In addition to academic scholarships, the Department offers stipends in performance and technical areas  for qualifying students. For example, a student may receive a stipend for performing in one of our tour groups, or for advanced work in the scenery or costume shops,  These stipends are financed through grants and other sources which vary from year to year.

Students holding stipends and scholarships must remain active in department activities and must remain current in the completion of their core requirements.

How to Apply for Scholarships and/or Stipends

  1. Apply for an audition or interview. Click here to get started.
  2. Audition (for performance stipends) or present a porfolio (for design/tech stipends) at our annual Auditions/Interviews Day, usually in February.
  3. Be prepared to provide documentation of your current GPA.  If you are a freshman entering the Department, provide documentation of your SAT or ACT scores.
NEW STUDENTS: While not required for the theatre audition/interview, it's a good idea to go ahead and apply for admission to UAB. You can start the process online here.

How To Prepare Your Scholarship/Stipend Audition

  • DESIGN /TECH: Please bring with you an organized display or portfolio of your design work and be prepared to speak about the experience of your creative process to our Faculty and Staff. Stage managers should have annotated production books (blocking, tech cues, schedules, etc) and be prepared to speak about your stage management experience.
  • PERFORMANCE: Performers should prepare two contrasting pieces - two one-minute monologues, one comedic, one serious; OR a 16-bar song (bring sheet music in a binder clearly marked for the accompanist) and a one-minute monologue.


  • A photo with resume on the back.
  • A comedic monologue of about 90 seconds.
  • A dramatic monologue of about 90 seconds.


  • Find material that you could be cast in today.
  • Use material that is within your age range, your vocal range (especially if you're singing), your emotional range, and within the scope of your movement skills.
  • Avoid material that requires a dialect.
  • See that the material moves to a conclusion. Begin somewhere and go somewhere  through the material.
  • Use material that focuses on your character.
  • Avoid material that you have performed in a complete production.
  • Discuss your choice of material with your director, and your other acting teachers.
  • Choose material in which you have faith, and as you rehearse allows you to gain confidence.


  • Make strong, positive choices aimed at putting your character in charge of the scene.
  • Locate and exploit counterpoints and tensions between yourself and the character, tensions within the character, tensions between the character and the dramatic situation.
  • Allow time for audience reaction when the character has to make a choice. Share choices with the audience.
  • Give movement specificity, dramatic validity, and theatrical finish. Simple but completely realized movements and gestures are the most effective.
  • Avoid literal interpretations of the text in movement and gesture.
  • Keep body and face forward. Avoid too much profile.
  • Maintain vocal control throughout the scene. Don't let emotions drive you beyond vocal expression you can control.
  • Imagine the physical space appropriate for your scene; set the boundaries and maintain control of that space during the performance. Movement should develop organically from the material; the connection between the physical action and its emotional source should be strong and clear.
  • Clearly specify the ending of the first piece and the start of the next. Do not run the scenes together.
  • The confidence, poise, and polish characteristic of outstanding auditions is the result of dedicated, concentrated rehearsal and astute coaching. Ask your acting teachers and your coaches to help you with your audition. Adequate rehearsal is vital.


  • Wear simple, attractive, comfortable clothes and shoes suited to your movement choices.
  • Minimize jewelry.
  • Style your hair so that it flatters your face, not hides it.
  • Warm up your voice and your body.
  • Assess the acoustic qualities of the performance space and make choices regarding how much vocal energy you will need to be heard.
  • At the beginning of the audition, state your name, and the titles of the pieces you will perform.


Call or write
Theatre UAB Head of Performance Dennis McLernon
Theatre UAB Department Chair Kelly Allison