if you leave...if you leave... I just, I remember things better with you! I do, look! P. Sherman, forty-two...forty-two... I remember it, I do. It's there, I know it is, because when I look at you, I can feel it. And...and I look at you, and I...and I'm home! Please...I don't want that to go away. I don't want to forget.
Marlin: I'm sorry, Dory. But

Kudos and much thanks go to Adelaide for this monologue, it is very much appreciated."Finding Nemo" was dedicated to the memory of Glenn McQueen (1960-2002), Pixar's supervising animator on "Toy Story 2", "A Bug's Life" and "Monsters Inc." Glenn McQueen was my next door neighbor for a short period of time during my teenage years in California. He was a prince of a man, a gracious and funny individual. The planet is much less because of his passing.

Muppet Movie
written by Jerry Juhl & Jack Burns

(Editors Note: this second monologue has been edited slightly for the sake of the monologue integrity. Thank you.)

Kermit: I didn't promise anybody anything. What do I know about Hollywood anyway? Just the dreams I got from sitting through too many double-features. (his own voice speaks to him) Then why did you leave the swamp in the first place? 'Cause some agent fella said I had talent. Hm. He probably says that to everybody. On the other hand, if you hadn't left the swamp, you'd be feeling pretty miserable anyhow. Yeah, but then it would just be me feelin' miserable. Now I got a lady pig, and a bear and a chicken, a dog, a thing -- whatever Gonzo is. He's a little like a turkey. Yeah, a little like a turkey. But not much. No, I guess not. (literally talking to a second-himself now) Anyhow, I brought 'em all out here into the middle of nowhere. It's all my fault. Still...whether you promised them something or not, you gotta remember they wanted to come. But that's because they believed in me. No, they believed in the dream. Well, so do I, but-- You do? Yeah! Of course I do. Well then? Well, then...I guess I was wrong when I said I never promised anyone. I promised me.

(An homage to "High Noon," Kermit walks onto main street with boots, spurs and a cowboy hat)
Kermit: All right, Hopper.
Doc Hopper: All right, frog. One last chance. You can do my TV commercials live or stuffed.
(Guns are cocked)
 Hopper, what's the matter with you? You gotta be crazy chasin' me halfway across the country. Why are you doin' this to me?
Doc Hopper: 'Cause all my life I wanted to own a thousand frog-leg restaurants, and you're the key, greenie.
Kermit: Yeah, well, I've got a dream too. But it's about singing and dancing and making people happy. That's the kind of dream that gets better the more people you share it with. And, well, I've found a whole bunch of friends who have the same dream. And, well, it kind of makes us like a family. You have anyone like that, Hopper? I mean, once you get all those restaurants, who are you gonna share it with? Who are your friends, Doc? Those guys? ...I don't think you're a bad man, Doc. And I think if you look in your heart, you'll find you really want to let me and my friends go to follow our dream. But if that's not the kind of man you are and if what I'm saying doesn't make any sense to you, well, then, go ahead and kill me.
Doc Hopper: (sighs, removes his hat) Alright, boys. Kill him.
(The gunmen advance as Kermit and the others gasp in terror - but then a gigantic Animal breaks through the roof of Bunsen Honeydew's lab and scares them all away)

written by Brad Bird, Jim Capobianco, Emily Cook, Kathy Greenberg, and Jan Pinkava

Credit and many thanks to William for this monologue, it is very much appreciated.

Anton Ego: In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: Anyone can cook. But I realize that only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

School of Rock
written by Mike White

Kudos and much thanks go to Ellen for this monologue, it is very much appreciated.

Dewey Finn: You want me to teach you something? What? You want to learn something? Alright, here's a useful lesson: Give up! Just quit! Because in this life you can't win. Yeah, you can try, but in the end your just gonna loose, BIG TIME! Because the world is run by the man!
Frankie (Angelo Massagli): Who?
Dewey: The man. Oh, you don't know the man? The man's everywhere: in the White House, down the hall, Miss Mullins; she's the man! And the man ruined the ozone, and he's burning down the Amazon and he kidnapped Shamu and put her in a chlorine tank! Okay! And there used to be a way to stick it to the man, it was called rock 'n roll. But guess what? Oh no! The man had to ruin that too with a little thing called MTV! So don't waste your time trying to make anything cool or pure or awesome 'cause the man's just gonna call you a fat washed up loser and crush your soul. So do yourself a favor and just give up!

Willy Wonka
(Charlie & The Chocolate Factory)
written by Roald Dahl

Kudos and much thanks go to SethMMay for the donation of this monologue, it is very much appreciated.

Slugworth: I congratulate you, little boy. Well done. You found the fifth Golden Ticket. May I introduce myself. Arthur Slugworth, President of Slugworth Chocolates, Incorporated. Now listen carefully because I'm going to make you very rich indeed. Mr. Wonka is at this moment working on a fantastic invention: the Everlasting Gobstopper. If he succeeds, he'll ruin me. So all I want you to do is to get hold of just one Everlasting Gobstopper and bring it to me so that I can find the secret formula. Your reward will be ten thousand of these. (he flips through a stack of money) Think it over, will you. A new house for your family, and good food and comfort for the rest of their lives. And don't forget the name: Everlasting Gobstopper.

Freaky Friday
written by Heather Hach and Leslie Dixon, from the novel by Mary Rodgers

Kudos and much thanks go to Amber for this monologue, it is very much appreciated. These monologues may differ from what is in the final film (i.e., there may be lines from other characters cut out.)

Anna (as her mother Tess): You read her diaries? Oh, that's gross! That’s bad. "Bad Mom" award. Nothing is going on between her and this guy. Because if there was, she wouldn't be writing about it in her diary, she'd be out there doing it. And her best friend probably isn't talking to her because she probably likes this guy, too. And he probably even flirted with her a little bit, but he secretly likes your daughter. He just hasn't made his move yet because that wouldn't be cool. So now her best friend is acting like some psycho freak. Okay?


Anna (as Tess): Well, of course we’re tired because of our demanding and hectic ... Do you want to know why adults are so tired all the time? Because they spend their time obsessing about these stupid, lame things they don't really have to do. Like cooking. I mean, have you never heard of takeout? And cleaning? Let's don’t and say we did! And quality time with your kids? You know what? Quit bugging 'em! Leave 'em alone! They like it!
Dottie Robertson: I-I-I don’t remember reading any of this in your book.
Anna: Hello? It's called reading between the lines! Try listening to the Yeah Yeah Yeahs, The Vines, The Breeders. And if you're excited about something, why do you have to hold it in all the time? You know, just scream about it! Okay, do this with me, all right? Let's just say this cute guy asks you out. What are you gonna do? Whoo! Come on, that was pathetic!! You know, you keep all that bottled up, no wonder you're getting old! I'm serious, this guy is hot! What are you gonna do? Whooo!


Anna (as Tess): Uh, hi. Um, I, I guess I'm gonna start the toasts. So, three years ago, we had a really bad thing happen in our family. We lost a father and a husband, and I didn't think we'd ever be able to get over it. But then... this guy next to me came into the picture. And everybody could see I was happy again. I was singing in the shower again. Not well, I might add. But I was still really worried about my kids, Anna and Harry. Whether they'd be able to accept a new man in their life. And now I know how Anna feels. And, and what she feels is one could ever take the place of her dad...because he was a really, really great dad. But somebody could be part of a new family. Its own kind of cool, new, little unit. And that for someone as special as Ryan, that we would all just make a little room. Anna really wanted her mom to know that.

Pirates of the Caribbean
written by Ted Elliott & Terry Rossio, screen story by Ted Elliott, Terry Rossio, Stuart Beattie, and Jay Wolpert

Kudos and much thanks go to Genine for this monologue, it is very much appreciated.

Jack Sparrow: The only rules that really matter are these: what a man can do and what a man can't do. For instance, you can accept the fact that your father was a pirate and a good man or you can't. But pirate is in your blood, boy, so you'll have to square with that someday. And me, for example, I can let you drown, but I can't bring this ship into Tortuga all by me onesies, savvy? So, can you sail under the command of a pirate, or can you not?

Princess Diaries
written by Gina Wendkos, from the novel by Meg Cabot

Kudos and much thanks go to Sarah for this monologue, it is very much appreciated.

Mia: Hi, um... hello. I'm Mia. Um, it's stopped raining! I'm really no good at speech-making. Normally I get so nervous that I faint or run away, or sometimes I even get sick. But you really didn't need to know that... But I'm not so afraid anymore. See, my father helped me. Earlier this evening had every intention of giving up my claim to the throne. And my mother 0helped me, by telling me it was ok, and by supporting me like she has for my entire life. But then I wondered how I'd feel after abdicating my role as Princess of Genovia. Would I feel relieved, or would I feel sad? And then I realized how many stupid times a day I use the word 'I.' And probably all I ever do is think about myself. And how lame is that when there's like seven billion other people out there on the planet, and... sorry, I'm going too fast. But then I thought, if I cared about the other seven billion out there, instead of just me, that's probably a much better use of my time.
See, if i were Princess of Genovia, then my thoughts and the thoughts of people smarter than me would be much better heard, and just maybe those thoughts could be turned into actions. So this morning when I woke up, I was Mia Thermopolis. But now I choose to be forevermore, Amelia Mignonette Thermopolis Renaldi, Princess of Genovia.

Robin Hood
written by Norman Reilly Raine & Seton I. Miller

Kudos and much thanks go to Amber for this monologue, it is very much appreciated. These monologues may differ from what is in the final film (i.e., there may be lines from other characters cut out.)

Robin Hood: I've called you here as freeborn Englishmen, loyal to our king. While he reigned over us, we lived in peace. But since Prince John has seized the regency, Guy of Gisbourne and the rest of his traitors have murdered and pillaged. You've all suffered from their cruelty - the ear loppings, the beatings, the blindings with hot irons, the burning of our farms and homes, the mistreatment of our women. It's time to put an end to this! (cheers from the assembled company) Now, this forest is wide. It can shelter and clothe and feed a band of good, determined men - good swordsmen, good archers, good fighters. Men, if you're willing to fight for our people, I want you! Are you with me? (an unanimous yes then the swearing in of the rebels:) That you, the freemen of this forest, swear to despoil the rich only to give to the poor, to shelter the old and the helpless, to protect all women rich or poor, Norman or Saxon. Swear to fight for a free England. To protect her loyally until the return of our King and sovereign Richard the Lion Heart. And swear to fight to the death against our oppressors!

written by Mario Puzo, David Newman, Leslie Newman, and Robert Benton, from comic created by Jerry Siegel & Joe Shuster

Kudos and much thanks go to JettSwan for the donation of this monologue, it is very very much appreciated. 

Lois: Can you read my mind? Do you know what it is you do to me. I don't know who you are. Just a friend from another star. Here I am like a kid out of school. Holding hands with a god. I'm a fool. Will you look at me, quivering, like a little girl, shivering. You can see right through me. Can you read my mind? Can you picture the things I am thinking of. Wondering why you are. All the wonderful things you are? You can fly. You belong to the sky. You and I can belong to each other. If you need a friend, I'm the one to fly to. If you need to be loved, here I am. Read my mind.

To Kill a Mockingbird
written by Horton Foote, from the novel by Harper Lee

Kudos and much thanks go to Tracy for the donation of this monologue, it is very much appreciated.

Atticus Finch: Gentlemen, I shall be brief, but I would like to use my remaining time with you to remind you that the case of Mayella Ewell vs. Tom Robinson is not a difficult one. To begin with, this case should have never come to trial. The state of Alabama has not produced one iota of medical evidence that shows that the crime Tom Robinson is charged with ever took place. This case is as simple as black and white. It requires no minute sifting of complicated facts, but it does require you to be sure beyond all reasonable doubt as to the guilt of the defendant.
Miss Ewell did something that in our society is unspeakable: she is white, and she tempted a Negro. The defendant is not guilty, but someone in this courtroom is. I have nothing but pity in my heart for the chief witness for the state, but my pity does not extend so far as to her putting a man's life at stake. She knew full well the enormity of her offense, but because her desires were stronger than the code she was breaking, she persisted. The state of Alabama has relied solely upon the testimony of two witnesses who's evidence has not only been called into serious question, but has been flatly contradicted by the defendant.
I need not remind you of their appearance and conduct on the stand. They have presented themselves in the cynical confidence that their testimony would not be doubted. They were confident that you, the jury, would go along with the evil assumption that all Negro's lie, and are immoral. Mr. Robinson is accused of rape, when it was she who made the advances on him. He put his word against two white people's, and now he is on trial for no apparent reason- except that he is black.
Thomas Jefferson once said that all men are created equal, a phrase that the government is fond of hurling at us. There is a tendency in this year of grace, 1935, for certain people to use that phrase out of context, to satisfy all conditions. We know that all men are not created equal in the sense that some people would have us believe. Some people are smarter than others, some people have more opportunity because they are born with it, some men have more money than others, and some people are more gifted than others.
But there is one way in this country in which all men are created equal. An institution that makes a pauper the equal of a Rockefeller, the ignorant man the equal of any president, and the stupid man the equal of Einstein. That institution is the court. But a court is only as sound as its jury, and the jury is only as sound as the men who make it up.
I am confident that you gentlemen will review without passion the evidence you have heard, come to a decision, and restore the defendant to his family. In the name of God, do your duty. In the name of God, gentlemen, believe Tom Robinson.

Waiting for Guffman
written by Christopher Guest & Eugene Levy

Kudos and much thanks go to Mikko for the donation of this monologue, it is very much appreciated. 

Corky St Clair: I'm feeling good, about where we stand not with our cast, I think that the Elements--as Dr. Watson said to Sherlock--are coming together sir. I'm very excited about Ron and Sheila: the old standbys, the workhorses, I call them the Lunts of Blaine. Alan Pearl: interesting, how do these people? Where do they come from? Y'know, sure, I'd seen him around. It would have never occurred to me to walk up to the dentist and say, y'know are you interested in this? But I was shopping for my wife Bonnie. I buy most of her clothes and Mrs. Pearl was in the same shop and it just was an accident and we started talking about pantyhose and she was saying, whatever that's not the point of the story but what the point is was that through this accidental meeting its like, y'know, it's like a Hitchcock movie and you're like thrown into a rubber bag and put into a trunk of a car. You find people, you find them. Something. Is it karma-maybe. But we found him, that's the important thing. And I got Bonnie a fabulous pantsuit.

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