Patrick N Jordan

How I Memorize Lines: From Small Roles to Joe Gillis

One of the questions I’m asked most often as an actor is, “How do you memorize all those lines?” For me, the answer is a process I’ve built over years of practice—a process that works whether I’m learning a handful of lines for a supporting role or carrying an entire show as the lead.

Right now, I’m playing Joe Gillis in Sunset Boulevard at Davis Musical Theatre Company, and it’s by far the biggest memorization challenge I’ve taken on. But the same principles I’ve always used still apply. Let me walk you through it.

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Step 1: Typing Everything Out

The first thing I do with a new script is retype all my lines and my cue lines into OneNote. I mark the act and scene clearly, then type every single word and punctuation mark exactly as printed. My lines are in bold; the cue lines stay normal.

The point isn’t speed—it’s precision. The act of typing is my first layer of memorization, forcing me to slow down and take in every detail. It also organizes everything so I can see the structure clearly.

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Step 2: Cover and Recite

Once the lines are typed, I work directly from the script. I cover my lines with my hand, silently scan the cue, then speak my line aloud. If I stumble—even once—I go back to the start of that scene and run it again.

I usually memorize straight through the show, beginning to end. This not only locks in my lines but helps me feel the flow of the story as a whole. It’s never about memorizing in isolation—it’s about living in the world of the play.

I also believe in honoring the text as written. When you’re in professional theatre, ad-libbing can even get you fined, but more importantly: your fellow actors rely on you to deliver the script exactly. And the writer put every word there for a reason. As someone who’s written scripts myself, I know how discouraging it can be when someone changes your words. So I make it my responsibility to get it right.

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Step 3: Cue Line Recordings

The next step is technology. I open the voice recorder on my iPhone and record all of my cue lines only—the lines other characters say that lead into mine. I don’t leave gaps for my lines; instead, when I play the recording back, I pause it right after a cue and say my line aloud.

I usually record one scene at a time and then pace the room as I rehearse with it. Walking helps keep blood flowing, which I’ve found makes memorization faster and more effective. I’ll do this for about an hour and a half per day, keeping the script nearby to double-check accuracy if I’m unsure.

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Step 4: Speed-Throughs

Once I’m fairly confident, I stress-test myself with a “speed-through.” Using my recordings, I pause after each cue and fire off my line as fast as I can. The goal isn’t to perform—it’s to see if the words are truly second nature. If I stumble, I isolate that rough patch and drill it until I can say it without hesitation.

This is the stage that tells me I’ve gone beyond memorization and into mastery. If I can “machine gun” through the lines solo, I know I’ll be relaxed enough to focus on character once I’m on stage with others.

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Step 5: Blocking Into Memory

Memorization isn’t just about words; it’s about tying words to movement. As soon as the director gives me blocking, I write it down in my script exactly as they said it. The director’s job is to make the actors look good, so I follow their notes to the letter.

Then, at home, I’ll set up a version of the set and rehearse the blocking with my cue line recordings. Sometimes a director will tell you to cross in the middle of a line, and that physicality becomes a cue in itself. Movement always helps anchor lines more deeply.

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Step 6: Memorizing Music

For musicals, there’s an added layer—songs. Since I don’t play piano, I use Flat.io to build the score from scratch: time signatures, key signatures, notes, and lyrics typed underneath. This tool plays the music back to me so I can sing with precision, almost like having a rehearsal accompanist on demand.

I also use cast recordings. I run them through a vocal remover app so I can silence my character’s part and practice singing in time with the orchestra. At first, I focus only on accuracy—notes, rhythms, and words. Once that’s solid, I bring in character and emotion.

For this role, I’ve even experimented with applying my speed-through method to songs—running lyrics like dialogue to drill tough sections quickly.

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Step 7: Going Off Book Early

I never wait for the director to say “books down.” By then, you’ve already lost valuable time that could have been spent working on character. The script is a crutch, and the sooner it’s out of my hands, the sooner I can immerse myself in the role.

By running speed-throughs every day—even after I’m confident—I keep the lines sharp and efficient. Rough spots are targeted immediately, and rehearsals stay focused on the heart of the show: relationships, storytelling, and truth.

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Why It Works for Big Roles

What I love about this process is that it’s scalable. For a smaller role, it’s a quick and efficient way to be rock solid. For a massive role like Joe Gillis, it’s the same method—just more pages, more recordings, and more pacing sessions.

The system has carried me through every part I’ve played, and now it’s carrying me through the biggest role I’ve taken on. Because in the end, memorization isn’t about reciting lines—it’s about freeing yourself to act, to connect, and to bring the story to life.

If you’d like to see this process in action and watch it come alive on stage, come see me as Joe Gillis in Sunset Boulevard at Davis Musical Theatre Company. We open September 5 and run through September 28. Experience Andrew Lloyd Webber’s powerful score, a live orchestra, and a story that has captivated audiences for decades.

Get your tickets now and be part of the magic: dmtc.org

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🎶 Tonight’s focus: vocals.
We spent the evening working through “Too Much in Love to Care” and I’ve gotta say—singing with this cast is such a gift. Every harmony, every lyric, just hits deeper as we get closer to opening.

If you’re a fan of Andrew Lloyd Webber, this show is a must.

🎭 Come hear it LIVE starting Sept 5th.
🎟️ dmtc.org

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