Students auditioning for the BFA in Acting, BFA in Musical Theatre, or the BA in Theatre Performance must audition with one 2-minute contemporary monologue (written after 1945).
Audition material must be selected from published plays; please do not audition with original material. Choose a monologue that you connect with personally and that best demonstrates your acting abilities.
Please do not prepare monologues that are caricature, extremely broad comedy, require an accent, or that are not from a play or film. If you need assistance in finding a monologue, please consult the lists of suggested monologues below. At the bottom is a list of monologues to avoid.*
|All Over||Albee||The Zoo Story||Albee|
|Tiny Alice||Albee||Blues for Mr. Charlie||Baldwin|
|Abington Square||Fornes||Look Homeward, Angel||Frings|
|Fefu and Her Friends||Fornes||A Soldier’s Play||Fuller|
|Hello and Goodbye||Fugard||Snakebit||Grant|
|House of Blue Leaves||Guare||Six Degrees of Separation||Guare|
|Six Degrees of Separation||Guare||Slow Dance on the Killing Ground||Hanley|
|The Colored Museum||Wolfe||A Raisin in the Sun||Hansberry|
|The Autumn Garden||Hellman||The Indian Wants the Bronx||Horovitz|
|Coastal Disturbances||Howe||Boys’ Life||Korder|
|Painting Churches||Howe||Search and Destroy||Korder|
|Oh Dad, Poor Dad…||Kopit||Angels in America||Kushner|
|Angels in America||Kushner||Bash||LaBute|
|Bash||LaBute||This Is Our Youth||Lonergan|
|A Member of the Wedding||McCullers||The Woods||Mamet|
|Getting Out||Norman||All My Sons||Miller|
|In The Blood||Parks||Short Eyes||Pinero|
|Loose Knit||Rebeck||Spike Heels||Rebeck|
|Sunday on the Rocks||Rebeck||a dreamer examines his pillow||Shanley|
|Marisol||Rivera||An Italian American Reconciliation||Shanley|
|a dreamer examines his pillow||Shanley||Danny and the Deep Blue Sea||Shanley|
|Danny and the Deep Blue Sea||Shanley||Curse of the Starving Class||Shepard|
|Buried Child||Shepard||Buried Child||Shepard|
|A Lie of the Mind||Shepard||Action||Shepard|
|Cowboy Mouth||Shepard||A Lie of the Mind||Shepard|
|Stop Kiss||Son||The Food Chain||Silver|
|How I Learned to Drive||Vogel||Free Will and Wanton Lustz||Silver|
|Burn This||Wilson||Joe Turner’s Come and Gone||Wilson|
|Lemon Sky||Wilson||Two Trains Running||Wilson|
|Ma Rainey’s Black Bottom||Wilson||The Colored Museum||Wolfe|
* Please refrain from presenting monologues from the following plays as these have been used quite often by prospective students in auditions during the past year: any play by Christopher Durang, Night Luster (Harrington), Laramie Project (Kaufman), Catholic School Girls (Kurtti), Oleanna (Mamet), The Woolgatherer (Mastrosimone), Lone Star (McClure), Laundry & Bourbon (McClure), Star-Spangled Girl (Simon), Days & Nights of BeeBee Fenstermaker (Snyder), and Nuts (Topor).
Music Theatre Research Guide
To find full scripts of monologues, use the resources listed below.
- You can find and read full-text scripts online in the first three resources: New Play Exchange, Drama Online, and the American Theatre journal.
- The last two links take you to lists of books of monologues and plays in our library.
- The New Play Exchange is a collection of new plays and monologues.
- You can search this collection by play length/age level/genre, actor race/ethnicity/gender/age, subject matter, narrative attributes, cast size, character race/ethnicity/gender, and playwright demographics.
- New Play Exchange: Every Featured List on NPX Ever
- A thread of of all NPX's curated lists of different genres/topics/playwrights
**All of the monologues in New Play Exchange are available online from wherever you are. If you are off-campus, enter your Elon username and password when prompted to login.
* Drama Online includes plays by both new and established playwrights.
* You can search this collection by character gender, play length, specific playwright, genre, period, theme, and setting.
* If this link won't let you into the database, use the instructions in the box labeled "Find monologues in the Drama Online database" below to find monologues.
**All of the monologues in Drama Online are available online from wherever you are. If you are off-campus, enter your Elon username and password when prompted to login.
* An assortment of classical and contemporary monologues from plays, including Shakespeare, for males, females, kids, and adults.
* Use the filters to find the monologues perfect for you: search by author, gender, and theme.
* From backstage
* The American Theatre journal, produced by the Theatre Communications Group, contains full-text scripts of American plays in some issues.
* Here's a list of all the plays published in the American Theatre journal
-- once you find a play you're interested in, use the date to find the journal issue in which the play appears.
* Or follow these steps to find some of the scripts in this journal:
1. Click the "American Theatre journal" link above
2. Click the "Ebsco Academic Search Complete" link in the left column
3. Click on "Search within this publication"
4. In the search box, copy and paste these words: JN "American Theatre" AND "script of the play"
**All of the monologues in American Theatre journal are available online from wherever you are. If you are off-campus, enter your Elon username and password when prompted to login.
* This link searches our library system to find books of monologues.
* All of these books have call numbers that start with 812.04508 and are located on the 3rd floor of the library.
**The best use for these books is to find plays, characters or playwrights that you may wish to further investigate.
* This link searches our library system to find books of plays.
* All of these books have call numbers that start with 812.508 and are located on the 3rd floor of the library.
During your audition for a musical will you be asked to sing a small sample of a song, about 30 seconds in length. The next thing we have you do is recite a short monologue (usually this is provided from the script, but on some occasions we will ask you to prepare your own monologue of a certain length). Remember during this part, we aren't here to see your reading abilities - if you stumble over the words that's no big deal, but make sure you speak distinctly and with expression. Most of our audition monologues can be found below:
101 Dalmatians Kids
A Christmas Carol - Drama
A Year with Frog and Toad, Kids
The Addams Family - A Musical Comedy
Alice in Wonderland Jr
Anne of Green Gables - Drama
Annie Kids - more options
Bad Auditions… On Camera!
Beauty and the Beast Jr
Bye Bye Birdie, YPE
Cafe Murder - Drama
Charlie & the Chocolate Factory - Drama
Charlotte’s Web - Drama
Cinderella - Rodgers and Hammerstein's
Dear Edwina Jr
Drop Dead Juliet - Drama
Footloose….Getting to Know
Guys and Dolls Jr
High School Musical Jr
If the Shoe Fits, Buy It
It’s A Wonderful Life
Itsy Bitsy: Trial of an Eight-Legged Washout
Into the Woods Jr
Jungle Book Kids
Junie B Jones Jr
Knight at Dawn Kids - Magic Tree House Series
Left to Our Own Devices
Legally Blonde Jr
Lion King Jr
Lion King Kids
Little Mermaid Jr
Mary Poppins Jr
Music Man Jr & Kids
Objection! Disorder in the Court
Peter Pan and Wendy - Drama
Pirates Past Noon Kids - Magic Tree House Series
Pride and Prejudice - Drama
School House Rock Live Jr
School Picture Day
Singing In The Rain Jr
Sister Act Jr
Sleeping Beauty Kids
Sound of Music
The Virtual Family - A Drama
Thoroughly Modern Millie Jr
Virtual Complaint Department and Lemonade
Willy Wonka Kids
Winnie the Pooh Kids
The Wizard of Oz, YPE
1. “So, the day after I turned 18…” – Val Clarke from ‘A Chorus Line’
Let’s face it: preparing for an audition is nearly as stressful as the audition itself. For many performers, much of that pre-audition anxiety comes in the form of choosing a well-suited monologue. Just like every actress, every monologue brings something new to the table – especially when it comes to comedy!
Next time you’re looking to slay an audition with a funny monologue (YAS, QUEEN!), peruse this diverse collection.
Here are 17 great comedic monologues for women:
Chances are, you and Val have at least one thing in common: you’re familiar with the trials and tribulations of auditioning. This witty monologue, from the acclaimed musical, ‘A Chorus Line,’ denotes one dancer’s darkly comedic journey to the Broadway stage.
Monologue Length: 2:10 – 2:30
“So, the day after I turned 18, I kissed the folks goodbye, got on a Trailways bus – and headed for the big bad apple. Cause I wanted to be a Rockette. Oh, yeah, let’s get one thing straight. See, I never heard about “The Red Shoes,” I never saw “The Red Shoes,” I didn’t give a fu** about “The Red Shoes.” I decided to be a Rockette because this girl in my home town – Louella Heiner – had actually gotten out and made it in New York. And she was a Rockette. Well, she came home one Christmas to visit, and they gave her a parade. A goddamn parade! I twirled a friggin’ baton for two hours in the rain. Unfortunately though, she got knocked up over Christmas. Merry Christmas – and never made it back to Radio City. That was my plan. New York, New York. Except I had one minor problem. See, I was ugly as sin. I was ugly, skinny, homely, unattractive and flat as a pancake. Get the picture? Anyway, I got off this bus in my little white shoes, my little white tights, little white dress, my little ugly face, and my long blonde hair – which was natural then. I looked like a fucking nurse! I had 87 dollars in my pocket and seven years of tap and acrobatics. I could do a hundred and eighty degree split and come up tapping the Morse Code. Well, with that kind of talent I figured the Mayor would be waiting for me at Port Authority. Wrong! I had to wait 6 months for an audition. Well, finally the big day came. I showed up at the Music Hall with my red patent leather tap shoes. And I did my little tap routine. And this man said to me: Can you do fankicks? – Well, sure I could do terrific fankicks. But they weren’t good enough. Of course, what he was trying to tell me was…it was the way I looked, not the fankicks. So I said: Fuck you, Radio City and the Rockettes! I’m gonna make on Broadway!
Well, Broadway, same story. Every audition. I mean I’d dance rings around the other girls and find myself in the alley with the other rejects. But after a while I caught on. I mean I had eyes. I saw what they were hiring. I also swiped my dance card once after an audition. And on a scale of 10….they gave me for dance 10. For looks: 3.”
Who doesn’t love an audition where you’re playing a character auditioning to play a character? This play-within-a-play features Dotty Otley, a washed-up actress who has a flare for the dramatics. Dotty is not only a principal investor in the play’s production but cherishes the role of Mrs. Clackett, a gossipy housekeeper.
Monologue Length: 1:10 – 1:25
“It’s no good you going on. I can’t open sardines and answer the phone. I’ve only got one pair of feet. Hello…. Yes, but there’s no one here, love…. No, Mr. Brent’s not here…He lives here, yes, but he don’t live here now because he lives in Spain… Mr. Philip Brent, that’s right…. The one who writes the plays, that’s him, only now he writes them in Spain… No, she’s in Spain, too, they’re all in Spain, there’s no one here… Am I in Spain? No, I’m not in Spain, dear. I look after the house for him, but I go home at one o’clock on Wednesday, only I’ve got a nice plate of sardines to put my feet up with, because it’s the royal what’s-it’s called on the telly — the royal you know — where’s the paper, then? And if it’s to do with letting the house then you’ll have to ring the house-agents, because they’re the agents for the house…. Squire Squire, Hackham and who’s the other one…? No, they’re not in Spain, they’re next to the phone in the study. Squire, Squire, Hackham, and hold on, I’ll go and look. Always the same, isn’t it. Soon as you take the weight off your feet, down it all comes on your head.”
If it’s traveling back in time you like, choose the words of Lady Mary Lasenby, daughter of an English lord who is stuck on a deserted island with fellow aristocrats. Derived from a play by James M. Barrie (creator of ‘Peter Pan’), this challenging monologue proves a unique pick.
Monologue Length: 45 seconds – 1 minute
“I sighted a herd near Penguin’s Creek, but had to creep round Silver Lake to get to windward of them. However, they spotted me and then the fun began. There was nothing for it but to try and run them down, so I singled out a fat buck and away we went down the shore of the lake, up the valley of rolling stones; he doubled into Brawling River and took to the water, but I swam after him; the river is only half a mile broad there, but it runs strong. He went spinning down the rapids, down I went in pursuit; he clambered ashore, I clambered ashore; away we tore helter-skelter up the hill and down again. I lost him in the marshes, got on his track again near Bread Fruit Wood, and brought him down with an arrow in Firefly Grove.”
Enter Mrs. Armstrong: veteran Christmas pageant director dedicated to ensuring one church’s amateur stage adaptation of the story of Jesus’ birth does the Bible justice. Tackle her hilarious lecture, and you’re sure to bring a little holiday cheer to the room.
Monologue Length: 1:15-1:30
“[Let me]tell you again, Grace, how important it is to give everyone a chance. Here’s what I do — I always start with Mary and tell them we must choose our Mary carefully because Mary was the mother of Jesus… Yes, and then I tell them about Joseph, that he was God’s choice to be Jesus’ father. That’s how I explain that. Frankly, I don’t ever spend much time on Joseph because it’s always Elmer Hopkins, and he knows all about Mary and Joseph, but I do explain about the Wise Men and the shepherds and how important they are. And I tell them, there are no small parts, only small actors. Remind the angel choir not to stare at the audience, and don’t let them wear earrings and things like that. And don’t let them wear clunky shoes or high heels. I just hope you don’t have too many baby angels, Grace, because they’ll be your biggest problem. You’ll have to get someone to push the baby angels on, otherwise they get in each other’s way and bend their wings. Bob could do that, and he could keep an eye on the shepherds too. Oh, another thing about the angel choir. Don’t let them wear lipstick. They think because it’s a play that they have to wear lipstick, and it looks terrible. So tell them…. And, Grace, don’t use just anybody’s baby for Jesus… get a quiet one. Better yet, get two if you can… then if one turns out to be fussy, you can always switch them.”
Charlie Brown and friends may be a mere bunch of kids, but the beauty of the hit musical, “You’re A Good Man, Charlie Brown” is that a cast of adult actors brings this motley crew to life. Poor Sally garners an average ‘C’ grade for a school sculpture, and she has a thing or two to say about it…
Monologue Length: 1 Minute
“A ‘C’? A ‘C’? I got a ‘C’ on my coathanger sculpture? How could anyone get a ‘C’ in coathanger sculpture? May I ask a question? Was I judged on the piece of sculpture itself? If so, is it not true that time alone can judge a work of art? Or was I judged on my talent? If so, is it fair that I be judged on a part of my life over which I have no control? If I was judged on my effort, then I was judged unfairly, for I tried as hard as I could! Was I judged on what I had learned about this project? If so, then were not you, my teacher, also being judged on your ability to transmit your knowledge to me? Are you willing to share my ‘C’? Perhaps I was being judged on the quality of coathanger itself out of which my creation was made…now is this not also unfair? Am I to be judged by the quality of coat hangers that are used by the drycleaning establishment that returns our garments? Is that not the responsibility of my parents? Should they not share my ‘C’?”
If it’s another member of Charlie Brown’s gang that strikes your fancy (or if you have a knack for dishing severe sass), check out this infamous declaration by the incomparable Lucy Van Pelt. Spoiler alert: she intends to be a QUEEN!
Monologue Length: 1 Minute
“Do you know what I intend? I intend to be a queen. When I grow up I’m going to be the biggest queen there ever was, and I’ll live in a big palace and when I go out in my coach, all the people will wave and I will shout at them, and…and…in the summertime I will go to my summer palace and I’ll wear my crown in swimming and everything, and all the people will cheer and I will shout at them… What do you mean I can’t be queen? Nobody should be kept from being a queen if she wants to be one. It’s usually just a matter of knowing the right people.. ..well…. if I can’t be a queen, then I’ll be very rich then I will buy myself a queendom. Yes, I will buy myself a queendom and then I’ll kick out the old queen and take over the whole operation myself. I will be head queen.”
Jenny Kirlin’s short play offers plenty of witty political humor. If you’re in need of a shorter monologue, consider reading this snippet of theatre that features a great opening line (we do hate pigeons!)
Monologue Length: 30 Seconds
“I’m sorry, but a good HALF of the United States hates pigeons. One third shoots them for game. I’m not the only bad guy here. You would have voted for an elephant if it had told you it could fix the economy. Which, by the way, is still not fixed. A giant goose egg. […] I’m sorry if I am offending you, but I find it more than a little offensive that I just walked my daughter past a portrait of a pigeon in the National Art Gallery before I came here.”
If you’re a film buff as well as a theatre nerd, you may enjoy reading from the stage version of cult-classic blockbuster, ‘The Graduate.’ Your part? Elaine Robinson, daughter of Mrs. Robinson (*cue Simon & Garfunkel*).
Monologue Length: 1 Minute
“Well nothing’s perfect Benjamin. I wish my mother didn’t drink so much. I wish I’d never fallen out of that tree and broken my thumb because it so affects my fingering I’ll probably never play the violin as well as I’d love to but that’s about it for the bullshit, Benjamin. It’s only bullshit if you let it pile up. Heaven’s in the details. Someone said that. I think Robert Frost said that. I was in this diner with my roommate Diane? And this guy came along with a goat on a rope and it turns out the reason he’s got a little goat on a rope is that he was thrown out the day before for bringing in his dog? But the point is that Diane had stood up to leave when she saw the man walk in and she sat straight down again and said, well if there’s a goat I think I’ll have dessert. And that’s why I love Diane, because if you think like that you not only notice more little goats, you get more dessert.”
Are your acting chops shown best when getting in tune with old-school theatre? A Shakespeare monologue can do no wrong. Fortunately, The Bard did auditionees the favor of writing comedies and tragedies; and “A Midsummer Night’s Dream” is one of his most beloved comedic plays. To read Helena’s monologue or not to read Helena’s monologue, that is the question…
Monologue Length: 45 Seconds
“O, I am out of breath in this fond chase!
The more my prayer, the lesser is my grace.
Happy is Hermia, wheresoe’er she lies;
For she hath blessed and attractive eyes.
How came her eyes so bright? Not with salt tears:
If so, my eyes are oftener wash’d than hers.
No, no, I am as ugly as a bear;
For beasts that meet me run away for fear:
Therefore no marvel though Demetrius
Do, as a monster fly my presence thus.
What wicked and dissembling glass of mine
Made me compare with Hermia’s sphery eyne?
But who is here? Lysander! on the ground!
Dead? or asleep? I see no blood, no wound.
Lysander if you live, good sir, awake”
We’ve another Shakespearean gem for you: Cue Rosalind, the smart, cunning and beautiful heroine of ‘As You Like It.’ Yes, this comedic piece also has a dramatic flair to it but the text lends itself to some witty interpretations.
Monologue Length: 1:20-1:30
“And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What though you have no beauty,–
As by my faith, I see no more in you
Than without candle may go dark to bed,–
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature’s sale-work. Od’s my little life!
I think she means to tangle my eyes too.
No, faith, proud mistress, hope not after it:
‘Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south puffing with wind and rain?
You are a thousand times a properer man
Than she a woman: ‘tis such fools as you
That make the world full of ill-favour’d children:
‘Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper
Than any of her lineaments can show her.
But, mistress, know yourself: down on your knees,
And thank heaven, fasting, for a good man’s love:
For I must tell you friendly in your ear,
Sell when you can; you are not for all markets.
Cry the man mercy; love him; take his offer:
Foul is most foul, being foul to be a scoffer.
So take her to thee, shepherd. Fare you well.”
Joseph Arnone’s one-act play, ‘Rather Be A Man’ chronicles two girls who are totally done with men being men. The e-play (available for download on MonologueBlogger.com) features a dark-clever reading into the mind of modern women.
Monologue Length: 1:05-1:15
KIM: “I don’t know what it is with me lately but I just get so UGH! when guys come up to me, with their cheesy lines, (imitating guy) “Hey, you have such a beautiful smile” or “Can I just tell you that you are so beautiful”. Ugh! It disgusts me. I mean, who the hell does this guy or that guy think he is to give me such compliments? What gives him the right? I don’t do anything to give off any kind of interest whatsoever, I completely look the other way when I see eye contact happening and they STILL come over thinking they’re so suave and it’s simply repulsive. You know what I’m saying??
What does a girl have to do these days? Maybe if I just vomited on myself the guy would walk the other way but I bet even then, I’d get, “The way you vomit on yourself is just so, so delightful.”
…All I want is to be left alone. I have a man, I love my man and I do my best to be polite but the irritation and the cheesy lines are getting to be too much. Guys are blind, they really are, OBLIVIOUS to when a girl is not interested. There are days when I rather be a man.”
This monologue brings to life the high-power attitude of one high-powered fashion designer. If it’s Meryl Streep in ‘Devil Wears Prada’ that acts as your creative muse, take a look at this monologue and add your own personality to this major diva supreme.
Monologue Length: 45 Seconds -1:00
Elmira: “Don’t look at me. (points) You. Eh, eh, eh…when I address you, do not look at me. No eye contact. Is that understood? Look away. (beat) Okay, look at me now. (snaps her fingers) I told you not to look at me. Even if I tell you to look at me, do not look at me. Understood? Good, good darling.
(she removes her gloves and hands them to her assistant)
Oh! I have something in my eye, can you help me? (pointing) Looking, looking, looking! NO looking under all circumstances.
You must raise up that attention span of yours. A fish could retain more darling. That is true. I have read it. Less attention span than a fish.
Do not let that be you darling.”
Own the audition room with some Tennessee Williams as you portray Amanda Wingfield, one of the most well-known roles in ‘The Glass Menagerie.’ Though chock full of drama, there are bits of comedic relief throughout the award-winning play. This monologue is spoken by Amanda, an aging and overbearing mother.
Monologue Length: 2 Minutes
“Possess your soul in patience – you will see!
Something I’ve resurrected from that old trunk! Styles haven’t changed so terribly much after all.
[She parts the portières.]
Now just look at your mother !
[She wears a girlish frock of yellowed voile with a blue silk sash. She carries a bunch of jonquils – the legend of her youth is nearly revived.]
[Feverishly]: This is the dress in which I led the cotillion, won the cakewalk twice at Sunset Hill, wore one spring to the Governor’s ball in Jackson ! See how I sashayed around the ballroom, Laura?
[She raises her skirt and does a mincing step around the room.] I wore it on Sundays for my gentlemen callers ! I had it on the day I met your father. I had malaria fever all that spring. The change of climate from East Tennessee to the Delta – weakened resistance I had a little temperature all the time – not enough to be serious – just enough to make me restless and giddy. Invitations poured in – parties all over the Delta! – ‘Stay in bed,’ said mother, ‘you have fever!’ – but I just wouldn’t. – I took quinine but kept on going, going ! Evenings, dances ! – Afternoons, long, long rides! Picnics. – lovely! – So lovely, that country in May. – All lacy with dogwood, literally flooded with jonquils! – That was the spring I had the craze for jonquils. Jonquils became an absolute obsession. Mother said, ‘Honey, there’s no more room for jonquils.’ And still I kept on bringing in more jonquils. Whenever, wherever I saw them, I’d say, “Stop ! Stop! I see jonquils ! I made the young men help me gather the jonquils ! It was a joke, Amanda and her jonquils ! Finally there were no more vases to hold them, every available space was filled with jonquils. No vases to hold them? All right, I’ll hold them myself – And then I – [She stops in front of the picture.] met your father ! Malaria fever and jonquils and then – this – boy…. [She switches on the rose-coloured lamp.] I hope they get here before it starts to rain.”
Ferret murderers and unconventional pets run amok in this monologue by playwright Tara Meddaugh. Maybe you’re looking to read something that reflects your unique, one-of-a-kind sense of humor. We think this bizarrely wild scenario might do just the trick.
Monologue Length: 2 Minutes
Jyoti: “I know you think I murdered your ferret, but—hey, stop crying. You’re gonna make me cry too. And you (starts crying)—know—happens—when—we—both—start—oh! I’m doing it too now…Okay. Okay. What would Zena do? Julia, your ferret ran away. He did. I know you don’t want to believe me, but I know this, because…well, I saw him. And I was wearing my glasses, so I had 20/20. Or 20/30. I need a new prescription. But I could still see it was Foozu, and he was wearing the yellow rain slicker, not the winter coat you tie dyed for him, so I think he was headed for Seattle. And, I don’t think we should go after him, Julia. That Payless box wasn’t big enough; you always forgot to feed him, and when you did, it was usually just pebbles and sticks—and I really don’t think ferrets can live on that. Seattle has a lot more to offer Foozu. Food, drinks, warm shelter, intellectual stimulation, perpetual contentment. He deserves that, don’t you think? I, I know coming in and seeing me with the knife over Foozu’s box makes it look rather strange. But. . . Well. . . You miss him, don’t you? (pause) I could be your ferret. Don’t dismiss it right away. I’d be a good pet. I like to curl up in small places and I don’t mind rocks and sticks. You could knit me a winter coat, and you don’t even have to tie dye it if you don’t want to. That’s okay with me. Is that okay with you? I’m gonna just rinse this knife off and throw this little bag away, and then I’ll curl up in my box. I found a new one—a size 11! I’ll wait for you there and you can throw me a ball, okay? Unless, you don’t want me to be your ferret. You don’t need to back away from me. . . Don’t you want me here anymore? If I’m not here, who’s going to sing to you? I know the entire soundtrack to Sleepless In—don’t be scared—I’ll—but I don’t know where I’m supposed to go, Julia. (pause) I could follow Foozu. I could—I could go to Seattle. . . . I’ll follow Foozu. But Julia, when I go, you’ll have to clean off the knife again—I won’t be able to do it. . . . I don’t have a yellow slicker.”
Step up onto your soapbox and dive into the role of Sarah Brown. In a buzzing New York City, Sarah is set on bringing truth to sinners. This lively monologue is one of the most memorable from this Tony Award-winning musical.
Monologue Length: 45 Seconds – 1 Minute
“Brothers and sisters, resist the Devil and he will flee from you. That is what the Bible tells us. And that is why I am standing here, in the Devil’s own city, on the Devil’s own street, prepared to do battle with the forces of evil. Hear me, you gamblers! With your dice, your cards, your horses! Pause and think before it is too late! You are in great danger! I am not speaking of the prison and the gallows, but of the greater punishment that awaits you! Repent before it is too late!
Just around the corner is out little mission where you are always welcome to seek refuge from this jungle of sin. Come here and talk to me. Do not think of me as Sergeant Sarah Brown, but as Sarah Brown, your sister. Join me, Brothers and Sisters, in resisting the Devil, and we can put him to flight forever.”
Oscar Wilde’s classic work is fully titled, ‘The Importance of Being Earnest, A Trivial Comedy for Serious People.’ It’s incomparable wit and wordplay is perfect monologue content as can be seen by these words from leading lady Gwendolen Fairfax:
Monologue Length: 1:05 – 1:15
“Oh! It is strange he never mentioned to me that he had a ward. How secretive of him! He grows more interesting hourly. I am not sure, however, that the news inspires me with feelings of unmixed delight. [Rising and going to her.] I am very fond of you, Cecily; I have liked you ever since I met you! But I am bound to state that now that I know that you are Mr. Worthing’s ward, I cannot help expressing a wish you were—well, just a little older than you seem to be—and not quite so very alluring in appearance. In fact, if I may speak candidly— […] Well, to speak with perfect candour, Cecily, I wish that you were fully forty-two, and more than usually plain for your age. Ernest has a strong upright nature. He is the very soul of truth and honour. Disloyalty would be as impossible to him as deception. But even men of the noblest possible moral character are extremely susceptible to the influence of the physical charms of others. Modern, no less than Ancient History, supplies us with many most painful examples of what I refer to. If it were not so, indeed, History would be quite unreadable.”
Take on one of the most beloved characters of all time (and on Broadway currently). Quirky and lovable, this Eliza Doolittle monologue is an excellent pick for any woman who knows that the rain in Spain falls mainly in the plain!
Monologue Length: 55 Seconds – 1 Minute
“My aunt died of influenza, so they said. But it’s my belief they done the old woman in. Yes Lord love you! Why should she die of influenza when she come through diphtheria right enough the year before? Fairly blue with it she was. They all thought she was dead. But my father, he kept ladling gin down her throat. Then she come to so sudden that she bit the bowl off the spoon. Now, what would you call a woman with that strength in her have to die of influenza, and what become of her new straw hat that should have come to me? Somebody pinched it, and what I say is, them that pinched it, done her in. Them she lived with would have killed her for a hatpin, let alone a hat. And as for father ladling the gin down her throat, it wouldn’t have killed her. Not her. Gin was as mother’s milk to her. Besides, he’s poured so much down his own throat that he knew the good of it.”
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Research credit to stageagent.com , monologueblogger.com
Monologues musical theatre
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She did not see the man's face, but she knew that now it was twisted from an incredible sense of sensuality, which is not recommended for a woman to. See, so as not to offend a man who signed his sexual impotence to defeat this young, but already skilled in sex, bitch. Ooh.
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He turned her sharply around to face him. She was flushed all over, her hair was in complete disarray. He said: "I want. For you.