Picking the Right Monologue

There are lots of monologues out there. But not all monologues are created equally. As you're choosing material to work on in StageOne, please lean on these guidelines. 

1.) You need to read the play the monologue comes from.

• You aren’t reciting a monologue. You’re living part of a play. We will discuss the play your monologue comes from in detail. If you cannot find the play, find another monologue. Read it and be ready to discuss who you’re talking to at that moment in the play and why.

2.) The monologue needs to come from a play.

• We aren’t looking for pieces from television shows, movies, monologue collections or even musicals. Plays.

3.) No story monologues.

• A monologue where you’re telling a story to someone is always a weak choice. Look for monologues where you’re actively trying to get something from the person you’re talking to.

This is a story monologue:

One to Grown On by Brian Kral (Character: Timothy)

My grandma was a small, delicate woman, as I remember. Her house was full of small, delicate things: mementos and bric-a-brac; little statues and faded pictures. She walked to church almost every Sunday. Grandpa always stayed home. I cried at her funeral…because I’d never really taken the time to know her. (Pause) At my grandfather’s funeral, they played ‘The Old Rugged Cross.’ I didn’t cry that time. I felt like crying, but I think there were just too many things to remember. There were a lot of questions Grandpa never answered, of course. But that’s pretty much how life is. It’s like traveling on a bus or a plane: everything’s going by so quick, you can’t see it all, so you settle for those details that jump out at you. The summer of my twelfth birthday, there were plenty.

This is an active monologue:

Yellow by Britney Bullen (Character: Curtis)

How could I be in love with someone as rude as you? Why are you even-- what makes you think I-- I am not in love with you! Will you stop saying that? Honestly, sometimes you say  things that-- do you have any idea how ridiculous it is? What you just said? It's wrong, okay? If you love someone more than anyone else, you don't not date them. You don't go off and date the most incompatible person you can find for three years and then string said "friend" along and sneak in his window every time you have a bad dream! You don't do that, not if you really love someone. I'm just saying.

The story monologue is a great moment in the play but doesn’t hold up well in an audition because it’s not active. We want to see you work through things with somebody, not just recite words. When looking for a monologue, ask yourself: “Am I experiencing something in the moment or am I recounting something I experienced before?” If you’re recounting, it’s probably best that you pick a different piece.

4.) Your monologue needs to be to an actual person. 

• Please no monologues to the audience or to your psychiatrist. The stakes are too low. If you can’t answer the question “Who am I talking to?” it’s probably a weak monologue choice.

5.) No classical monologues.

• Shakespeare and Moliere are great but they aren’t within the scope of what we’ll be covering. 

6.)    Age-appropriate

• We recognize that there’s not a ton of material out there that’s right for your age but don’t stretch it to far. The lived experiences of a 40-something are real and valid and beyond what you should be trying to relate to as an actor. 

7.) Final thoughts: 

• A reminder that Stage One is a class not an audition. This is your opportunity to learn not to show off. We will work with whatever piece you bring in but if you adhere to the guidelines above, you’ll have a much greater experience. Don't bring in a piece that you've already worked with others, please. And if the piece you bring in isn’t a great choice, we’ll let you know and help guide you toward other pieces to work on in the future.

Let us know if you have any questions! See you soon!