How to Prepare for Drama School Auditions: A 12-Week Plan That Actually Works

Weeks 1–2: Research schools and assess where you're starting

Begin by finding out which courses you genuinely want to apply for. Look at the training and audition procedures, not just the reputation of the name.

Read the official application guidance and make a simple table of deadlines, required speeches, self-tapes, interview stages and fees. Different courses can ask for different things.

Then record yourself performing a piece you already know. Don't spend ages trying to make it impressive. It's a starting point you can look back on later.

Watch it honestly. Do you seem comfortable on camera? Do you know who you're speaking to? Is classical text something you want more help with?

The aim is to identify what you should actually spend time practising.

By the end of week two: have a shortlist of courses, a requirements tracker and one honest baseline recording.

Weeks 3–4: Choose your audition material

Read several plays before settling on your monologues.

Look for pieces that fit the individual schools' rules, make sense for your casting and give you different kinds of work to do.

The temptation is to choose a speech that sounds impressive or that somebody online insists always works. Resist it. A simpler speech that you understand can be far more revealing than a famous piece you don't connect with.

Once you've shortlisted your material, read each complete play and research what's happening immediately before and after your chosen section.

Start learning the words without getting stuck on one delivery. Your initial decisions should remain flexible.

We've written a separate guide to choosing contrasting drama-school monologues if you're unsure where to begin.

By the end of week four: aim to have suitable working material and a good understanding of the plays.

Weeks 5–6: Explore objectives and take direction

Now it's time to work properly on the text.

What does your character want from the person they're speaking to? What tactics do they use? What changes during the speech?

Try performing the same piece with different objectives. One day, play the scene as though you're trying to reassure somebody. Another day, try persuading them. On another, imagine you're hiding something important.

Not every choice will work, and that's the point. You're learning to explore rather than defend one interpretation.

If you're attending a class or working with a tutor, ask them to redirect you immediately after a run. Practise listening carefully, taking a moment and trying again.

This is also a good time to work with other actors so your performance isn't entirely based on rehearsing alone in your bedroom.

By the end of week six: you should know your speeches well enough to explore several convincing choices.

Weeks 7–8: Get comfortable with self-tapes

You should now be able to start filming your material regularly.

Use your phone to begin with. Find a quiet room, check the framing and make sure the sound is clear. Work with a reader if the material requires one.

Film the full piece rather than stopping whenever you make a small mistake.

Watch it back and ask whether you're speaking to someone or performing at the lens. Are your reactions genuine? Are you stuck repeating one version? Can you make a different choice and stay present?

Read our practical self-tape guide for technical tips. If you'd prefer filming support and direction, ReAct STUDIOS can help.

By the end of week eight: have completed several recordings, spotted common habits and become more comfortable seeing yourself on camera.

Weeks 9–10: Interviews, workshops and working in a room

Depending on the schools you apply to and the audition stage, you may encounter interviews, group work or further tasks.

Practise answering questions without memorising a polished speech.

Why do you want to become an actor? What work have you seen recently? Why does this particular course appeal to you? What interests you outside acting?

Give your own answers. Then ask somebody to follow up with a question you haven't prepared for.

Continue working on redirection. Get used to being interrupted, changing the circumstances of a monologue and experimenting in front of other people.

If nerves are an issue, repeat a small mock-audition routine: enter a room, introduce yourself, perform and receive a note. The process becomes less unfamiliar each time.

By the end of week ten: aim to feel more comfortable talking about your interests and responding to something unexpected.

Weeks 11–12: Mock auditions and final checks

Put it all together.

Have someone act as the audition panel. Enter, introduce yourself, perform, take a note and respond to questions. If the school wants a self-tape, reproduce the exact format as closely as possible.

Don't try to remove every trace of nerves. The aim is to learn how to keep working despite them.

Also check the administration: have you submitted the application? Are your files named correctly? Is the video playable? Have you respected the time limits? Do you know what to bring to an in-person audition?

Most importantly, do not wait until week twelve to deal with an earlier deadline. This plan is a way to organise your practice; the official school's timetable always comes first.

By the end of week twelve: you should be familiar with the process and ready to submit the work you've prepared.

What if I've only got two weeks?

Don't panic, but be realistic.

Check the non-negotiable requirements first. Make sure your monologues are suitable and that you understand the full plays. If possible, get focused feedback from an experienced tutor.

Practise clear objectives and at least a couple of alternative choices. Film a technical test and make sure your upload process works.

Avoid spending all your remaining time looking for a better speech if the material you already have is suitable. At some point you have to commit and work with what you've chosen.

Is a weekly acting class worth it while preparing?

We certainly think so, particularly if you're currently rehearsing alone.

A class gives you regular practice performing in front of people, taking feedback, adapting quickly and learning from other actors. It also makes the process more enjoyable. Getting into drama school is a serious ambition, but preparing doesn't need to feel miserable.

At ReAct, we run weekly drama-school audition preparation in Islington with working-actor tutors, regular 1-to-1 mentoring and access to self-tape equipment.

We want you to become a confident, capable actor, not somebody who's simply learnt to deliver two speeches.

Come and have a go

We're a small team and we're keen to show people the standard of training we're trying to build.

If you're serious about drama school, come and try a Wednesday session. Meet the tutors, work on your acting and see whether the class is right for you.

We can't guarantee an offer from a drama school, but we'll do everything we reasonably can to make the training useful and give you clear, individual feedback.

See the weekly ReAct drama-school class and express your interest.

For a bigger picture of the whole application journey, see how to get into drama school in the UK.