Hey there, actors in industry.

welcome back to casting actor's cast,

the podcast that helps you navigate the

wild world of show business with

insight humor.

And I have to say a little tough love

when necessary.

I'm Geoffrey driesback, your host,

casting director, with mcorcal casting

in New York.

Welcome to casting actors cast.

And today we're talking about something

every actor needs to hear at some point.

It's time for new material.

That's right?

Some of you have been performing the

same monologue for years, and I see you.

So how do you know when it's time to

retire that old overworked piece?

Well, let's dive in and talk about the

signs and the problems and the most

important thing,

how fresh material can revitalize your

creativity,

casting appeal and overall performance.

Game.

Ready.

Let's do this.

This is casting actor's cast.

Well, hello, and welcome to today's

episode of casting actors cast.

Again.

I'm Geoffrey dries back with mccorkal

casting in New York.

How are you hope you're doing well?

Looking forward to sharing this about

getting new material, when to retire

that old monologue?

We're going to give you some very

specific tips and some hints.

And some suggestions that I think could

make a difference in your auditioning

with the material.

That is new,

that is interesting, that is fun to

watch.

But first, this is that moment of the

podcast where I get to say, thank you

for tuning into casting actors.

Gas, hey, have you haven't done so

already?

I can't express to you enough how

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That's taking place on may third, six p

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So you can sign up for it as well.

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So there's a lot going on.

And thank you for giving me the time to

be able to share that let's dive into

the subject.

Now, shall you?

We shall?

We shall we.

Let's talk about this.

You know, it's time for new material.

When

your monologue is older than your head

shot.

You know,

it's time for new material.

When if you've had three different

hairstyles since you picked up this

monologue, guess what it's time to move

on.

Here's one, you know, it's time for a

new monologue.

If you're still performing the same

piece you use to get into college years

ago, guess what

it's time for something new.

You know it's time for a new monologue.

When casting directors finish your

lines before you do.

For example, a casting director here's

the first line of your monologue, and

then size, because they've heard it 100

times before.

That's a problem.

Overused material

doesn't make you stand out.

It makes you

sorry.

It makes you forgetable.

You know, you know, you're due for new

material when you've lost connection

with it.

Ever go on autopilot during your

monologue,

you're saying the words, but then

there's no life behind them.

Yeah,

that's a sign.

Here's one.

If you've performed it so many times

that you're just going through the

motions, it's no longer serving.

You

know, it's time for a new monologue.

When it doesn't fit who you are.

Now,

actors grow, they change, they evolve.

A monologue

that suited you five years ago might

not reflect your casting

brand or abilities today.

If the monologue doesn't align with

your current strengths,

it's limiting your opportunities,

instead of expanding them.

Think about this,

it's a problem.

If you're just using that monologue

because it's safe.

Let's be honest.

Sometimes we stick with old material

because it's comfortable,

it's easy.

It doesn't challenge us.

But playing it safe

won't

get you cast,

taking risks

and showing your versatility.

Will

you know it's time for a new monologue.

When you have a sinking feeling when

you say, i'll be doing this monologue from

Phil in the blank

you know, that feeling that says, oh,

hey, I'm just going to do this monologue.

This is the one I know.

If you feel even a little bit

embarrassed about how long you've been

using the same piece,

guess what

that's your answer?

So let's talk about why sticking with

old material can really hurt you.

And it can because it makes you look

lazy.

Sorry, with all due respect, I'm not

saying you are lazy, but that's what it

makes you look like

if you haven't updated your material in

years.

It signals casting that you might not

be evolving

as an actor.

Also, it doesn't contribute to your

castability.

Monologue should reflect the roles that

you realistically

could and should be cast in to day, not

what you wished for five years ago.

Also

it's self defeating,

using outdated material that no longer

excites.

You can actually bring down your

energy, making your performance less.

Engaging

it's just a fool's.

Errand to believe that you can pump new

life into something you've been doing

for a long period of time, it doesn't

make sense.

One of the reasons that prompted me

wanting to talk about this on my podcast

was that, of late, I've been doing many

of the epas

for many of the theaters that we're

working with.

And I just

can tell you that I've seen a lot of

dear, wonderful actors.

And when I see them, it's really a

pleasure to see them.

Then again,

there are those actors I see at every

epa,

whether they're right for the role or

not,

doing the same material that I have

seen.

And I'm not kidding you for

ten years,

ten years.

So we need to talk the power of new

material.

We need to talk about the value of new

material for you.

And that's coming up right after this

today.

Actors, ever wonder what really goes on

behind the casting table now is your

chance to find out live.

Join me.

Geoffrey driesback for a special live

recording of my podcast.

Casting actors cast live.

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Saturday may third, six p m.

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connectiondot com.

Slash seminar,

all right.

I'm glad you came back.

I'm glad it didn't.

Scare you away with this?

But we need to talk about the power of

new material.

First number one, it energizes your

creativity.

You see fresh material Forces you to

explore new emotional depths and challenges.

It

challenges you as an artist,

and that's of great value to you.

I also think you might get excited

about performing again.

And that excitement is contagious in

the audition room.

It also changes casting's perceptions

about your brand.

You see, new material allows casting

directors to see you in a fresh light,

whether it's a different tone or style

or character choices that you're

making.

It helps us see you differently than

what we may be expecting

based on past experience.

If you're always performing the same

thing,

people assume that you're only capable

of that thing.

You've got to show them some range,

using contemporary pieces, especially

from emerging playwrights, shows that

you're engaged with what's happening in

the industry right now.

It also demonstrates

that you respect the art form enough to

stay in the loop.

When it surprises and intrigues casting

directors,

you know what I'm talking about.

You ever see a casting director perk up

because they're hearing something new?

Guess what?

That's a good thing?

I know it's a good thing when I hear

something new or unexpected from an

actor that I know

the right material can instantly

make you more memorable.

All right.

Now that I've sort of put the entire

issue out there, let's talk about some

positive stuff.

Let's talk about where you can find new

material.

Because whenever I talk about using old

material, I usually get the question,

where do I find

that you don't sound like that?

But you know,

you know what I'm saying,

we put up these roadblocks,

and we need to continually challenge

ourselves, because I think that's the

only way we can stay sharp and creative.

So here's where to find some new

material.

Plays, plays, plays,

read new works,

read classics,

read everything in between

theater publishers like Samuel French

and dramatists.

Play services are great resources.

There are also indie and emerging

playwrights.

Find new writing that isn't overdone

here's a thought.

Reach out to local playwrights,

or check out play festivals for fresh

material.

Another great way to get some material,

as TV and film scripts, you can find

really great character driven

monologues from screen plays.

Or you could even transcribe them from

television shows that you saw that you

said, gosh, that would be a good

monologue for me a just a cautionary

tale.

Just be mindful of copyright issues in

certain auditions.

But generally speaking, none of that

material is copyrighting, like for an

audition, a specific audition.

So you don't have to overthink that.

But that is a fantastic way to develop

with new material, something that no

one else is doing.

All I hear some closing thoughts, my

dear friends, let's just

say it and leave you with this.

Your monologue is your audition

handshake.

It introduces you, it sets the tone,

and it tells casting directors who you

are and what you bring to the table.

And you know that if your handshake is

strong, fresh and engaging, people will

remember you.

If it's limp,

outdated

or uninspired,

well, you're making their job too easy,

in the wrong way.

So do yourself a favor.

Shake things up,

find new material and step into your

auditions feeling revitalized

and ready to book.

Thank so much for tuning into casting

actors.

Cass, if you like this episode, please

share with a fellow actor.

And, as always, keep growing, keep

exploring and keep your material fresh.

I'll see you next time.

Geoffrey dries back, and this is

casting actor's caste.

Hopefully i'll see you at the live

event.

So give it a thought.

Love to see you there