15 audition scenes from Fleabag. Available as duologue & monologues — ready to download for self-tapes, drama school auditions, and practice.
Written by Phoebe Waller-Bridge
Showing 15 of 15 scenes from Fleabag
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Start with who you want to play and who needs to hear you. Fleabag’s plea for direction is an intimate monologue; the Priest’s wedding speech addresses a room. For a duologue, the sisters’ lunch conversation offers barbed comedy, while the café conversation with the Bank Manager asks both actors to navigate an unexpected moment of kindness.
Compare these picks from the full collection. Formats, characters and estimated durations are listed with each scene.
Fleabag: asking someone to take charge
The Series 2, Episode 4 monologue builds a list of decisions Fleabag wants someone else to make. Choose it to explore how an apparently ordinary request becomes a much larger admission of uncertainty.
Try in rehearsal: Give each new request a reason to follow the last. Try persuading the listener to give you an answer, rather than deciding in advance where to become emotional.
The Priest: a public speech with personal stakes
The wedding speech begins with the painful effects of love before moving toward hope. It offers a different speaker and audience from Fleabag’s private plea, with room to work on humor, conviction and a change of thought.
Try in rehearsal: Make the opening useful to the people listening. Find the thought that gives you a reason to continue toward hope, rather than adding warmth from the first line.
Fleabag and Claire: rivalry over lunch
A simple sandwich order becomes a way for the sisters to challenge each other. This exchange gives both actors a practical task while questions about success, control and the café make each reply more pointed.
Try in rehearsal: Keep trying to complete the order. Let a specific word from your partner provoke the next jab, then return to the task as if nothing happened.
Fleabag and the Bank Manager: accepting kindness
This café conversation starts with a misunderstanding about guinea pigs and moves toward a more personal disclosure. It is a different situation from the initial loan interview: choose it to explore a guarded relationship becoming more sympathetic.
Try in rehearsal: For Fleabag, try to keep the conversation about the business until that becomes difficult. For the Manager, listen before offering reassurance; let what you hear change your response.
For Fleabag’s plea, give the unseen listener a clear place in the room and wait for the response you need. For the wedding speech, decide when you are addressing everyone and when a thought becomes personal. In the duologues, agree on the practical task before rehearsing: making lunch or discussing the café. Let the relationship emerge through that task. These picks are television excerpts; check your brief if it specifically requires a stage play, and time your own reading.
Check your audition brief for permitted material, format and time limits.
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