I know.  You're hoping that I'm going to give you a miracle way to memorize.  A magic bullet.  Sorry.  I don't know of one.  If someone out there does, let me know?  The bottom line is...memorizing lines is hard work.  It's never easy.  But it seems like every actor has their own method.  I'll list several ways, then tell you how I do it.

Various ways to memorize lines -

Read the lines over, and over, and over, and over, and over, and over, etc.  The lines are supposed to plant themselves in your head. 

Write/type all your lines out as one long line, (one big speech), then learn the lines as a monologue.  Then, at rehearsals, you can figure out where the other character's lines get inserted.

Make a tape with all your lines on it.  Then play it in your car.

Make a tape with everyone else's lines on it, (including silent spaces long enough for you to say your lines.)  Then, play it in your car.

Take a small notebook, (or flash cards).  On one side, write the cue line, (the line before your line).  On the other side, write your line.  Practice looking at the cue line, then deliver your line.

Ask your friends, family, acquaintances, meter readers to "run lines" with you.  They hold the script and read all the lines from the other characters.  Then you recite your lines.

Read each of your lines as many times as there are words in it.  Each time emphasizing a different word.  For example, if your line is, "Oh no, he's got a gun."  Read it seven times, (once for each word in the line), the first time emphasizing "Oh".  Then "no".  Then "he's".  Well, you get the idea.  Don't you?

How Randy Manning does it - 

I've used all the methods above but no single method is a "silver bullet" for me.  Usually, I... make a tape with other characters lines in it.  Also, my family is nice enough to "run lines" with me.  I try to get to the point were I can recite all my lines without the other character's lines in between. 

A Few Random Thoughts about Memorizing -

You can analyze a play by beats.  A beat of action, that is.  A 'beat' changes when the subject changes or when a character changes his or her tactic to get what he or she wants. Then they name each beat. For example, "the piano beat" if the characters are talking about a piano. Or you can name it by what your character is trying to do at that moment. Lots of actors go through the script and draw lines in between the beats. Some just do it instinctively, without writing it down. Most actors do some sort of analysis of the script as well as character analysis. It might help to analyze your play by beats and memorize your play by the beats.  This could help make it easier to remember.  It might not seem like such a "mountainous" task.   In other words, memorize in smaller 'bites'.

Aside from performance night, one of the most nerve racking moments is the night that the "lines are due".  I've heard it a many times.  "I don't know what the problem is, I knew these lines at home".  (I've even said it many times myself).  Well, the problem could be that you learned your lines at home while sitting on the living room couch. But now you're at rehearsal, standing up and moving around.  Your brain knew your lines when sitting at home on the couch, but when you have to stand up and move around, your brain has more things to think about.  So, while it's a good idea to start learning your lines while sitting down, once you can remember the basic lines start working on your lines while standing up.  Then, while moving around.  Then, running.  Then, hopping on one foot and flapping your arms. 

You need to know your lines "cold".  Knowing your lines "cold" helps your performance.  Also, "dropping lines" can be contagious onstage.  (No pressure, of course.)

Ok, I've got my script.  When do I start memorizing -

Now!  Don't wait another day.  Start today!

Why start today?  Because it won't get any easier.  In fact, because of the added pressure, the closer to performance, the harder it will be to learn your lines. 

Why start today?  Because the sooner you get your lines memorized, the sooner you can start working on the actual delivery of those lines.  Your lines should sound natural.  In order for them to sound natural, you should know your lines "cold".

Why start today?  Because the sooner you get that script out of your hands, the better your performance, (and everyone else's), will be.  The sooner you get the script out of your hands, the sooner you can start deciding other things.  Other things like what to do with your hands, how to handle props, etc.  There is a lot to learn after those scripts are 'out of your hands'.  

What the Director should think about "Lines" -

The first thing any director should think about lines is, 'Yipee!  I don't have to memorize them!  Only the actors!'  Once you are past that euphoric state you'll realize that it's your job to make the show/sketch 'good'.  One aspect of that is 'lines'.  Your actors have to know their lines.  Your actors have to know them "cold".

One of the first things you must do as a director is set up a rehearsal schedule.  On that schedule, let your actors know 'when lines are due'.  If you are rehearsing for a five minute sketch, and say you are having two or three rehearsals, then I recommend the actors have their lines memorized before the first rehearsal.

If you are rehearsing for a Three-Act play, then you will be rehearsing for several weeks.  In that case, I recommend the 'lines due' date about 3 or 4 weeks before performance.  

You could schedule a rehearsal simply as a 'line bash'  That's when the actors come together to 'race' through their lines.  No acting, no movement, just speeding through the words as quickly as possible.  The first one done wins!  (That's a joke.)  For sketches, I always schedule a 'line bash' right before the church service starts.  I think it brings the lines to the top of everyone's mind. 

Be forewarned, at first, the actors will have trouble remembering their lines.  After all, it's difficult to remember lines and blocking, (movement), in the beginning.  However, if one, or more, of your actors is obviously dragging down the rehearsal to the point of not being effective, then don't get upset.  Just schedule an 'additional' rehearsal and send your actors home to work on their lines.  It happens.  As a rule of thumb, do not waste valuable rehearsal time working on lines. 

When the 'lines due' date arrives, ask someone, (not in the play), to come to all rehearsals and 'stay on book'.  A word of warning.  I have seen animosity grow between the "on book" person and the actors.  The actors are working hard to remember their lines but the 'on book' person keeps correcting them!  Something that should 'nip that problem in the bud' is letting everyone know what the rules are.  Instruct your actors to call out 'line' only when they can't come up with the line themselves.  Instruct your 'on book' person to only help when the actor calls out 'line'.  More detailed instructions for the 'on book' person can be found by clicking on the link below.  Print out the instructions for the "on book" person and let them read it. 

Instructions for the 'on book' person.

This 'on book' person should not be confused with a 'prompter'.  A prompter stays 'on book' during the actual performance and whispers lines to the actors when they are stuck.  (More about prompters)

Dropping lines during a performance.

"Dropping a line" is forgetting your line.  Plain and simple.  I've done it.  We've all done it.  It happens.

As a director, tell your people (a) that it will happen; (b) when it happens, do not turn and look at the person you think "dropped the line"; (c) do not whisper his/her line to him/her.  Instead, try to think of a way to get things started again.  Maybe, (if you know what the line should be), asking a leading question to the person? 

Also, after a dropped line, do not criticize that person when you get backstage.  I say that for many reasons, but two off the top of my head are.  First, it'll happen to you someday, and second, after examining the script, it might turn out to be you who dropped the line, (that's happened to me).

Bottom line?  A dropped line is not the end of the world. 

It's just my opinion,

In Him,

Randy