Hello everyone and welcome back for a brand-new Monologue Monday! Today’s author is Wade Bradford. A bit about Wade in his own words (taken from his site):
Wade Bradford was born and raised in the often wet and sometimes windy state of Washington. At the age of 19, Wade fell in love with a girl who lived out-of-state, so he moved to the often sunny and sometimes shaky state of California.
He earned a Masters in Literature from CSUN. Wade currently teaches English at Moorpark College. In 2011, his first picture book, Why Do I Have to Make My Bed?(edited by Red Fox Literary agent Abigail Samoun) was published by Tricycle Press/Random House. In a starred review, Publishers Weekly said of the book: “This book deserves a place on the shelves next to the Magic School Bus series.”
He’s also published several other books and has written quite a few plays, some of which are available royalty-free, including Cinema Limbo. This play takes place in a movie box office on December 24th and veers from getting-to-know-you to kissing within 10 minutes. The full play is available here.
Here is Vicky’s monologue:
VICKY: Well, you have to understand. I’m the kind of girl who takes pity on poor pathetic geeks who have never kissed a girl. Let’s just say that I like someone who is easily trainable – someone who will truly appreciate me. It’s sad, I know. But hey, I’ll take an ego boost wherever I can get it. Unfortunately, these adorably nerdy boyfriends get boring after a while. I mean, I can only listen to their computer games and mathematic equations for so long. Of course, Stuart’s different in a lot ways. He’s terrible at math, for one. And he’s pretty clueless about technology. But he’s a comic book sort of geek. And a hopeless romantic. He’s pre-occupied with holding my hand. Everywhere we go, he wants to hold hands. Even when we’re driving. And he’s got this new pastime. He keeps saying “I love you.” It was so sweet and wonderful the first time he said it. I almost cried, and I’m not the kind of girl who cries easily. But by the end of the week, he must have said “I love you” about five hundred times. And then he starts adding pet names. “I love you, honey bunch.” “I love you sweet-heart.” “I love you my little smoochy-woochy-coochi-koo.” I don’t even know what that last one means. It’s like he’s speaking in some brand-new, love-infected language. Who would have thought romance could be so boring?
There’s flexibility in how one can play this. Is Vicky more of an ingénue who fears committed relationships and does this to escape them? Or is she some femme fatale preying upon naïve and desperate guys? Is she simply coquettish? Or none of the above? Is this character an archetype or a person? Let’s see:
Howdy and welcome back to Unknown Playwrights and Monologue Monday!
This is our second monologue from Josh Weckesser. The previous one is here.
This monologue is from a one-act play entitled It Came from Texas. The summary comes straight from the playwright’s site:
It Came From Texas is the story of a monster that rampages the country side, eating all in it’s path. This intrepid group of gamblers take refuge in a basement, where they do their best to ignore the world. This succeeds only in so much as the Hate Music will allow, not to mention the Female Overmind. A sci-fi fantasy western with a twist (NOTE: The previous statement is false). Really, it’s about a bunch of people pissing a day away, languishing in each other in the way that only a group of people that knows each other too well can languish.
The monologue itself features neurotic Tim dealing with a super-clingy Beth, who still loves her ex, Jonas.
Hello and welcome back to Unknown Playwrights. Now that I have finally defeated the NaNoWriMo beast, Monologue Monday is back from hiatus!
This week we bring you Kim Kutledge. This monologue was written by a (then) high school student for high school students. As far as high schooler-written monologues go, it’s not half-bad.
I can see why actors would like this. It has a whole range of emotions and involves hallucinations and Keanu Reeves. It also ends on a positive note. It looks a little difficult to pull off because it’s all over the place. And why do actors love monologues about mental illness? (Remember that Crazy monologue?) Also, Kim is unusually self-aware.
Hello and welcome back to Monologue Monday. This week’s monologue is perhaps the most unique monologue featured on the site so far.
It is simply, yet strongly, the word “no” repeated. This is an incredibly powerful monologue that forces the actor to, well, act. It isn’t merely saying “no” with different tones. The writer/performer Palesa Molefe runs the gamut of human emotions as she expresses various iterations of the word “no.”
As a produced monologist myself, Molefe has achieved with one word anything greater than I have (I know it’s not a competition). Let’s take a look:
On the flip side of things, there are people who say “no” to everything, but they tend to exist in Jim Carrey movies.
As for the performance aspect, I asked actor, dancer, director and intimacy choreographer Nicole Perry for her take on this monologue:
This monologue is great for actors working on developing emotional nuance or range. Similar to the Meisner game that requires partners to repeat, the monologue is simply the word “no”. Memorization made easy!
This monologue is a great showcase of “it’s not what you say, it’s how you say it”! Each repetition is different. She covers great emotional range throughout the performance, and a variety of commitment levels and/or intentions. From adamant denial to a meek admittance, from scoffing to delight.
Because the words are easy to remember, this could also be a great monologue to work on movement. As a movement analyst, I’m interested in when our movement supports what we are saying, and when our movement belies our true intentions. This would be a great piece to play with not just saying “no” with a variety of emotions and intentions, but also adding a layer of movement that either supports or denies what you are saying! What characters/situations come up for you as you experience this?
I love that this monologue allows us to say “no”. Frankly, in 2019, it’s a skill we need to practice. As actors, we are conditioned to say “yes”. But, as the Broadway Intimacy Director Claire Warden likes to say “No is a full sentence”. If, as a performer or an acting student, you are put in a position that is unsafe, triggering, or questionable, you have the right to ask questions, or to just say “no”. The difficulty in this is that the power dynamic of actor/director, particularly if it’s student actor/adult director, makes us very fearful of the consequences of saying “no”. So, practice saying “no”. I hope you always get to train and work in situations that honor your agency and personhood, and allow you have and hold your boundaries. But, in case you don’t, know how to say “no”.
Ms Molefe was kind enough to give us her introduction:
My name is Palesa Molefe a 20-year-old self-taught actor and scriptwriter from Botswana. I have always had a love for the arts, specifically film and stage performance, however my acting career truly began after the short film ‘Lacuna’ which I wrote, produced and featured was amongst the official selection in the Botswana National Film Festival 2018. I’ve gained recognition for my creative and unorthodox style of storytelling. Currently I am working under my mentor Mr. Tefo Paya – an internationally recognized performer and director from Botswana, to help develop and sculpt my career.
Beyond introductions, Ms Molefe went out of her way to answer some questions for us.
Where did the idea come from to write/perform this monologue?
–I wanted to give light to the abuse women in Botswana go through. For reasons only known to us, most of us stay silent after having gone through such a traumatic experience. This piece to validate every woman’s ‘NO’, whether she’s saying it drunk or nervously laughing because she might be afraid. Her no is valid and she’s worth being listened to and taken seriously.
How did your prepare/rehearse this monologue?
– I did not rehearse this monologue because I know that women who have gone through this weren’t given the luxury. The day I decided to shoot the monologue, I grabbed my camera, set it up in my room, gave myself time to find my center and remembered all the stories I had heard prior to that moment. I then allowed myself to feel every emotion that needed to be felt in each moment as I started to record.
What has the response been?
–I come from a very conservative country, so it was a bit of a culture shock. The delivery of the message was different from what a lot of people had seen but overall viewers were warm and appreciative of the message.
Have you done much other writing, dramatic or otherwise?
–I continue to write to this day. I have plans for these scripts, whether it’s to share them on stage, film or just to keep them to myself. I recently returned from a tour around Botswana called ‘Madi Majwana’, it focused on using theatre as a tool to educate people from all walks of life on financial literacy. Right now I am focused on being a good student and learning from the ones who came before me in the creative industry.
What was the hardest thing about this monologue?
–Being honest. Being honest about how I truly felt in telling the story of many women.
What are your influences?
–What I feel, hear, think and see every day plays a big part in what influences me. If I was to move to a different country, my story and my truth would be different from the one I have now. I would experience life differently, I would hear different stories, I’d think differently because new environment adjustments and I’d see different scenery, different people, different ways of life.
What advice do you have for other performers/writers who want to use their voice for activism?
–Only you can tell your story best. When you’re convicted to write a script or perform a piece, do it in a way you know only you can. That means trusting in your capabilities, trusting in your own voice, in your own truth and owning it. You have to admit that it’s kind of hard to write a story about the life of a 50-year old man in Africa whilst you’re a 25-year old young man from America because well that’s not your story, it’s not your truth.
What do you have coming up next? How can we find out more about you?
–Currently I am working on a script for another short Film. It’s still in its early stages but it will be out and up on my YouTube channel before this year comes to an end. Email –email@example.com.
YouTube channel – Palesa Molefe
(is where my content can viewed, including Lacuna the short film.)
Facebook Page – Palesa Molefe
Ms Molefe is truly one of the most impressive theatre people I’ve interacted with. Please subscribe, follow or contact her. Folks like Ms Molefe are the future of theatre.
I couldn’t really find out much about this monologue except you can download it here.
Don’t worry, I’ve copied the text below. The monologue is good at pointing out how social media has modified or co-opted the concept of friend.
I could not even find out who the writer was for this one. If you know, please contact me so I can credit them.
INT: AN OFFICE
Greta has been cornered by a coworker who is angry about being removed from Greta’s social media profile.
Look, I’m sorry, Louisa, it wasn’t personal or anything. I’ve just started unfriending people who aren’t strictly relevant to my social life. Yikes, that sounded wrong and I can see the angry Tweet forming in your brain, but come on, hear me out.
You and I are friends…in a professional context. I like chatting with you here at the water cooler or at potlucks. I mean, I like being on your team when we do company bowling, because you’re an awesome bowler.
(Louisa does not look appeased.)
Okay, I can see I’m doing a bad job at this. It’s just…you don’t really want to see my Facebook updates about going to nightclubs in the city and I’m tired of reading about marriage and pregnancies and nightly family Boggle sessions and life-changing trips to Europe.
Ugh, not, not like your trip to Europe. Barcelona looked absolutely magical. I meant it general. It’s like…
Do you ever feel like everyone’s living a better life than you? Or at least acting like it? From what I can tell, two-thirds of my friends have the most adventurous, fulfilling careers that anyone could ever have. And the rest of them have perfect children and ideal spouses. There’s some overlap in there too, which is really unbearable. Or, I don’t know, maybe they’re all faking it. I guess I am too. I’m not posting about sitting under these fluorescent lights fifty hours a week. Or going home to a cat now that James left for good. Or dressing a body pillow in his old clothes and sleeping with it.
(Stares at the ground, Louisa completely forgotten.)
So anyway, that’s why I unfriended you. I just didn’t want to get too personal with my coworkers.
Situation: Gretchen has been convicted of the pre-planned murder of her uncle, who raped her repeatedly when she was a child. Now that she’s in prison, she wants revenge on all men for the terror that she went through. The security guard is her most immediate target.
Here is a sample from the monologue:
Yeah I shot him. What’cha gonna do about it, huh? Fucking pig. Fucking woman-hating, vaginaphobic son of a bitch! That shithead had it coming. Don’t look at me with those sad eyes! Those puppy dogs! Those droopy goopy cellophanes! What’cha gonna do about it huh? Feel sorry for me punk? Fuck you! You goddamn pansy! Momma’s boy! Sad sack loony tunes, probably can’t even please a woman, can ya?!? (She leans in seductively) Probably don’t even know what a pussy looks like. Do you?If I showed you my mine, would you even know what to do with it? (She chuckles) Yeah, I didn’t think so. These bars can’t hold me in. These walls can’t shackle me. I am transcendental. I am existential! I am anti-matter, ectoplasm, plant destroying phytoplasm. I will melt into the floorboards, delve into the ether, I will eat the ground beneath my feet, and swallow up asbestos. I will rise up on the other side, a thousand times larger than I am right now, and I will cut you while you’re sleeping. I will fuck your family, and I will eat your goddamn dog for dinner! That is – assuming that you have one. Do you have a dog there, Mr. Guard? Mr. Doggy Guard? Or are you just a pussy man like I think you are? (Small pause) Don’t even look at me. Don’t even breathe near me. Every particle of air you spew is like a toxin. Every sound you make is … (She spits at him) Just get away from me. (She turns away) Why don’t you leave me alone? (Small pause) I did what I had to do. What someone had to do. What my father should have done a million years ago – I put that fucker down. Like the rabid bitch he was. (She sits) Why are you still looking at me? Shit. (She wipes a tear from her eye) Do you want a blow job? Is that…? (She shrugs) Fine. Whatever. Bring it in here, buddy, I’ll suck you off. Just like every other guy in the universe. ‘Just blow me and I’ll let you live.’ (Pause) Well, what the fuck are you waiting for? I gave you an invitation, didn’t I?
Hello dear readers! We’re back with yet another Monologue Monday – this week we are featuring Tara Meddaugh’s monologue The Best Marriage Advice taken from the full-length play Black and White and Red All Over.
You might be thinking that Meddaugh has become Unknown Playwrights’ resident monologuer. Not quite, but her monologues are pretty dang good. This monologue is classic Meddaugh, written in 1998 and brimming with her unique brand of humor.
A frivolous couple passes the time by hiring and firing servants, and reading old newspapers they deem to be the current. But when the Wife wants more out of her life, she charges her Husband with a perilous task… Meanwhile, four eclectic strangers wind up secretly waiting together in this couple’s bathroom. When they discover the reasons they have all been put together, the absurdities and danger of their situation become alarmingly clear.
The monologue itself extols the virtues of keeping things on leashes, so they don’t run into the street and get squashed by cars. Meddaugh even has a neat Q & A about the play on her site.
As the monologue setup describes it:
Scene: Georgia is speaking to a young man and woman who have just met in this encounter. The couple is in the bathtub, shower curtain pulled so Georgia cannot see them, but they are presumably making love, as they both have admitted they are young and attractive, and this should be the natural course of events. Georgia is a make-up artist, and older, believing she has much wisdom to impart.