To become a theatre actor, train your voice, body and craft (in classes or a drama school), get on stage wherever you can (student, community and fringe theatre), prepare two strong monologues, and audition for plays until you're working on paid contracts and, eventually, joining Actors' Equity. Here is what our acting teachers, casting directors and a manager told us.
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The same core craft as any actor, plus range. Jess Orcsik told us stage work asks more of your vocal skills, because you have to reach a whole audience, while the camera often asks you to pull back. Your body matters too: Jess describes the Alexander Technique as the way you hold and present yourself, which helps character work and your posture, and Laban as a language for describing and interpreting movement.
Singing and dancing depend on your goals. If musical theatre is part of the plan, Jess says they're essential; if it isn't, they're not a necessary tool.
You need training; the format is up to you. Jess's answer to "should I go to drama school?" was yes, with the point that training never really stops for a working actor. On full-time two or three year programs, Jess says it depends on your age and stage of life: if you're 17 or 18, they can set a strong foundation, while an older actor may learn more by getting out and working.
Full-time programs also end in a graduate showcase, which Kym says casting directors, agents and managers attend to find new talent.
Start with the basics. Kym recommends a foundational class first, the kind that works on listening and being in the moment before you lean on dialogue, then a scene study class, which works through scenes with a partner and no camera in the room. That's close to how a rehearsal room feels. Improv sharpens your reactions, and on-camera classes come later if you also want screen work.
Jess suggests working out what kind of actor you want to be, then auditing classes with teachers who specialise in it. Our acting classes by city and acting techniques pages go deeper.
Anywhere you can perform in front of people: school and university productions, student-directed plays, community theatre, small fringe and festival shows. Early on, the aim is simply hours on stage.
Kym also suggests monologue competitions and showcases. Industry people often judge them, but the bigger win is learning to perform under pressure where little is at stake.
Expect to be asked for a monologue far more often than in film and TV. Kym told us screen casting rarely asks for one, but theatre asks quite a lot. Her advice is to keep two "pocket" monologues ready, one dramatic and one comedic, each between one minute and just under two (she aims for about 1 minute 40). Avoid pieces made famous by a great actor, and practise each one many different ways so you can take a note.
Some theatre companies also hold general auditions, meeting actors for a whole season rather than one role. Always follow each company's own instructions on what to prepare. Our monologues for auditions page covers choosing and performing them.
Actors' Equity Association is the US union for stage actors and stage managers. As of November 2026, its Open Access policy lets you join once you have been paid to work as an actor or stage manager on a theatre production in the United States. You must first finish any non-union theatre jobs. The old EMC points program has been phased out.
| Equity cost (as of November 2026) | Amount |
|---|---|
| Initiation fee | $1,800, payable over up to three years |
| Initial payment | $600 when your application is accepted |
| Basic dues | $176 a year, billed $88 each May and November |
| Working dues | 2.5% of gross earnings under Equity contracts |
Membership privileges, including Equity-only auditions, start after that initial payment, according to Equity's dues and fees page. Members of sibling unions such as SAG-AFTRA can also apply after a year in good standing, if they meet Equity's other conditions. This is general information; check with Equity for your situation.
Go to the theatre, and go to support. Kym suggests seeing plays your peers are in, and arriving 20 or 30 minutes early to meet people. Darren Darnborough reminds us the audience is there to watch the show, so be respectful and let connections happen naturally. Ajarae Coleman says don't expect lots of casting directors at a random night; target industry nights or a show with a mixer afterwards.
When you do write to a casting office, be specific. CastingAbout's Brian Wold and Blair Hickey described a major Broadway casting office with a thick pile of generic "please consider me for anything" submissions, which the office saw as unprofessional.
Yes, and the industry respects stage training. Manager Chris Roe told us he goes to the theatre most nights when he's in London or New York, and believes the best actors are theatre actors, because they know their craft. Casting director Carmen Aiello said that when she doesn't know an actor, theatre on the resume influences her, and she expects actors to know the theatre world.
Jess says a successful actor needs to be good at both. The main shift is scale: see stage acting vs screen acting for what changes in front of a camera.
Take a foundational or scene study class, then get on stage anywhere you can: school, student, community and fringe productions. Prepare two contrasting monologues and start auditioning for plays.
No, but you do need training. A full-time program gives younger actors a strong foundation and a graduate showcase; ongoing classes work for many others.
Usually one or two contrasting monologues, each under two minutes, plus whatever the company asks for. Theatre asks for monologues far more often than film and TV casting does.
As of November 2026, Equity's Open Access policy lets you join once you've been paid to work as an actor or stage manager on a US theatre production, after finishing any non-union theatre jobs.
As of November 2026, the initiation fee is $1,800, with $600 due when your application is accepted. Basic dues are $176 a year, plus 2.5% working dues on Equity contract earnings.
Yes. Our experts said stage training is respected by casting directors and managers, and the main adjustment for camera work is scaling the performance down.
Stage or screen, the early steps are the same: training, materials, experience and the right people around you. 10 Steps To Becoming An Actor puts them in order for you.
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