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It’s no wonder that many actors find Shakespeare intimidating. There is a cultural narrative (backed by a history of exclusion and imperialism) that Shakespeare is the province of the wealthy and elitist. This was not the way the text originated, nor should it be the way it is performed and enjoyed today.

With the right tools, Shakespeare can and should be accessible to everyone. And what better place to start for an actor than auditioning for Shakespeare?

Here are five tips to nail your Shakespeare auditions.

86 Your Shakespeare Preconceptions

The biggest enemy of performing Shakespeare is the pressure we tend to put on it. In his day, Shakespeare’s plays were enjoyed by all classes, generally written to be popular entertainment.  

Making the text so precious strips it of its ability to reach the audience. You can’t root a performance in authenticity if you’re worried about fulfilling some concept of what Shakespeare is “supposed to” sound like. Actors who fall victim to this can subconsciously put on the dreaded “Shakespeare voice,” adopting an assumed gravitas or even quasi-British inflection foreign to their natural voice. Remember, no one is hiring you to present Shakespeare–they still want you to act it. Just like any other work, your interpretation and embodiment must take precedence over any historical takes on the text. 

How to Choose a Monologue for Shakespeare

If you’re attending general auditions for a Shakespeare company, the above sentiments are particularly important to keep in mind while choosing your audition pieces. If you don’t know where to start, my best advice is to stay away from the super famous monologues (To be or not to be, Lady M’s mad speech, etc.) but also avoid overthinking it and trying to choose something completely obscure. Especially if you’re auditioning for a Shakespeare company or a director well-versed in Shakespeare, as it’s unlikely you’ll find a piece they’ve never heard.

There are only so many plays to choose from and the popular ones are popular for a reason. Finally, if you’re quite comfortable with Shakespeare and just looking to shake the dust off, remember that all rules can be broken. If you know in your soul you can slay that one super famous monologue, that’s more important than killing yourself trying to choose the “perfect” piece.  

Know How to Read Shakespearean Sides

Knowing how to approach sides, both given in advance and encountered during cold reads, can give you a significant leg up. Of course, if you have time, scanning iambic pentameter and comparing the Folger to the folio can provide insight and discovery.

However, if you’re dealing with a fast turnaround or a cold read, have your strategies in place to compress the process. Read it once through to get the flow and general idea of it, then circle any words or references you don’t know and look those up. It will make a difference if you understand every word you’re saying versus getting the general gist.

Punctuation is a huge indicator of pace and shape in Shakespeare. Any full stops (periods, exclamation points, even questions) should be honored. Use those as your beat shifts and note the shift in thought, tone, and tactic. Don’t forget to apply all your usual tools: fighting for your objective is still more important than painting with flowery text.

Put it in the Bard’s Text

Another great strategy to keep in mind is to put it in the text. As opposed to, say, Chekov, who lives and breathes subtext, Shakespeare is often saying exactly what his characters mean.

If they say “This hair I tear is mine,” (King John, Act 3 Scene 4) they are not speaking metaphorically. That character has been in such distress that hair has been torn from her head. Honoring the full breadth of the stakes and keeping the bulk of your thoughts and discoveries on the text as opposed to between the lines will go a long way towards keeping your performance active and honest.

Find the Fun

Shakespeare is fun! His plays are as irreverent, dirty and goofy as they are poignant and tragic. Find and uplift what feels real, personal and exciting.

These plays have been performed for 400 years. Rather than finding that confining, I think there can be a sense of freedom in that. Chances are, whatever choices you’re agonizing over have been made many times before, and value has been found in multiple interpretations. So find the one that speaks to you, and go in with confidence.

This article originally appeared on Casting Networks.

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Written by Rachel Frawley