Acting audition and interview guidance

The Recall Audition consists of an acting workshop, voice and movement assessments, the presentation of two speeches and a song.

You should make sure you arrive in plenty of time for your audition; if for any reason you will be late please let us know. Punctuality is essential during the course, as it is when working in the profession. We are aware that sometimes transport is delayed – however, we will expect you to have arranged your travel to arrive on time even if there is a reasonable delay.

As in the Initial Audition the speeches should be no more than two minutes each and suitable to your age and experience.

Please prepare an accompanied song; this should be no more than three minutes in length and suitable for your age and vocal range. Piano accompaniment is required and the sheet music must be provided in the right key.

Please note your performance will be stopped if the speech or song exceeds the stated maximum length. You may be interviewed by the Course Director or their representative.

If you wish us to take dyslexia or dyspraxia into account at your Recall Audition you must bring with you a copy of your assessment/report confirming the condition and hand it to the course tutor or Admissions Officer on the day of your Recall Audition.

Note - Please bring refreshments/lunch to your Recall Audition as this will not be provided by the Royal Birmingham Conservatoire (Acting).

The session is with the entire group of candidates and begins with a physical warm-up which is observed by members of the teaching staff.

We look for your ability to work as a member of a team, access your imagination, propose ideas, listen and respond to stimuli and demonstrate transformational skills. Members of the acting and movement staff will assess the workshop.

As the workshop is extremely physical, it is recommended that you bring comfortable and appropriate clothing; jeans or tight fitting clothes are not appropriate. The work will be undertaken barefoot and long hair should be tied back so as not to cover your face. Tight belts, belts with buckles, clothes with prominent zips – all of which may be dangerous – should not be worn. Trousers should be waisted and not slip down to the hips and leg length should not drag on the floor. Tops should cover the cleavage and stomach areas. These requirements are in accordance with the School’s dress code.

• Focus and concentration
• Physical confidence
• Imaginative and creative response
• Ability to transform
• Listening and responding
• Engagement
• Physical coordination
• Flexibility
• Sense of rhythm
• Posture/stance

You must prepare and memorise two contrasting speeches from different plays, one of which must be from an Elizabethan / Jacobean play.

Note: You can use same the same speeches as used at the Initial audition stage unless feedback from initial Panel states otherwise.

Each selection should be no more than two minutes in length and suitable for your age and experience (you may be stopped if a speech exceeds two minutes in length).

The contemporary speech – you should to be able to demonstrate your knowledge of contemporary repertoire.

The delivery of speeches is in half groups and they should be from published plays. Excerpts from film scripts, television dramas and unpublished plays are not acceptable unless you can provide at audition, and leave with us, a copy of the actual and complete script with the speech used clearly marked.

As at the Initial Audition, you should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author and, if relevant, translator. You may be asked questions about the play and your character’s journey within it (i.e. their motives, the plays content etc). It is preferable that the content of the speeches is something you can relate to and understand. It is not advisable to attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

• Energy
• Choice of speeches
• Spatial awareness
• Suitability of phsyicalisation
• Identification with character
• Achievement of contrast
• Creation of environment
• Use/handling of language
• Power to hold an audience
• Potential for development through training

Your song will be performed alone to a senior singing tutor. As with your acting selections, your song should be a published work with piano accompaniment. We will provide a pianist but you must provide sheet music in a suitable format for the pianist to use. (Sheet music should be brought with you for the accompanist and this should either be presented in a folder or sellotaped so that it is easily turnable. Loose sheets are not acceptable).

We are interested to see how you interpret a song and its content. We appreciate that some candidates are not experienced singers but we do not believe that this stops anyone from expressing the style and content of a song. It is important that you choose a song suitable for your voice and age. The singing part of the assessment may begin with a group warm-up.

• Qualities: including speech, twang, falsetto
• Technique: including breathing, body alignment
• Story telling: journey of the song

The assessment of each candidate is based upon a set of criteria used consistently by staff, who mark the work shown. In Recall Auditions all elements are assessed including speeches. Please note that audition feedback is not given on Recall Auditions.

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered an unconditional place. This means that you have a place on the course for which you applied. This offer is only for the year in which you apply.
• You are offered a conditional place. This means that you will have a place on the course for which you applied if you attain the required academic qualifications. This offer is only for the year in which you apply.
• You are offered a place in our reserve pool on the course. This is the most common outcome. It indicates that you have reached an acceptable standard, but because applications and auditions/interviews happen throughout the year we cannot allocate all places on a course until the auditions/interviews have been completed.
  Our auditions come to an end in June, and the reserve pool will normally stay ‘live’ until 31st August. Applicants in the sector finalise their choices through UCAS by their reply by date so it is not uncommon for further places to become available at that time. If we are unable to offer you a firm place by this date you may wish to start the audition process again for the following year’s intake when the UCAS Conservatoire application process opens again in July.
• You are not offered a place on the course - unsuccessful. You cannot re-apply for a place on the same course in the same academic year.
• You are considered for the Foundation in Acting course. You requested to submit a song audition recording for the opportunity to obtain a place on the Foundation in Acting course. (The Foundation in Acting is a 20 week full time self funding course.

You will need to create a username and password (four to eight characters) before you can apply online. You can work through the form at your own pace, saving as you go along. You will need to provide information on your previous and current education, employment and English language ability, as well as a personal statement and a referee. We recommend you write your personal statement offline and paste it into the application form.

Your personal statement should cover your interests, accomplishments and personal ambitions. You should discuss the relevance of any specialist training you have undertaken prior to your decision to apply for your chosen course. You should also tell us whether you have applied to any other Drama UK Drama Schools and/or Universities (and if so, which ones) and whether you have applied to Birmingham Conservatoire Acting previously. It would be very good to know why you want to do our course and what you think you can bring to our School.

Your personal statement should be about 500 words in length and written in essay style. You should give your personal statement the same amount of care and attention as the rest of your application. Be sure to cover all the elements requested above, proof-read it carefully and check your spelling before submitting your application.

Your referee should be someone who is not a family member. Your referee should focus on commenting on your stamina and character – in particular, your ability to sustain rigorous training. He or she should also comment on your suitability for study at foundation level and your suitability to pursue a specialised course in acting.

Admission to the course is via application form and reference. You will be required to produce an audition self-tape, after which you may be invited to attend an informal group Audition Workshop and/or be required to attend a brief online interview (it is important, when completing your application, that you consider carefully the content of your personal statement).

By attending the Audition Workshop, the Course Director will gain an understanding of your abilities and skills in addition to your personality and potential for actor training on the Foundation Course that have not been initially recognised from your self-tape. In addition, the workshop is a great opportunity for you to see what the school and the course have to offer and you will also have the chance to meet current students and ask questions.

Your self-tape should include:

• An introduction to yourself giving a short statement, where you should talk about yourself and your inspiration to be an actor detailing why you feel you are a suitable candidate, what you can bring to the course and what your reasons are for wanting to do the course (max 2 minutes)
• A contemporary monologue from a play that was written within the last ten years (max 2 minutes)
• A Song recording of you singing. We highly advise that your song choice is a piece from musical theatre which should be accompanied by a backing track (max 2 minutes)

Please note that, if you are invited to attend a workshop, you may be asked to perform your audition monologue again.

The assessment of each candidate is based upon a set of criteria used consistently by staff. If you are invited to a Workshop Day and accept the invitation, we will provide you with a final decision on your application after that date.

Following your attendance at the workshop, one of the following outcomes is possible:

• You are offered a conditional place on the pathway you applied for (Full or Part Time). This means that you will have a place on the course for which you applied if you obtain a satisfactory reference and pay the £500 deposit to secure a place on the course. This offer is only for the year in which you apply.
• You are offered a conditional place on an alternative pathway to the one for which you applied (Full or Part Time). This means that you will have a place on the course, but not necessarily for which pathway you applied, again, if you obtain a satisfactory reference and pay the £500 deposit to secure a place on the course. This offer is only for the year in which you apply.
• You are entered onto a reserve list.
• You are not offered a place on the course.

The Foundation in Acting course has a Full Time or a Part Time route.

BA (Hons) Acting applicants who have auditioned at initial stages may be offered a Foundation Workshop date if the panel/Course Director feels that this would be suitable. BA (Hons) Acting applicants who have auditioned at recall stages may be offered an unconditional place on the Foundation in Acting course without attending a Foundation Workshop (although you may still be invited to attend one of these).

The Recall Audition consists of an acting workshop, voice and movement assessments, the presentation of two speeches and a song.

You should make sure you arrive in plenty of time for your audition; if for any reason you will be late please let us know. Punctuality is essential during the course, as it is when working in the profession. We are aware that sometimes transport is delayed – however, we will expect you to have arranged your travel to arrive on time even if there is a reasonable delay.

As in the Initial Audition the speeches should be no more than two minutes each and be suitable to your gender, age and experience.

Please prepare an accompanied song; this should be no more than three minutes in length and suitable for your gender, age and vocal range. Piano accompaniment is required and the sheet music must be provided in the right key.

Please note your performance will be stopped if the speech or song exceeds the stated maximum length. You may be interviewed by the Course Director or his/her representative.

If you wish us to take dyslexia or dyspraxia into account at your Recall Audition you must bring with you a copy of your assessment/report confirming the condition and hand it to the course tutor or Admissions Officer on the day of your Recall Audition.

Note - Please bring refreshments/lunch to your Recall Audition as this will not be provided by the Royal Birmingham Conservatoire (Acting).

The session is with the entire group of candidates and begins with a physical warm-up which is observed by members of the teaching staff.

We look for your ability to work as a member of a team, access your imagination, propose ideas, listen and respond to stimuli and demonstrate transformational skills. Members of the acting and movement staff will assess the workshop.

As the workshop is extremely physical, it is recommended that you bring comfortable and appropriate clothing; jeans or tight fitting clothes are not appropriate. The work will be undertaken barefoot and long hair should be tied back so as not to cover your face. Tight belts, belts with buckles, clothes with prominent zips – all of which may be dangerous – should not be worn. Trousers should be waisted and not slip down to the hips and leg length should not drag on the floor. Tops should cover the cleavage and stomach areas. These requirements are in accordance with the School’s dress code.

• Focus and concentration
• Physical confidence
• Imaginative and creative response
• Ability to transform
• Listening and responding
• Engagement
• Physical coordination
• Flexibility
• Sense of rhythm
• Posture/stance

You must prepare and memorise two contrasting speeches from different plays, one of which must be from an Elizabethan / Jacobean play.

Note: You can use same the same speeches as used at the Initial audition stage unless feedback from initial Panel states otherwise.  

Each selection should be no more than two minutes in length and suitable for your gender, age and experience (you may be stopped if a speech exceeds two minutes in length).

The contemporary speech – you should to be able to demonstrate your knowledge of contemporary repertoire.

The delivery of speeches is in half groups and they should be from published plays. Excerpts from film scripts, television dramas and unpublished plays are not acceptable unless you can provide at audition, and leave with us, a copy of the actual and complete script with the speech used clearly marked.

As at the Initial Audition, you should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author and, if relevant, translator. You may be asked questions about the play and your character’s journey within it (i.e. their motives, the plays content etc). It is preferable that the content of the speeches is something you can relate to and understand. It is not advisable to attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

• Energy
• Achievement of contrast
• Choice of speeches
• Creation of environment
• Spatial awareness
• Use / handling of language
• Suitability of physicalisation
• Power to hold an audience
• Identification with character
• Potential for development through training

Your song will be performed alone to a senior singing tutor. As with your acting selections, your song should be a published work with piano accompaniment. We will provide a pianist but you must provide sheet music in a suitable format for the pianist to use. Sheet music should be brought with you for the accompanist and this should either be presented in a folder or sellotaped so that it is easily turnable. Loose sheets are not acceptable.

We are interested to see how you interpret a song and its content. We appreciate that some candidates are not experienced singers but we do not believe that this stops anyone from expressing the style and content of a song. It is important that you choose a song suitable for your voice, gender and age. The singing part of the assessment may begin with a group warm-up.

• Qualities: including speech, twang, falsetto
• Technique: including breathing, body alignment
• Story telling: journey of the song

In certain instances, the Course Director or his/her representative may interview you, to gain a better understanding of you and your motives for wishing to attend a drama school. A voice tutor may wish to see you individually to assess more fully your vocal potential.

The assessment of each candidate is based upon a set of criteria used consistently by staff, who mark the work shown. In Recall Auditions all elements are assessed including speeches.

Please note that audition feedback is not given on Recall Auditions.

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered an unconditional place. This means that you have a place on the course for which you applied. This offer is only for the year in which you apply.
• You are offered a conditional place. This means that you will have a place on the course for which you applied if you attain the required academic qualifications. This offer is only for the year in which you apply.
• You are offered a place in our reserve pool on the course. This is the most common outcome. It indicates that you have reached an acceptable standard, but because applications and auditions/interviews happen throughout the year we cannot allocate all places on a course until the auditions/interviews have been completed.
  Our auditions come to an end in June, and the reserve pool will normally stay ‘live’ until 31st August. Applicants in the sector finalise their choices through UCAS by their reply by date so it is not uncommon for further places to become available at that time. If we are unable to offer you a firm place by this date you may wish to start the audition process again for the following year’s intake when the UCAS Conservatoire application process opens again in July.
• You are not offered a place on the course - unsuccessful. You cannot re-apply for a place on the same course in the same academic year.

Auditioning in person in the USA

The majority of applicants for this course audition in the USA concurrent with the University/Resident Theatre Association (U/RTA) auditions. If you are auditioning only for us, please follow the guidelines below for selecting repertoire. If you are auditioning for a number of U/RTA institutions, you may use the two audition pieces you have already prepared.

The locations, dates and preparation information for the U/RTA auditions can be found on their website here. You should read all of the relevant information relating to the auditions both on the U/RTA website/handbook and this audition guidance specifically for the Royal Birmingham Conservatoire Acting.

You can audition as a ‘walk-in’ candidate free of charge if you wish to audition solely for the Royal Birmingham Conservatoire Acting. If you wish to audition for other U/RTA hosts then you will need to register with U/RTA on their website as well which will incur a fee.

Auditioning in person at the Royal Birmingham Conservatoire Acting in the UK

Applicants from the EU are also welcome to apply, as auditioning in the UK is also a possibility, for which you should submit an online application form. Upon review of your application by the Course Director we may invite you to an audition, for which you should prepare the below criteria. We recognise that you will inevitably be nervous about your audition; much rides upon the outcome. We work hard to ensure that your audition is a positive experience. Members of both academic and admissions staff will be available to answer questions at all stages of auditioning.

Completing our online application form

You should complete your application online, which you can access from our website under the section for your chosen course. You can work through the form at your own pace, saving as you go along. You will need to provide information on your previous and current education, employment and English language ability, as well as a personal statement and a referee. We recommend you write your personal statement offline and paste it into the application form.

What should I include in my personal statement?

Your personal statement should cover your interests, accomplishments, personal ambitions, and your reasons for wishing to study on the Master of Fine Arts Acting course. You should outline your previous acting experience (training and any professional experience), identify the main reasons why you are interested in further study, and outline what your research interests may be. You should also indicate how you intend to fund the course. You should also tell us whether you have applied to any other Drama UK schools and/or Universities (and if so, which ones) and whether you have applied to Royal Birmingham Conservatoire Acting previously.

How long should my personal statement be?

Your personal statement should be about 500 words in length and written in essay style. You should give your personal statement the same amount of care an attention as your audition: be sure to cover all the elements requested above, proof-read it carefully and check your spelling before submitting it with your application.

What does my reference need to include?

Your referee should be someone who is not a family member. Your referee should focus on commenting on your stamina and character – in particular, your ability to sustain rigorous training. He or she should also comment on your suitability for study at postgraduate level and your suitability to pursue a specialised course in acting.

Will I be auditioned?

Admission to the Master of Fine Arts Acting course is via a single audition. If you are applying from the UK, you should attend an audition in person at Royal Birmingham Conservatoire Acting. We will contact you to discuss the process and to arrange an audition after we have received and read your application.

Before completing your application you should ensure that you have read all of the guidance below and on our website regarding the audition process. In addition to the guidance below, you may wish to read Auditions: Frequently Asked Questions.

Auditioning via video link

If you live outside the UK/EU and cannot attend an audition in the USA, you can undertake an audition via video link (e.g. YouTube channel). You should present your speeches in English to camera and perform them as you would in a live audition, using the guidelines provided.

Please ensure that we can see the whole of your body – it is not necessary to provide close-ups or produce an edited piece of television, but you should ensure that the sound quality is sufficient for us to make an accurate assessment of your voice. You should supply the title, author and, if relevant translator details with your speeches.

You may also make a short statement of no more than three minutes about the pieces – a brief résumé of the plays and characters, and what happens immediately before and after the scenes presented.

You may also include a brief statement in support of your application. We may interview you by phone after watching your video link.

Each audition speech should be video-recorded in a single shot and there should be no camera edits in any single monologue.

Video link auditions should be sent to conservatoire.international@bcu.ac.uk (Overseas) or acting.admissions@bcu.ac.uk (Home/EU)

You should make sure you arrive in plenty of time for your audition; if for any reason you will be late please let us know. Punctuality is essential during the course, as it is when working in the profession. We are aware that sometimes transport is delayed – however, we will expect you to have arranged your travel to arrive on time even if there is a reasonable delay.

Please note: street shoes and stilettos are not allowed in any of our studios, but jazz and character shoes are.

You will be asked to present two speeches to a panel of staff and/or professional actors – normally two people, but on occasion more. You will have up to ten minutes with the panel who will provide verbal feedback on what you present, discuss your choice of speeches and possibly your motives for attending drama school.

You must prepare and memorise two contrasting speeches from different plays, one of which must be a British play written between 1740 and 1950 and one of which must be from an Elizabethan / Jacobean play.

Each selection should be no more than two minutes in length and suitable for your age and experience (you may be stopped if a speech exceeds two minutes in length).

All speeches should be from published plays. Excerpts from film script, television dramas and unpublished plays are not acceptable unless you can provide at audition, and leave with us, a copy of the actual and complete script with the speech used clearly marked.

You should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author if relevant and translator. You may be asked questions about the play and your character’s journey within it (i.e. their motives etc.).

It is preferred that the content of the speeches should be something to which you can relate and understand. It is not advised that you attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

• Energy
• Choice of speeches
• Spatial awareness
• Creation of environment
• Suitability of physicalisation
• Use / handling of language
• Identification with character
• Power to hold an audience
• Achievement of contrast
• Potential for development through training

The assessment of each candidate is based upon a set of criteria used consistently by staff, who comment on and mark the work shown.

The audition may be followed by an interview with the Course Director where you will be invited to discuss:

• the way you have approached your prepared speeches
• why you are interested in the course
• your research interests

A voice tutor may wish to see you individually to assess more fully your vocal potential.

Decisions on auditions in the USA

The university will contact you directly via email regarding the outcome of your audition after the date that the U/RTA association agrees we may contact you, which is usually mid-February and is when U/RTA permit decisions to be made. You will receive a decision within 10 working days from this date.

As you will not have submitted a formal application for this course at your audition, the university will use the information on your resume/headshot and send you the link to make a formal application. Once submitted, this will generate an application form for you and you will receive an email thanking you for your recent application.

Following the above, you will be notified of the outcome of your audition on your applicant portal.

If you have been made an offer, you will be able to see any conditions of your offer on your applicant portal. You will also receive an official offer email from the University.

The assessment of each candidate is based upon a set of criteria used consistently by staff, who mark the work shown. The staff on the panel – guided by the Course Director – make the decision whether to offer a place. Within 10 working days of your audition you should receive confirmation by email of the result. If you have not heard within 21 days please contact the admissions department on conservatoire.international@bcu.ac.uk (Overseas) or acting.admissions@bcu.ac.uk (Home/EU).

Decisions for international students applying via video link may take longer, but you should hear within 30 days of our receipt of your application.

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered a conditional place. This means that you will have a place on the course for which you applied if you attain the required academic qualifications. This offer is only for the year in which you apply.
• You are offered a reserve place on the course. This indicates that you have reached an acceptable standard, but because applications and auditions/interviews happen throughout the year we cannot allocate all places on a course until the auditions/interviews have been completed.
• You are not offered a place on the course. You cannot re-apply for a place on the same course in the same academic year.

If you wish to appeal against a decision you should contact conservatoire.international@bcu.ac.uk (Overseas) or acting.admissions@bcu.ac.uk (Home/EU) within 14 days of notification. An appeals panel, led by a senior member of staff who was not involved in your audition, will investigate thoroughly any grounds for appeal and will notify you of the outcome.

Please click the following link for directions to Royal Birmingham Conservatoire Acting School https://www.bcu.ac.uk/conservatoire/about-us/parking-and-directions/acting-directions

There is a multi-storey car park owned and managed by Birmingham City Council situated adjacent to Millennium Point. The car park can be accessed via Jennens Road and Millennium Point is clearly signposted from all main routes into the city – simply follow the brown tourist signs. If you are using a sat nav please use the postcode B4 7AP.

Follow this link for car park charges:-Millennium Point parking

[Please note the main new Royal Birmingham Conservatoire building houses the music elements only. If you arrive at the Royal Birmingham Conservatoire main building, you will find the Millennium Point building opposite the back entrance of the Conservatoire and this is where MFA Acting is based.]

Other directions, including directions from buses etc, are available on the Millennium Point Website

Thank you for submitting your application for the above course at the Royal Birmingham Conservatoire for the MA/PgDip Professional Voice Practice course.

We recognise that you will inevitably be nervous about your audition and interview; much rides upon the outcome. We work hard to ensure that your audition and interview are positive experiences. Members of both academic and admissions staff will be available to answer questions at all stages.

If you wish us to take dyslexia or dyspraxia into account at your audition and interview you must bring with you a copy of your assessment/report confirming the condition and hand it to the Admissions Officer.

You should make sure you arrive in plenty of time for your audition; if for any reason you will be late please let us know. Punctuality is essential during the course, as it is when working in the profession. We are aware that sometimes transport is delayed – however, we will expect you to have arranged your travel to arrive on time even if there is a reasonable delay.

Please note: street shoes and stilettos are not allowed in any of our studios, but jazz and character shoes are.

You will be asked to present a prepared programme to a panel of staff, which will include the Course Director and/or another member of the Voice Team. You have up to ten minutes in which to present your prepared programme and this will be followed by a discussion with the panel who will provide verbal feedback on what you present, discuss your choice of material and your motives for applying to the MA/PgDip Professional Voice Practice programme.

You must prepare and present:

• A speech in verse from an Elizabethan/Jacobean play OR a musical theatre song (with accompaniment)
• A Shakespeare sonnet
• A piece of modern or contemporary verse

Your programme should last at least five minutes.

Please note: If you plan to perform a song as part of your audition, you must email Admissions at acting.admissions@bcu.ac.uk to let us know when you accept your invitation to audition so that we can arrange an accompanist.

You should have read the whole of the play from which any speech is taken or, if your choice is a song, you should be familiar with the work from which it is taken and the context in which the song takes place. You may be asked questions about the play and the section of text (or song) you chose. It is not advised that you attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the material.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and/or the demands of the text. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

Although candidates may not be from an acting or performance background, you need to be able to demonstrate some sensitivity to and awareness of the demands of speaking text in a performance context.

Should you choose to perform a song, your song should be a published work with piano accompaniment. We will provide a pianist but you must provide sheet music in a suitable format for the pianist to use.

We are interested to see how you interpret a song and its content. We appreciate that some candidates are not experienced singers but we do not believe that this stops anyone from expressing the style and content of a song. It is important that you choose a song suitable for your voice and age.

You will be attending a one hour workshop within a small group and then have a 15 minute individual audition which will also include being interviewed by the Course Director or their representative to gain a better understanding of you and your motives for wishing to pursue the MA/PgDip Professional Voice programme. As well as discussing your audition choices and your reasons for wishing to become a voice practitioner, you can expect to be asked about any previous experience you may have within the voice field and what your research interests may be. These do not, by any means, have to be fully formed ideas but there is a research element to the course so it is important to consider at this stage what area of voice practice you might wish to explore in greater depth.

If you wish to be considered for the PgDip Professional Voice Practice course you do not need to concern yourself with the research element.

If you live outside the UK/EU you can submit an online audition recording. This can be done through YouTube, Dropbox, Google Drive or any other online service that you can use to send us video links. Please make sure you check the links are working before you send them to us. You should present your speeches (and song, if included) in English in front of a camera and perform them as you would in a live audition, using the guidelines for international students here.

Please ensure that we can see the whole of your body – it is not necessary to provide close-ups or produce an edited piece of television, but you should ensure that the sound quality is sufficient for us to make an accurate assessment of your voice. You should supply the title, author and, if relevant, translator details with your speeches.

You may also make a short statement of no more than three minutes about the pieces – a brief résumé of the plays, characters and chosen texts/song.

You may also include a brief statement in support of your application.

Decision on audition

The staff on the panel – guided by the Course Director – make the decision whether to offer a place. Within 10 working days of your Audition you should receive confirmation by email of the result. If you have not heard within 21 days please contact acting.admissions@bcu.ac.uk. Decisions for international students applying via an online audition recording may take longer, but you should hear within 30 days of our receipt of your audition.

Offer of a place

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered an unconditional place. This means that you have a place on the course for which you applied. This offer is only for the year in which you apply.
• You are offered a conditional place. This means that you will have a place on the course for which you applied if you attain the required academic qualifications. This offer is only for the year in which you apply.
• You are unsuccessful. You are not offered a place on the course.

You cannot re-apply for a place on the same course in the same academic year.

Please click the following link for directions to Royal Birmingham Conservatoire Acting School.

There is a multi-storey car park owned and managed by Birmingham City Council situated adjacent to Millennium Point. The car park can be accessed via Jennens Road and Millennium Point is clearly signposted from all main routes into the city – simply follow the brown tourist signs. If you are using a sat nav please use the postcode B4 7AP.

Follow this link for car park charges:- Millennium Point parking.

Please note: the main new Royal Birmingham Conservatoire building houses the music elements only, and if you arrive there, you will find Millennium Point, where the MA/PgDip Acting course is based, is the building opposite the back entrance of the Conservatoire.

Other directions, including directions from buses etc., are available on the Millennium Point Website.

Once you have applied for your chosen course, you can submit a DVD or a video link (e.g. YouTube channel) audition if you are an international student and are unable to attend an audition in the UK.

You are not required to pay an audition fee.

DVDs should be sent to - Royal Birmingham Conservatoire (Acting), Birmingham City University, 200 Jennens Road, Birmingham B4 7XR.

Video link auditions should be sent to conservatoire.international@bcu.ac.uk

All auditions should be submitted within four weeks of submitting your application form.

Please ensure that we can see the whole of your body throughout the audition – it is not necessary to provide close-ups or produce an edited piece of television, but you should ensure that the sound quality is sufficient for us to make an accurate assessment of your voice. You should supply the title, author and, if relevant, translator details with your speeches.

You are required to fulfil all online audition criteria. If you have purposely missed certain elements of your online audition you need to specify whether this is because you intend on attending a live recall audition and therefore the online component is your initial audition.

You should present two speeches which will be submitted to the Course Director. You should give a brief resume of the plays and characters, and what happens immediately before and after the scene is presented. You should also include reasons for your choice of speeches and your motives for attending drama school.

You must prepare and memorise two contrasting speeches from different plays, one of which must have been written in the last 20 years and one of which must be from an Elizabethan / Jacobean play. A suggested list of Elizabethan / Jacobean pieces can be found in ‘Suggested Audition Selections’, below.

Each selection should be no more than two minutes in length and suitable for your age and experience (you may be stopped if a speech exceeds two minutes in length).

All speeches should be from published plays. Excerpts from film script, television dramas and unpublished plays are not advisable.

You should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author and, if relevant, translator.

It is preferred that the content of the speeches should be something to which you can relate and understand. It is not advised that you attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

• Energy
• Achievement of contrast
• Choice of speeches
• Creation of environment
• Spatial awareness
• Use / handling of language
• Suitability of physicalisation
• Power to hold an audience
• Identification with character
• Potential for development through training

Your song will be viewed and assessed by the Head of Singing. As with your acting selections, your song should be a published work with accompaniment.

We are interested to see how you interpret a song and its content. We appreciate that some candidates are not experienced singers but we do not believe that this stops anyone from expressing the style and content of a song. It is important that you choose a song suitable for your voice and age.

Qualities: including speech, twang, falsetto

Technique: including breathing, body alignment

Story Telling: journey of the song

You should perform a devised piece of movement for a maximum of two minutes where the Course Director can see your whole body in motion. Alternatively, if you have footage from a show or production that you have been involved in, you could submit that instead.

• Focus and concentration
• Imaginative and creative response
• Listening and responding
• Physical coordination
• Sense of rhythm
• Physical confidence
• Ability to transform
• Engagement
• Flexibility
• Posture/stance

The assessment of each candidate is based upon a set of criteria used consistently by staff, who comment on and mark the work shown.

Decisions for international students applying via video/DVD may take up to 30 days of our receipt of your audition. If a decision cannot be reached regarding your audition, you may be asked to attend a recall audition in person in the UK. A schedule of recall dates is listed on our website. Should you not be offered a place, you can re-apply for the following academic year. Feedback is not provided for online auditions.

The following list are suggested pieces only, and are not mandatory. If you have your own ideas, please do not hesitate to use them:

18 - 20

Isabella (Women Beware Women)
Act 1 Sc 2 lines 158 – 185
From: "Marry a fool..."
To: "When my best friend’s distress’d? What is’t afflicts you, sir?"

Julia (Two Gentlemen of Verona)
Act 1 Sc 2 lines 105 – 130
From: "Nay, would I were so angered with the same."
To: "Now kiss, embrace, contend, do what you will."

Diana (All’s Well That Ends Well)
Act 4 Sc 2 lines 55 – 77
From: "When midnight comes, knock at my chamber window..."
To: "To cozen him that would unjustly win." (ignoring Bertram)

Cressida (Troilus and Cressida)
Act 3 Sc 2 lines 114 – 130
From: "Hard to seem won; but I was won, my lord..."
To: "My soul of counsel from me. Stop my mouth."

Helena (All’s Well That Ends Well)
Act 3 Sc 2 lines 101 – 131
From: "'Till I have no wife I have nothing in France..."
To: "For with the dark, poor thief, I’ll steal away."

Annabella (‘Tis Pity She’s A Whore)
Act 5 Sc 1 lines 1 – 23
From: "Pleasures, farewell, and all ye thriftless minutes..."
To: "The torment of an uncontrollèd flame;"

Gaoler’s Daughter (Two Noble Kinsmen)
Act 2 Sc 4 lines 1 – 33
From: "Why should I love this gentleman?"
To: "And this night; ere tomorrow he will love me."

Arthur (King John)
Act 4 Sc 1 lines 41 – 70
From: "Have you the heart? When you head did but ache..."
To: "I would not have believed him; no tongue but Hubert’s." (Excluding second part of line 58 and lines 59 and 60)

Antipholus of Syracuse (Comedy of Errors)
Act 3 Sc 2 lines 29 – 52
From: "Sweet mistress-what your name is else I know not..."
To: "Let love, being light, be drowned if she sink."

Giovanni (‘Tis Pity She’s a Whore)
Act 1 Sc 2 lines 139 – 158
From: "Lost. I am lost. My fates have doomed my death..."
To: "O me! She comes."

Prince Harry (1 Henry 1V)
Act 1 Sc 2 lines 192 – 214
From: "I know you all, and will a while uphold..."
To: "Redeeming time when men think least I will."

Sebastian (Twelfth Night)
Act 4 Sc 3 lines 1 – 21
From: "This is the air, that is the glorious sun..."
To: "That is deceivable. But here the lady comes."

Gratiano (Merchant of Venice)
Act 1 Sc 1 lines 79 – 104
From: "Let me play the fool..."
To: "I’ll end my exhortation after dinner."

Young Clifford (2 Henry VI)
Act 5 Sc 3 lines 31 – 65
From: "Shame and confusion, all is on the rout!"
To: "Nothing so heavy as these woes of mine."

21 - 25

Margaret (Henry VI ii)
Act 3 Sc 1 lines 4 – 41
From: "Can you not see, or will ye not observe..."
To: "Or else conclude my words effectual."

Annabella (‘Tis Pity She’s a Whore)
Act 5 Sc 1 lines 1 – 37
From: "Pleasures, farewell, and all ye thriftless minutes..."
To: "I long have died in." (ignoring Friar)

Sylvia (Two Gentlemen of Verona)
Act 4 Sc 4 lines 11 – 36
From: "O Eglamour, thou art a gentleman-..."
To: "That I may venture to depart alone."

Lady Percy (1 Henry 1V)
Act 2 Sc 4 lines 37 – 64
From: "O my good lord, why are you thus alone..."
To: "And I must know it, else he loves me not."

Queen Isabel (Richard II)
Act 5 Sc 1 lines 1 – 15 & 26 – 34
From: "This way the King will come. This is the way..."
To: "When triumph is become an alehouse guest?" and
From: "What, is my Richard both in shape and mind..."
To: "Which art a lion and the king of beasts?"

Luciana (Comedy of Errors)
Act 3 Sc 2 lines 1 – 28
From: "And may it be that you have quite forgot..."
To: "When the sweet breath of flattery conquers strife."

Portia (Merchant of Venice)
Act 3 Sc 2 lines 40 – 62
From: "Away then. I am locked in one of them..."
To: "I view the fight than thou that mak’st the fray."

Prince Harry (2 Henry 1V)
Act 4 Sc 3 lines 151 – 178
From: "No, I will sit and watch here by the King..."
To: "Will I to mine leave, as ‘tis left to me."

Richard Crookback (Henry VI iii)
Act 3 Sc 2 lines 164 – 195
From: "O, monstrous fault, to harbour such a thought..."
To: "Tut, were it farther off, I’ll pluck it down."

Proteus (Two Gentlemen of Verona)
Act 2 Sc 6 lines 1 – 43
From: "To leave my Julia shall I be forsworn..."
To: "As thou hast lent me wit to plot this drift."

Mosca (Volpone)
Act 3 Sc 1 lines 1 – 33
From: "I fear I shall begin to grow in love..."
To: "Are the true parasites, others but their zanies."

Richard (Richard II)
Act 3 Sc 2 lines 32 – 58
From: "Discomfortable cousin, know’st thou not..."
To: "Weak men must fall; for heaven still guards the right."

Gaveston (Edward II)
Act 1 Sc 1 lines 1 – 24
From: "My father is deceas’d, come Gaveston..."
To: "But how now, what are these?"

Edward IV (3 Henry VI)
Act 5 Sc 7 lines 1 – 20
From: "Once more we sit in England’s royal throne..."
To: "And of our labours thou shall reap the gain."

Bassanio (Merchant of Venice)
Act 3 Sc 2 lines 114 - 148
From: "What find I here?..."
To: "Until confirmed, signed, ratified by you."

26 - 30

Titania (Midsummer Night’s Dream)
Act 2 Sc 1 lines 81 – 117
From: "These are the forgeries of jealousy..."
To: "We are their parents and original."

Portia (Julius Caesar)
Act 2 Sc 1 lines 236 – 277
From: "Nor for yours neither. You’ve ungentley, Brutus..."
To: "Even from darkness." (excluding Brutus)

Beatrice-Joanna (The Changeling)
Act 4 Sc 1 lines 1 – 19
From: "This fellow has undone me endlessly..."
To: "Sure ‘twas forgot; I’ll be so bold as look in’t."

Vittoria (The White Devil)
Act 4 Sc 2 lines 105 – 125
From: "What have I gain’d by thee but infamy?"
To: "I’ll not shed one tear more; - I’ll burst first."

Lady Macbeth (Macbeth)
Act 1 Sc 5 lines 14 – 29 & 37 – 53
From: "Glamis thou art, and Cawdor, and shalt be..."
To: "To have thee crowned withal" and
From: "The raven himself is hoarse..."
To: "To cry ‘Hold, hold!’"

Vindice (The Revenger’s Tragedy)
Act 1 Sc 1 lines 1 – 49
From: "Duke: royal lecher; go, grey-hair’d Adultery..."
To: "But wise men little are more great than they."

Oberon (Midsummer Night’s Dream)
Act 2 Sc 1 lines 147 – 188
From: "Well, go thy way. Thou shalt not from the grove..."
To: "And I will overhear their conference." (Excluding Robin/Puck)

Prince of Morocco (Merchant of Venice)
Act 2 Sc 7 lines 13 – 60
From: "Some god direct my judgement! Let me see..."
To: "Here do I choose, and thrive I as I may."

Mark Antony (Julius Caesar)
Act 3 Sc 2 lines 171 – 199
From: "If you have tears, prepare to shed them now..."
To: "Here is himself, marred, as you see, with traitors."

Lieutenant / Captain (2 Henry VI)
Act 4 Sc 1 lines 69 – 103
From: "Convey hem hence and, on our longboats side..."
To: "And all by thee. Away, convey him hence." (excluding Suffolk)

Saturninus (Titus Andronicus)
Act 4 Sc 4 lines 1 – 26
From: "Why, lords, what wrongs are these! Was ever seen..."
To: "Cut off the proud’st conspirator that lives."

Faulconbridge (King John)
Act 2 Sc 1 lines 561 – 599
From: "Mad world, mad kings, mad composition!...
To: "Gain, be my lord, for I will worship thee."

Iago (Othello)
Act 2 Sc 3 lines 327 – 353
From: "And what’s he then that says I play the villain,..."
To: "That shall enmesh them all..."

30+

Margaret (Henry VI iii)
Act 5 Sc 4 lines 1 – 38
From: "Great lords, wise men ne’er sit and wail their loss..."
To: "Twere childish weakness to lament or fear."

Volumnia (Coriolanus)
Act 5 Sc 3 lines 132 – 173
From: "Nay, go not from us thus..."
To: "This is the last."

Nurse (Romeo and Juliet)
Act 1 Sc 3 lines 18 – 50
From: "Even or odd, of all days in the year..."
To: "And, pretty fool, it stinted and said ‘Ay’."

Margaret (Richard III)
Act 4 Sc 4 lines 82 – 115
From: "I called thee then ‘vain flourish of my fortune’;"
To: "These English woes shall make me smile in France."

Constance (King John)
Act 2 Sc 2 lines 1 – 26
From: "Gone to be married? Gone to swear a peace?"
To: "But this one word: whether thy tale be true."

Duchess of Gloucester (Richard II)
Act 1 Sc 2 lines 44 - 74
From: "Why then, I will. Farewell, old Gaunt..."
To: "The last leave of thee takes my weeping eye."

Giacomo (Cymbeline)
Act 2 Sc 2 lines 11 – 51
From: "The crickets sing, and man’s o’er-laboured sense..."
To: "One, two, three. Time, time!

Iago (Othello)
Act 2 Sc 3 lines 327 – 353
From: "And what’s he then that says I play the villain,..."
To: "That shall enmesh them all..."

Cassius (Julius Caesar)
Act 1 Sc 2 lines 136 – 162
From: "Why, man, he doth bestride the narrow world..."
To: "As easily as a king."

Boyet (Loves Labour’s Lost)
Act 5 Sc 2 lines 81 – 118
From: "Prepare, madam, prepare..."
To: "To check their folly, passion’s solemn tears." (Excluding Princess)

Enobarbus (Antony and Cleopatra)
Act 2 Sc 2 lines 191 – 245
From: "I will tell you..."
To: "Bless her when she is riggish." (excluding Agrippa)

Antigonus (The Winter’s Tale)
Act 3 Sc 3 lines 14 – 57
From: "Come, poor babe..."
To: "I am gone forever."

King Philip (King John)
Act 2 Sc 1 lines 235 – 266
From: "When I have saud, make answer to us both..."
To: "And stalk in blood to our possession?"

Duke of York (3 Henry VI)
Act 1 Sc 4 lines 112 – 150
From: "She wolf od France, but worse than wolves of France"
To: "Gainst thee, fell Clifford, and thee, false Frenchwoman."

• Avoid materials unsuitable for your age and pieces where you have no understanding/experience of the context of the piece
• Avoid screenplays
• Avoid pieces made famous by an Actor (you will only draw comparisons)

Finally, may we remind you that the contemporary speech should have been written within the last 20 years; ‘Road’, by Jim Cartwright, was written in 1986. The idea is for you to be able to demonstrate your knowledge of contemporary repertoire.

Ultimately, choose something that you feel confident with and you believe will demonstrate your potential to train as an Actor at Royal Birmingham Conservatoire (Acting).

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered a place on the course. This will be communicated to you through your Applicant Portal and via email.
• You are not offered a place on the course. You cannot re-apply for a place on the same course in the same academic year.
• You are offered an alternative place on our 20-week Foundation in Acting course.
• You are asked to attend a recall audition in the UK.

Once you have applied for your chosen course, you can submit a DVD or a video link (e.g. YouTube channel) audition if you are an EU or international student and are unable to attend an audition in the UK. Please note that a video link is preferable to a DVD and will normally result in a quicker decision.

You are not required to pay an audition fee.

DVDs should be sent to; Admissions, Royal Birmingham Conservatoire (Acting), Birmingham City University, 200 Jennens Road, Birmingham B4 7XR.

Video link auditions should be sent to conservatoire.international@bcu.ac.uk

All auditions should be submitted within four weeks of submitting your application form.

Please ensure that we can see the whole of your body throughout the audition – it is not necessary to provide close-ups or produce an edited piece of television, but you should ensure that the sound quality is sufficient for us to make an accurate assessment of your voice. You should supply the title, author and, if relevant, translator details with your speeches.

You should present two short speeches (one minute) which will be submitted to the Course Director. You should give a brief resume of the plays and characters, and what happens immediately before and after the scene is presented. You should also include reasons for your choice of speeches and your motives for attending drama school.

The speeches should be two contrasting speeches from different plays, one of which must have been written in the last 15 years and one of which must be from an Elizabethan / Jacobean play. A suggested list of Elizabethan / Jacobean pieces can be found in ‘Suggested Audition Selections’, below.

Each selection should be no more than one minute in length and suitable for your age and experience.

All speeches should be from published plays. Excerpts from film script and television dramas may be acceptable but the use of unpublished plays is not advisable.

You should have read the whole of the play from which a speech is taken and be able to provide the correct title, name of the author and, if relevant, translator. You should know about the play and your character’s journey within it (i.e. their motives etc.).

It is preferred that the content of the speeches should be something to which you can relate and understand. It is not advised that you attempt an accent unless you are entirely confident of its accuracy and only if it is appropriate to the speech.

Any performance choices you make should be justifiable within the text. The performance should reveal an understanding of the scene and character and an ability to create and share appropriate emotions and atmosphere. Try to make sure that any vocal and physical interpretation you do is strictly relevant.

• Energy
• Achievement of contrast
• Choice of speeches
• Creation of environment
• Spatial awareness
• Use / handling of language
• Suitability of physicalisation
• Power to hold an audience
• Identification with character
• Potential for development through training

The assessment of each candidate is based upon a set of criteria used consistently by staff, who comment on and mark the work shown.

Decisions for international students applying via video/DVD may take up to 30 days of our receipt of your audition. If a decision cannot be reached regarding your audition, you may be asked to attend a recall audition in person in the UK. A schedule of recall dates is listed on our website. Should you not be offered a place, you can re-apply for the following academic year. Feedback is not provided for online auditions.

The following are suggested pieces only and are not mandatory. If you have your own ideas, please do not hesitate to use them:

18 - 20

Isabella (Women Beware Women)
Act 1 Sc 2 lines 158 – 185
From: "Marry a fool..."
To: "When my best friend’s distress’d? What is’t afflicts you, sir?"

Julia (Two Gentlemen of Verona)
Act 1 Sc 2 lines 105 – 130
From: "Nay, would I were so angered with the same."
To: "Now kiss, embrace, contend, do what you will."

Diana (All’s Well That Ends Well)
Act 4 Sc 2 lines 55 – 77
From: "When midnight comes, knock at my chamber window..."
To: "To cozen him that would unjustly win." (ignoring Bertram)

Cressida (Troilus and Cressida)
Act 3 Sc 2 lines 114 – 130
From: "Hard to seem won; but I was won, my lord..."
To: "My soul of counsel from me. Stop my mouth."

Helena (All’s Well That Ends Well)
Act 3 Sc 2 lines 101 – 131
From: "'Till I have no wife I have nothing in France..."
To: "For with the dark, poor thief, I’ll steal away."

Annabella (‘Tis Pity She’s A Whore)
Act 5 Sc 1 lines 1 – 23
From: "Pleasures, farewell, and all ye thriftless minutes..."
To: "The torment of an uncontrollèd flame;"

Gaoler’s Daughter (Two Noble Kinsmen)
Act 2 Sc 4 lines 1 – 33
From: "Why should I love this gentleman?"
To: "And this night; ere tomorrow he will love me."

Arthur (King John)
Act 4 Sc 1 lines 41 – 70
From: "Have you the heart? When you head did but ache..."
To: "I would not have believed him; no tongue but Hubert’s." (Excluding second part of line 58 and lines 59 and 60)

Antipholus of Syracuse (Comedy of Errors)
Act 3 Sc 2 lines 29 – 52
From: "Sweet mistress-what your name is else I know not..."
To: "Let love, being light, be drowned if she sink."

Giovanni (‘Tis Pity She’s a Whore)
Act 1 Sc 2 lines 139 – 158
From: "Lost. I am lost. My fates have doomed my death..."
To: "O me! She comes."

Prince Harry (1 Henry 1V)
Act 1 Sc 2 lines 192 – 214
From: "I know you all, and will a while uphold"
To: "Redeeming time when men think least I will."

Sebastian (Twelfth Night)
Act 4 Sc 3 lines 1 – 21
From: "This is the air, that is the glorious sun..."
To: "That is deceivable. But here the lady comes."

Gratiano (Merchant of Venice)
Act 1 Sc 1 lines 79 – 104
From: "Let me play the fool..."
To: "I’ll end my exhortation after dinner."

Young Clifford (2 Henry VI)
Act 5 Sc 3 lines 31 – 65
From: "Shame and confusion, all is on the rout!"
To: "Nothing so heavy as these woes of mine."

21- 25

Margaret (Henry VI ii)
Act 3 Sc 1 lines 4 – 41
From: "Can you not see, or will ye not observe..."
To: "Or else conclude my words effectual."

Annabella (‘Tis Pity She’s a Whore)
Act 5 Sc 1 lines 1 – 37
From: "Pleasures, farewell, and all ye thriftless minutes..."
To: "I long have died in." (ignoring Friar)

Sylvia (Two Gentlemen of Verona)
Act 4 Sc 4 lines 11 – 36
From: "O Eglamour, thou art a gentleman-..."
To: "That I may venture to depart alone."

Lady Percy (1 Henry 1V)
Act 2 Sc 4 lines 37 – 64
From: "O my good lord, why are you thus alone..."
To: "And I must know it, else he loves me not."

Queen Isabel (Richard II)
Act 5 Sc 1 lines 1 – 15 & 26 – 34
From: "This way the King will come. This is the way..."
To: "When triumph is become an alehouse guest?" and
From: "What, is my Richard both in shape and mind..."
To: "Which art a lion and the king of beasts?"

Luciana (Comedy of Errors)
Act 3 Sc 2 lines 1 – 28
From: "And may it be that you have quite forgot..."
To: "When the sweet breath of flattery conquers strife."

Portia (Merchant of Venice)
Act 3 Sc 2 lines 40 – 62
From: "Away then. I am locked in one of them..."
To: "I view the fight than thou that mak’st the fray."

Prince Harry (2 Henry 1V)
Act 4 Sc 3 lines 151 – 178
From: "No, I will sit and watch here by the King..."
To: "Will I to mine leave, as ‘tis left to me."

Richard Crookback (Henry VI iii)
Act 3 Sc 2 lines 164 – 195
From: "O, monstrous fault, to harbour such a thought..."
To: "Tut, were it farther off, I’ll pluck it down."

Proteus (Two Gentlemen of Verona)
Act 2 Sc 6 lines 1 – 43
From: "To leave my Julia shall I be forsworn..."
To: "As thou hast lent me wit to plot this drift."

Mosca (Volpone)
Act 3 Sc 1 lines 1 – 33
From: "I fear I shall begin to grow in love..."
To: "Are the true parasites, others but their zanies."

Richard (Richard II)
Act 3 Sc 2 lines 32 – 58
From: "Discomfortable cousin, know’st thou not..."
To: "Weak men must fall; for heaven still guards the right."

Gaveston (Edward II)
Act 1 Sc 1 lines 1 – 24
From: "My father is deceas’d, come Gaveston..."
To: "But how now, what are these?"

Edward IV (3 Henry VI)
Act 5 Sc 7 lines 1 – 20
From: "Once more we sit in England’s royal throne..."
To: "And of our labours thou shall reap the gain."

Bassanio (Merchant of Venice)
Act 3 Sc 2 lines 114 - 148
From: "What find I here?..."
To: "Until confirmed, signed, ratified by you."

26 - 30

Titania (Midsummer Night’s Dream)
Act 2 Sc 1 lines 81 – 117
From: "These are the forgeries of jealousy..."
To: "We are their parents and original."

Portia (Julius Caesar)
Act 2 Sc 1 lines 236 – 277
From: "Nor for yours neither. You’ve ungentley, Brutus..."
To: "Even from darkness." (excluding Brutus)

Beatrice-Joanna (The Changeling)
Act 4 Sc 1 lines 1 – 19
From: "This fellow has undone me endlessly..."
To: "Sure ‘twas forgot; I’ll be so bold as look in’t."

Vittoria (The White Devil)
Act 4 Sc 2 lines 105 – 125
From: "What have I gain’d by thee but infamy?"
To: "I’ll not shed one tear more; - I’ll burst first."

Lady Macbeth (Macbeth)
Act 1 Sc 5 lines 14 – 29 & 37 – 53
From: "Glamis thou art, and Cawdor, and shalt be..."
To: "To have thee crowned withal" and
From: "The raven himself is hoarse..."
To: "To cry ‘Hold, hold!"

Vindice (The Revenger’s Tragedy)
Act 1 Sc 1 lines 1 – 49
From: "Duke: royal lecher; go, grey-hair’d Adultery..."
To: "But wise men little are more great than they."

Oberon (Midsummer Night’s Dream)
Act 2 Sc 1 lines 147 – 188
From: "Well, go thy way. Thou shalt not from the grove..."
To: "And I will overhear their conference." (Excluding Robin/Puck)

Prince of Morocco (Merchant of Venice)
Act 2 Sc 7 lines 13 – 60
From: "Some god direct my judgement! Let me see..."
To: "Here do I choose, and thrive I as I may."

Mark Antony (Julius Caesar)
Act 3 Sc 2 lines 171 – 199
From: "If you have tears, prepare to shed them now..."
To: "Here is himself, marred, as you see, with traitors."

Lieutenant / Captain (2 Henry VI)
Act 4 Sc 1 lines 69 – 103
From: "Convey hem hence and, on our longboats side..."
To: "And all by thee. Away, convey him hence." (excluding Suffolk)

Saturninus (Titus Andronicus)
Act 4 Sc 4 lines 1 – 26
From: "Why, lords, what wrongs are these! Was ever seen..."
To: "Cut off the proud’st conspirator that lives."

Faulconbridge (King John)
Act 2 Sc 1 lines 561 – 599
From: "Mad world, mad kings, mad composition!..."
To: "Gain, be my lord, for I will worship thee."

Iago (Othello)
Act 2 Sc 3 lines 327 – 353
From: "And what’s he then that says I play the villain,..."
To: "That shall enmesh them all..."

30+

Margaret (Henry VI iii)
Act 5 Sc 4 lines 1 – 38
From: "Great lords, wise men ne’er sit and wail their loss..."
To: "Twere childish weakness to lament or fear."

Volumnia (Coriolanus)
Act 5 Sc 3 lines 132 – 173
From: "Nay, go not from us thus..."
To: "This is the last."

Nurse (Romeo and Juliet)
Act 1 Sc 3 lines 18 – 50
From: "Even or odd, of all days in the year..."
To: "And, pretty fool, it stinted and said ‘Ay’."

Margaret (Richard III)
Act 4 Sc 4 lines 82 – 115
From: "I called thee then ‘vain flourish of my fortune’;"
To: "These English woes shall make me smile in France."

Constance (King John)
Act 2 Sc 2 lines 1 – 26
From: "Gone to be married? Gone to swear a peace?"
To: "But this one word: whether thy tale be true."

Duchess of Gloucester (Richard II)
Act 1 Sc 2 lines 44 - 74
From: "Why then, I will. Farewell, old Gaunt..."
To: "The last leave of thee takes my weeping eye."

Giacomo (Cymbeline)
Act 2 Sc 2 lines 11 – 51
From: "The crickets sing, and man’s o’er-laboured sense..."
To: "One, two, three. Time, time!"

Iago (Othello)
Act 2 Sc 3 lines 327 – 353
From: "And what’s he then that says I play the villain,..."
To: "That shall enmesh them all..."

Cassius (Julius Caesar)
Act 1 Sc 2 lines 136 – 162
From: "Why, man, he doth bestride the narrow world..."
To: "As easily as a king."

Boyet (Loves Labour’s Lost)
Act 5 Sc 2 lines 81 – 118
From: "Prepare, madam, prepare..."
To: "To check their folly, passion’s solemn tears." (Excluding Princess)

Enobarbus (Antony and Cleopatra)
Act 2 Sc 2 lines 191 – 245
From: "I will tell you..."
To: "Bless her when she is riggish." (excluding Agrippa)

Antigonus (The Winter’s Tale)
Act 3 Sc 3 lines 14 – 57
From: "Come, poor babe..."
To: "I am gone forever."

King Philip (King John)
Act 2 Sc 1 lines 235 – 266
From: "When I have saud, make answer to us both..."
To: "And stalk in blood to our possession?"

Duke of York (3 Henry VI)
Act 1 Sc 4 lines 112 – 150
From: "She wolf od France, but worse than wolves of France"
To: "Gainst thee, fell Clifford, and thee, false Frenchwoman."

• Avoid materials unsuitable for your age and pieces where you have no understanding/experience of the context of the piece
• Avoid screenplays
• Avoid pieces made famous by an Actor (you will only draw comparisons)

Finally, may we remind you that the contemporary speech should have been written within the last 15 years; ‘Road’, by Jim Cartwright, was written in 1986. The idea is for you to be able to demonstrate your knowledge of contemporary repertoire.

Ultimately, choose something that you feel confident with and you believe will demonstrate your potential to train as an Actor at Royal Birmingham Conservatoire (Acting).

Following an audition and/or interview, one of the following outcomes is possible:

• You are offered a place on the course. This will be communicated to you through your Applicant Portal and via email. You will be required to pay a deposit of £1,500 to secure your offer.
• You are not offered a place on the course. You cannot re-apply for a place on the same course in the same academic year.
• You may be required to attend an audition in the UK.