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.
Why panels love it
- ✓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
Audition Pieces by Character
Every character below has at least one strong monologue or scene in the The Wizard of Oz library. Director's notes are written for the audition room, not the academic page.
Dorothy Gale
10–18 (plays younger) · Monologue & duologue
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.
Director's note
Dorothy is brave, not "sweet". The audition trap is playing wide-eyed innocence. Play the want to go home and the loneliness underneath — the warmth lands on its own.
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.
Director's note
Pick one clear physical centre (loose joints, gentle confusion) and don't add to it. The Scarecrow is genuinely thinking — he just doesn't trust his own thoughts. Play the thinking, not the silliness.
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.
Director's note
Stillness is the choice. The Tin Man can barely move — let the want do the work. A single tear, a single breath, and the panel is with you.
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.
Director's note
The Lion is genuinely terrified. The comedy comes from how hard he tries to pretend otherwise. Find the fear first, then let the bluster sit on top of it.
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.
Director's note
Glinda knows the answer the whole time but lets Dorothy find it herself. That's the choice — patient knowing, not benevolent fairy. Smile less, listen more.
Wicked Witch of the West
25+ · Monologue
The audition villain of villains. Strong piece for actors who want to show range and danger.
Director's note
Don't cackle. The Witch is furious because she's been wronged — her sister is dead and Dorothy has the shoes. Play the grievance straight and the danger arrives without the green make-up.
Frequently asked
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.
Keep preparing
More tools to get you audition-ready.
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