Time for New Material

Episode #363

Air Date: April 24, 2025

Time For New Material – When to Retire That Old Monologue

Hey there, actors and industry dreamers! Welcome back to Casting Actors Cast, the podcast that helps you navigate the wild world of showbiz with insight, humor, and a little tough love when necessary. I’m Jeffrey Dreisbach, your host, 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, the problems, and—most importantly—how fresh material can revitalize your creativity, casting appeal, and overall performance game. Ready? Let’s do this!

YOU KNOW IT’S TIME FOR NEW MATERIAL WHEN…

1.    Your monologue is older than your headshot.

o   If you’ve had three different hairstyles since you picked this monologue… it’s time to move on.

o   If you’re still performing the same piece you used to get into college years ago… guess what? Time for something new.

2.    Casting directors finish your lines before you do.

o   If a casting director hears the first line of your monologue and sighs because they’ve heard it a hundred times before… that’s a problem.

o   Overused material doesn’t make you stand out; it makes you forgettable.

3.    You’ve lost connection with it.

o   Ever go on autopilot during your monologue? You’re saying the words, but there’s no life behind them? Yeah, that’s a sign.

o   If you’ve performed it so many times that you’re just going through the motions, it’s no longer serving you.

4.    It doesn’t fit who you are now.

o   Actors grow, change, and evolve. A monologue that suited you five years ago might not reflect your casting type or abilities today.

o   If the material doesn’t align with your current strengths, it’s limiting your opportunities instead of expanding them.

5.    You’re just using it because it’s “safe.”

o   Let’s be honest—sometimes we stick with old material because it’s comfortable. It’s easy. It doesn’t challenge us.

o   But playing it safe won’t get you cast. Taking risks and showing versatility will.

6.    You have a sinking feeling when you say, “I’ll be doing this monologue from…”

o   If you feel even a little embarrassed about how long you’ve been using the same piece, that’s your answer.

WHY STICKING WITH OLD MATERIAL CAN HURT YOU

• It makes you look lazy.

  • If you haven’t updated your material in years, it signals to casting that you might not be evolving as an actor.

• It doesn’t contribute to your cast-ability.

  • Monologues should reflect the roles you realistically could be cast in today—not what you wished for five years ago.

• It’s self-defeating.

  • Using outdated material that no longer excites you can actually bring down your energy, making your performance less engaging.

THE POWER OF NEW MATERIAL

1.    It energizes your creativity.

o   Fresh material forces you to explore new emotional depths and challenges you as an artist.

o   You get excited about performing again, and that excitement is contagious in the audition room.

2.    It changes casting perceptions about your brand.

o   New material allows casting directors to see you in a fresh light—whether it’s a different tone, style, or character type.

o   If you’re always performing the same thing, people assume you’re only capable of that thing. Show them range!

3.    It keeps you current with industry trends.

o   Using contemporary pieces—especially from emerging playwrights—shows that you’re engaged with what’s happening in the industry right now.

o   It also demonstrates that you respect the art form enough to stay in the loop.

4.    It surprises and intrigues casting directors.

o   Ever see a casting director perk up because they’re hearing something new? That’s a good thing.

o   The right material can instantly make you more memorable.

WHERE TO FIND NEW MATERIAL

• Plays, plays, plays! Read new works, classic works, everything in between. Theatre publishers like Samuel French and Dramatists Play Service are great resources.

• Indie and emerging playwrights. Find new writing that isn’t overdone—reach out to local playwrights, or check out play festivals for fresh material.

• TV and film scripts. Find great character-driven monologues from screenplays (just be mindful of copyright issues in certain auditions).

CLOSING THOUGHTS

So, my dear actors, let me leave you with this: Your monologue is your audition handshake. It introduces you, sets the tone, and tells casting directors who you are and what you bring to the table.

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.

Thanks for tuning in to Casting Actors Cast! If you liked this episode, share it with a fellow actor, and as always—keep growing, keep exploring, and keep your material fresh! See you next time!