Spotlight Prize: Preparation, Performance and Selecting a Monologue

Catching up with Spotlight Prize participants from over the years

The Spotlight Prize is almost upon us. This year we took the time to catch up with some of our previous participants and winners to get their insight into the best ways to pick and prepare for a monologue, perform at your best, and make the most of the networking opportunities of a showcase. 

Rosalind Eleazar

Winner 2015, LAMDA

At the end of the day, if you have a relationship with your piece that is going to transcend more than picking a piece because you think it might do well. You never know what they’re looking for, that’s what I’ve started to realise. Be flexible enough to change in the room but don’t try and second guess yourself with whatever it is you think they might want. You can just lose your way a bit.

What was your experience of preparing and performing? Did you have help picking a piece?

Preparation wise, I remember going round the houses – I literally went in and out, back and forth, until it was the deadline, trying to pick a piece. It was one of my friends who said, “Have you thought of this one?” I thought, “Oh god I can’t do a Doll’s House! It’s too old, etc.” But actually, I really connected with it, and why not do something that might seem a bit obvious as long as it speaks to you in a way. I was also worried about the fact that it was a drama piece, and sometimes those events are more inclined to prefer comedy. Two minutes can be easier when it’s light. Mine was super heavy!

I think it’s just what you feel is right for you – if comedy is right for you, then great. If a piece of drama is right for you, great too. In terms of preparation, I knew the play, and I think with the type of environment you’re in – having only a 2-minute monologue – you do have to take it out of context as well. We had a great director, and when we had rehearsals with him he reminded us to take in our full audience, at the sides. Having someone that doesn’t know you, rehearsing with them with your piece, is actually very, very useful.

What’s your memory of actually performing on the night?

It was a lovely room – the atmosphere was great, but it was nerve-racking. I think drama school can sometimes be a bit of a bubble and when you’re presented with the actual industry it can sometimes feel slightly daunting. That was really the first time I and a lot of the other people had been in front of a bunch of casting directors, and other actors that we admire, other directors – a whole bunch of people who are part of this industry – it was such a welcoming atmosphere. Which made the entire experience a lot more enjoyable. All the nominees from that year have done really well, we were very supportive of each other.

What did you make of the chance to network?

There have definitely been casting directors that have said, “Oh, I saw you at the Spotlight Prize!” Especially because you film it and it’s on the website, so even those who didn’t make it are seen – in my case [casting directors] could click on it, and see my performance, which was helpful, because to know someone has seen some of your work beforehand is a really good thing. It’s not always the case, especially when you’re just starting out. Of course, the prizes help. But I do think that the fact that the audience was filled with a lot of people who are in the industry was priceless.

Since winning the Spotlight Prize and graduating, what have been the highlights for you so far?

I’ve been super lucky. When we were sitting in the read through of National Treasure, I was in the seat next to Julie Walters – wow! That was amazing. She was this lovely woman, so interested in my life and a lovely human being.

Subsequently I’ve been really lucky with the directors that I’ve had and the pieces that I’ve done – for example, Zadie Smith’s NW is one of my favourite books, and to be a part of that TV film is just… you don’t even imagine! It’s a special moment. I’ve just finished Howards End and Rellik  – I can’t really separate any of the jobs. They’ve all been wonderful casts. You learn so much from watching these people on set.

There are some directors who love a long rehearsal period, then one or two takes. Others like to shoot the rehearsal – just learning to be flexible in that environment. It’s so much fun, to get to know these people on set and your character. It’s been great.

Do you have any advice for those preparing for a showcase, including the Spotlight Prize?

As cliché and as basic and obvious as this sounds: do what you feel comfortable with and what you sort of think represents you as an actor, where you are now. Obviously in 5 or 10 years you’re going to change, but it’s where you are at that moment – what feels natural to you and a piece that you care about, that you’re connected to. Rather than potentially over thinking and thinking, “Oh, they’ll probably like this, because...” At the end of the day, if you have a relationship with your piece that is going to transcend more than picking a piece because you think it might do well. You never know what they’re looking for, that’s what I’ve started to realise. Be flexible enough to change in the room but don’t try and second guess yourself with whatever it is you think they might want. You can just lose your way a bit.

What about wider advice to graduates in general?

Try to see the industry and the people in it as one group. Especially when you’re new, casting directors, other directors, they all seem so far above you – and they are exceptionally important, but that can’t be at the expense of you not bringing your personality to the conversation. I think the majority of casting directors and directors are really lovely and just want you to do a good job. Just to be at ease when you walk into the room and know that you are giving something of yourself, it might not be right, but don’t take it too personally. I guess that’s something people learn all throughout their careers. And just, good luck!

Jacob Fortune-Lloyd

Participant 2014, Guildhall School of Music & Drama

Whether it’s going great immediately or not, don’t panic. Constantly question what it is you want to do – you might not get the choice, you might just do what comes your way… It can feel like a very powerless industry when you’re waiting for the phone to ring, and it isn’t your agent. I think it’s important to still go out and make your own work. As a graduate, it really is a long game.

What was your experience of preparing and performing? How did you choose your piece?

I think preparing was quite a solitary thing. At Guildhall, one of the projects we did was to write and act in your own one man/woman play. So, I had had experience of doing my own work but most of what you do in drama school is with other people. I don’t think I got any help from staff particularly - maybe I could have called on them more. I remember sending off a video to Spotlight for feedback, but it didn’t end up being the speech I did in the end anyway.

I find it very difficult to pick a speech – I asked teachers and didn’t really like their suggestions either! I always struggle to pick monologues, and I actually think I chose very badly - they actually told me I chose badly! I chose something that was very unusual for me – something I would never be cast in, it wasn’t in my own accent. They did say to me that I should have chosen something that was a bit closer to me. I don’t know why – maybe I was in a weird frame of mind at the time – or feeling rebellious, I don’t know. I couldn’t find anything that I found very representative of me at the time.

I chose it because I thought it would be fun and a challenge, but I probably should have been thinking more career-wise what would have been more representative of me. The people who did best did that. It made people laugh on the night and was very well written, but I don’t think anyone thought I should have done it.

Do you have a particular method for preparing for a showcase?

Saying it a lot. Around the house, while you’re doing something else, walking around, so that it becomes second nature. The monologue I did was quite fast-paced and contained a conversation between two people, so I had to play two people. So, it was doing it out loud, practicing it in my house. I’m really unstructured when I prepare, I do it when I feel like it. I don’t really go to rehearsal rooms… it’s just a question of having it on my mind a lot and going over and over it again, trying different stuff.

What did you make of the chance to network?

I’m not very good at networking, so whether it was a good opportunity or not, I don’t know! My agent came and introduced me to people. I think it would be much more difficult without an agent to help you, unless you happen to be very natural at networking. If you’ve done a really good job and people want to talk to you, it’s much easier. It’s a big room, you don’t know who anyone is. So, I suppose it was good for me, but I had my agent to help me.

Since participating in the Spotlight Prize and graduating, what have been the highlights for you so far?

The first job I did was an amazing job and I wasn’t really ready for it – Wolf Hall, the TV show. I got to work with Mark Rylance and it was just so mental. I didn’t really know what I was doing! RSC was the first big theatre job, and actually my favourite place to perform was at the Globe last year. They’ve all taught me a lot.

Do you have any advice to graduates preparing to start their careers?

I would certainly say that some people are just good at choosing things for themselves, but if you’re not…! The person who won in my year had had a friend write his monologue for him. He couldn’t find something that expressed him so it was written just for him. It suited him. So, just do what you think suits you, even if it’s a bit left-field. You can be adventurous, but make sure it suits you. It is just so clear on the night which one is a great choice, which is a bad choice. Ask your teachers, ask your friends.

At any point, you will have a time when you have to rely on yourself a bit more. Whether you sign immediately and do something really great, or you don’t sign. That’s as important as it all happening for you straight away. You have to reassess and know what you want to do.

Whether it’s going great immediately or not, don’t panic. Constantly question what it is you want to do – you might not get the choice, you might just do what comes your way. But you can turn things down, as I did, actually. It can feel like a very powerless industry when you’re waiting for the phone to ring, and it isn’t your agent. I think it’s important to still go out and make your own work. As a graduate, it really is a long game.

Molly Vevers

Highly Commended 2012, Royal Conservatoire of Scotland

I actually had a different monologue chosen but it was very not like me, I picked it out of left field and just though I’d give it a try, and I remember not feeling comfortable. Then the piece I ended up doing I found really fun and funny, and I enjoyed doing it. I think especially when something is as nerve wracking as the Spotlight Prize, something like that really helps. Something that you can find something yourself in!

What was your experience of preparing and performing? How did you choose your piece?

I remember the actual night being really terrifying, mainly because of knowing who was in the room. There were so many important industry people there and I think it was probably the most nervous I had been up until that point, just waiting in the wings to go on. We’d done the rehearsal that day where we’d watched everyone’s pieces and I just remember thinking I hadn’t prepared enough. Everyone was so good...

But actually, once I got up on the stage, the audience was so warm and I was doing a kind of comedy piece, and it was really really fun! It was a really nice reception from them.

What did you make of the chance to network?

I remember on the night talking to quite a lot of people but I did already have a place to be the graduate actor at the Dundee Rep in Scotland. I had that year of work lined up, but saying that, I did still stay in contact with a few people from that night who even now remember me from the prize. You do get the chance to mingle. I met a lot of casting directors etc. I have been to a few auditions where directors have said, “Oh, I remember you from the Spotlight Prize!” which is great. I think it is a really great first meeting point with the industry and somewhere that you do meet and remember people from.

It was also a huge confidence boost at the time. Not only to be selected by my drama school, but to go on and do it and get a really good response and come Highly Commended. It’s a really scary time when you’re at the end of your third year – you don’t know what’s coming next. You don’t quite know what sort of actor you’re going to be, what sort of career you’re going to have. You’ve got loads of questions, so something like the Spotlight Prize does give you a bit of confidence, which is really nice.

Recently, you were performing in London a show you originally performed at the Edinburgh Fringe. How did this come about and what advice would you give to others considering performing at the Fringe?

It came about because I’d done a play at Theatre 503, the producer of Ross & Rachel had seen. They asked me to audition for this one woman show and I went along. I’d never been to the Edinburgh festival which is quite strange because I’m from just near North Berwick. I’d been as a punter but not as a performer. It was great doing it in Edinburgh because loads of family and friends were able to see it. It was kind of a test of stamina as a performer – especially when you’re doing a solo show. At the Fringe, we only had one day off in the whole month. It’s a 55-minute piece but very emotionally and mentally exhausting.

So, it is testing but it is also a hub of loads of creative people, with really exciting new work – there is also such a buzz about the place at the time. Practically speaking, getting through doing a show every day for a month, you just have to pace yourself. Be professional and take care of yourself, basically.

Do you have any advice to students preparing for showcases?

I suppose I would say just take your time choosing your piece and have something you really enjoy performing and can find something in. I actually had a different monologue chosen but it was very not like me, I picked it out of left field and just though I’d give it a try, and I remember not feeling comfortable. Then the piece I ended up doing I found really fun and funny, and I enjoyed doing it. I think especially when something is as nerve-racking as the Spotlight Prize, something like that really helps. Something that you can find something of yourself in!

This year's Spotlight Prize will take place on the 11th July.