The Wizard of Oz Monologues & Audition Scenes

Audition Monologues & Scenes — Character-by-Character Guide

The Wizard of Oz remains one of the most-requested audition pieces for young performers, family theatre auditions, and pantomime calls. The 1939 MGM screenplay and the RSC stage adaptation give actors crisp, character-driven scenes with clear wants and instantly recognisable relationships. This guide curates the strongest monologues and two-handers for each principal role, with director's notes for the audition room.

By L. Frank Baum / Harold Arlen & E.Y. Harburg (musical) · 1900 / 1939 · Family · Musical · Fantasy · Children, Teens & Adults

Why it works for auditions

  • Universally familiar story — panels know exactly who you're playing
  • Clear, active wants on every page (get home, get a brain, get a heart, get courage)
  • Roles for every age, from young Dorothy to the older Wizard and Glinda
  • Strong musical-theatre audition material if the call asks for a song-and-scene combination

Common pitfalls

  • Don't do an impression of Judy Garland, Bert Lahr, or Margaret Hamilton — panels are watching for you, not the film
  • The Scarecrow, Tin Man and Lion are physical roles — find one physical idea each and commit, don't cycle through five
  • Dorothy's homesickness is the engine of the whole story; if you skip the want, the speech goes flat

Characters

  • Dorothy Gale (10–18 (plays younger), both) — The heart of the story. Dorothy's opening speeches about wanting somewhere over the rainbow and her later pleas to the Wizard are go-to audition pieces for younger female performers.
  • Scarecrow (14+, monologue) — The Scarecrow's "If I Only Had a Brain" speech and his early scenes with Dorothy are physical, funny, and emotionally generous.
  • Tin Man (16+, monologue) — A great choice for actors who want to play vulnerability inside a strong physical frame. The Tin Man's longing for a heart works as a gentle, contained monologue.
  • Cowardly Lion (18+, monologue) — A big, generous comic role. The "what makes a king out of a slave" speech is a classic comedy monologue for adult male performers.
  • Glinda the Good Witch (25+, monologue) — A poised, warm role often used for older performers and musical-theatre auditions. Glinda's closing speech to Dorothy is one of the most quoted moments in the film.
  • Wicked Witch of the West (25+, monologue) — The audition villain of villains. Strong piece for actors who want to show range and danger.

FAQ

Is The Wizard of Oz a good drama-school audition piece?
It can be, but check the panel's requirements. Many UK conservatoires (RADA, LAMDA, Guildhall) ask for material that hasn't been heavily filmed — a fresh, grounded take on Dorothy or the Wicked Witch can work, but a screen-impression won't.
Can I use Wizard of Oz for a younger-performer audition?
Yes — Dorothy is one of the most popular audition pieces for performers aged 10–16, and many youth-theatre and stage-school panels welcome it.
Are these scenes from the 1939 film or the L. Frank Baum book?
Our library includes both — film-derived scenes use the MGM screenplay structure, while book-derived scenes draw on the public-domain Baum text. Each scene page tells you which source it's adapted from.

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