Monologues For Auditions

96 mins read
Monologues For Auditions

50 Great Monologues For Auditions

The right monologue can make or break your college audition, and depending on the program, you may need to memorize up to four monologues. Finding the right monologue can be tricky, but if you’re looking for inspiration, here are fifty great monologues for auditions.

Female Comedic Monologues For Auditions

All from published plays, here are some of our favorite comedic monologues for females:

Alcott By Adam Szymkowicz

VIOLET: My name’s not Violet. My name has never been Violet. I always introduce myself as Elizabeth. It’s my name. It’s always been my name. Meredith called me Shrinking Violet once during my freshman year and ever since then, everyone thinks my name is Violet. My name is not Violet. It’s been fourteen years. Stop fucking calling me Violet!

Good People By David Lindsay-Abaire

MARGARET: Did I ever tell you the turkey story? Up at Flanagan’s? When I worked up there and she came in? She never told you that turkey story? Huh. She was pregnant with you. No, Jimmy actually – she was pregnant with Jimmy – because it was near Christmas, and your father was locked up in Walpole again, so she didn’t have any money for anything. She had nothing. So your mother comes into Flanagan’s, and she’s out to here. (Indicates belly.) When’s Jimmy’s birthday? January. Right, so she’s out to here, and in this big coat. Remember that blue coat she always wore? And she’s walking up and down the aisles, slipping things in the pockets – potatoes, and cans of cranberry sauce, cookies, because you guys gotta eat, right? So she comes waddling up to my register. And I’m like, “Hey Suzie, how are the kids?” And she doesn’t wanna talk obviously, she’s just trying to push through the line, “Oh they’re good, I was just looking for something, but you don’t have it, so I’m gonna try someplace else.” And then there turkey falls out of her coat. It hits the floor right between her legs. A turkey. Boom. And I swear to god, she didn’t miss a beat. She looks up, real mad, and yells, “Who threw that bird at me?!” (Really laughing now). Oh we died. Everybody there. Ya had to laugh. “Who threw that bird at me?!” She was a funny sonofabitch. Pardon my French. God she was funny. I think about her all the time. Your mother was a good lady. It’s a lesson though. You’re lucky you don’t smoke. Too young, your mother.

My Fair Lady By George Bernard Shaw

ELIZA DOLITTLE: “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 al one 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.”

Glass Menagerie By Tennessee Williams

AMANDA: “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.”

Noises Off By Michael Frayn

DOTTY OTLEY: “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.”

The Importance of Being Earnest

LADY BRACKNELL: Mr. Worthing, I confess I feel somewhat bewildered by what you have just told me. To be born, or at any rate bred, in a hand-bag, whether it had handles or not, seems to me to display a contempt for the ordinary decencies of family life that reminds one of the worst excesses of the French Revolution. And I presume you know what that unfortunate movement led to? As for the particular locality in which the hand-bag was found, a cloak-room at a railway station might serve to conceal a social indiscretion- has probably, indeed, been used for that purpose before now- but it could hardly be regarded as an assured basis for a recognised position in good society. I would strongly advise you, Mr. Worthing, to try and acquire some relations as soon as possible, and to make a definite effort to produce at any rate one parent, of either sex, before the season is quite over. You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter- a girl brought up with the utmost care- to marry into a cloak-room, and form an alliance with a parcel? Good morning, Mr. Worthing!

The Cherry Orchard By Anton Chekov

LUBOV: What truth? You see where truth is, and where untruth is, but I seem to have lost my sight and see nothing. You boldly settle all important questions, but tell me, dear, isn’t it because you’re young, because you haven’t had time to suffer till you settled a single one of your questions? You boldly look forward, isn’t it because you cannot foresee or expect anything terrible, because so far life has been hidden from your young eyes? You are bolder, more honest, deeper than we are, but think only, be just a little magnanimous, and have mercy on me. I was born here, my father and mother lived here, my grandfather too, I love this house. I couldn’t understand my life without that cherry orchard, and if it really must be sold, sell me with it! My son was drowned here…. Have pity on me, good, kind man.

Original Monologue by Joseph Arnone

“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.”

The Admirable Crichton

“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.”

You’re a Good Man, Charlie Brown

SALLY BROWN: “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’?”

A Midsummer Night Dream

“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 mineMade 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”

Female Dramatic Monologues For Auditions

Here are some more contemporary monologues for women that are more dramatic:

Anna Christie By Eugene O’Neill

ANNA: I s’pose if I tried to tell you I wasn’t- that- no more you’d believe me, wouldn’t you? Yes, you would! And if I told you that yust getting out in this barge, and being on the sea had changed me and made me feel different about things,’s if all I’d been through wasn’t me and didn’t count and was yust like it never happened- you’d laugh, wouldn’t you? And you’d die laughing sure if I said that meeting you that funny way that night in the fog, and afterwards seeing that you was straight goods stuck on me, had got me to thinking for the first time, and I sized you up as a different kind of man- a sea man as different from the ones on land as water is from mud- and that was why I got stuck on you, too. I wanted to marry you and fool you, but I couldn’t. Don’t you see how I’d changed? I couldn’t marry you with you believing a lie- and I was shamed to tell you the truth- till the both of you forced my hand, and I seen you was the same as all the rest. And now, give me a bawling out and beat it, like I can tell you’re going to. Will you believe it if I tell you that loving you has made me- clean? It’s the straight goods, honest! Like hell you will! You’re like all the rest!

A Dolls House By Henrik Ibsen

NORA: But it was absolutely necessary that he should not know! My goodness, can’t you understand that? It was necessary he should have no idea what a dangerous condition he was in. It was to me that the doctors came and said that his life was in danger, and that the only thing to save him was to live in the south. Do you suppose I didn’t try, first of all, to get what I wanted as if it were for myself? I told him how much I should love to travel abroad like other young wives; I tried tears and entreaties with him; I told him that he ought to remember the condition I was in, and that he ought to be kind and indulgent to me; I even hinted that he might raise a loan. That nearly made him angry, Christine. He said I was thoughtless, and that it was his duty as my husband not to indulge me in my whims and caprices–as I believe he called them. Very well, I thought, you must be saved–and that was how I came to devise a way out of the difficulty–No, never. Papa died just at that time. I had meant to let him into the secret and beg him never to reveal it. But he was so ill then–alas, there never was any need to tell him. Good Heavens, no! How could you think so? A man who has such strong opinions about these things! And besides, how painful and humiliating it would be for Torvald, with his manly independence, to know that he owed me anything! It would upset our mutual relations altogether; our beautiful happy home would no longer be what it is now.

Ivanov By Anton Chekov

SASHA: What can you possibly have to tell me? That you are a man of honour? The whole world knows it. You had better tell me on your honour whether you understand what you have done or not. You have come in here as a man of honour and have insulted him so terribly that you have nearly killed me. When you used to follow him like a shadow and almost keep him from living, you were convinced that you were doing your duty and that you were acting like a man of honour. When you interfered in his private affairs, maligned him and criticised him; when you sent me and whomever else you could, anonymous letters, you imagined yourself to be an honourable man! And, thinking that that too was honourable, you, a doctor, did not even spare his dying wife or give her a moment’s peace from your suspicions. And no matter what violence, what cruel wrong you committed, you still imagined yourself to be an unusually honourable and clear-sighted man.

Lungs By Duncan MacMillan

WOMAN: Look. Alright. Listen, you have to understand, alright, I’m thinking out loud here so please just let me talk, just let me think it through out loud. Please, alright, don’t just jump in if I say something wrong or stupid, just let me think, okay. Because I’ve always wanted – alright – and I’m talking in the abstract, I’ve always wanted, I’ve always had a sense or an idea of myself, always defined myself, okay, as a person who would. That my purpose in life, that my function on this planet would be to. And not that I ever thought about it like that. It’s only now because you’re asking – or not asking but mentioning. Starting the conversation. Only because of that, that I’m now even thinking about it. But it’s always been sort of a given for me, an assumption ever since I was a little girl playing with dolls. I mean long, long before I met you. It’s never been what I guess it should be which is a a a a a a an extension of an expression of, you know, fucking love or whatever. A coming together of two people. It’s always been this, alright – and this will sound stupid and naive. But it’s always been an image, I guess, of myself with a bump and glowing in that motherly – or pushing a pram or a cot, or a mobile above it or singing to it. Reading Beatrix Potter or Dr Seuss. I don’t care, never cared about it being a boy or a girl. Just small and soft and adorable and with that milky head smell and the tiny socks and giggles and, yes, vomit even. It’s all part of it. Looking after it. Caring for it. That’s, I think, the impulse. And there’s always been a father in the picture but sort of a blurring background generic man. I’m sorry, it’s just this picture of my life I’ve always had since I was able to think and I’ve never questioned it. Never.

In The Boom Boom Room By David Rabe

CHRISSY: Shut up! I think I said for you to shut up! Did I not say I am not in the mood? I am not in the mood! I got stuff to do I want it to be alone I do it. I gotta be makin’ some resolutions about my stupid life. I can’t not bite my fingernails. I can’t not do it. I can’t keep ‘em long and red, because I’m a person and I’m a nervous person, and I diet and diet I might as well eat a barrel a marshmallows. My voice is not sexy or appealing. I try to raise it. I try to lower it. I got a list a good things to say to a man in bed, I say stupid stuff made up out outa my head. My hands are too big. My stockings bag all the time. Nothin’ keeps me a man I want anyway. I mean, how’m I gonna look like that? (Seizing a glamour magazine and thrusting the cover in Guy’s face.) I can’t do it. Not ever. And then maybe I finally get it right and my nails are long and red, I got on a new pretty dress, and I go out–I got earrings and perfume, new shiny shoes and rings all aglittery on my fingers, and they bring me back here and strip me down and a hunk of meat is all I am. Goddamn that rotten stinking Al and let him run off the end a the earth with that weird Ralphie!

Proof By David Auburn

CATHERINE: I lived with him. I spent my life with him. I fed him. Talked to him. Tried to listen when he talked. Talked to people who weren’t there … Watched him shuffling around like a ghost. A very smelly ghost. He was filthy. I had to make sure he bathed. My own father. After my mother died it was just me here. I tried to keep him happy no matter what idiotic project he was doing. He used to read all day. He kept demanding more and more books. I took them out of the library by the carload. We had hundreds upstairs. Then I realized he wasn’t reading: he believed aliens were sending him messages through the Dewey decimal numbers on the library books. He was trying to work out the code. Beautiful mathematics. The most elegant proofs, perfect proofs, proofs like music … Plus fashion tips, knock-knock jokes – I mean it was nuts, OK? Later the writing phase: scribbling nineteen, twenty hours a day … I ordered him a case of notebooks and he used every one. I dropped out of school … I’m glad he’s dead.

Chapter Two By Neil Simon

JENNIE: You know what you want better than me, George… I don’t know what you expect to find out there, except a larger audience for your two shows a day of suffering… I know I’m not as smart as you. Maybe I can’t analyse and theorise and speculate on why we behave as we do and react as we do and suffer guilt and love and hate. You read all those books, not me… But there’s one thing I do know. I know how I feel. I know I can stand here watching you try to destroy everything I’ve ever wanted in my life, wanting to smash your face with my fists because you won’t even make the slightest effort to opt for happiness- and still know that I love you. That’s always so clear to me. It’s the one place I get all my strength from… You mean so much to me that I am willing to take all your abuse and insults and insensitivity- because that’s what you need to do to prove I’m not going to leave you. I can’t promise I’m not going to die, George. That’s asking too much. But if you want to test me, go ahead and test me. You want to leave, leave! But I’m not the one who’s going to walk away. I don’t know if I can take it forever, but I can take it for tonight and I can take it next week. Next month I may be a little shaky… But I’ll tell you something, George. No matter what you say about me, I feel so good about myself- better than I felt when I ran from Cleveland and was frightened to death of New York. Better than I felt when Gus was coming home at two o’ clock in the morning just to change his clothes. Better than I felt when I thought there was no one in the world out there for me, and better than I felt the night before we got married and I thought that I wasn’t good enough for you. Well, I am! I’m wonderful! I’m nuts about me! And if you’re stupid enough to throw someone sensational like me aside, then you don’t deserve as good as you’ve got! I am sick and tired of running from places and people and relationships… And don’t tell me what I want because I’ll tell you want I want. I want a home and I want a family- and I want a career, too. And I want a dog and I want a cat and I want three goldfish. I want everything! There’s no harm in wanting it, George, because there’s not a chance in hell we’re going to get it all anyway. But if you don’t want it you’ve got even less chance than that… Everyone’s out there looking for easy answers. And if you don’t find it at home, hop into another bed and maybe you’ll come up lucky. Maybe! You’d be just as surprised as me at some of the “maybe’s” I’ve seen out there lately. Well, none of that for me, George. You want me, then fight for me, because I’m fighting like hell for you. I think we’re both worth it.

Cat On A Hot Tin Roof By Tennessee Williams

MAGGIE: Brick, y’know I’ve been so God damn disgustingly poor all my life!- That’s the truth, Brick! Always had to suck up to people I couldn’t stand because they had money and I was poor as Job’s turkey. You don’t know what it’s like. Well, I’ll tell you, it’s like you would feel a thousand miles away from Echo Spring!- And had to get back to it on that broken ankle… without a crutch! That’s how it feels to be as poor as Job’s turkey and have to suck up to relatives that you hated because they had money and all you had was a bunch of hand-me-down clothes and a few old moldy three per cent government bonds. My daddy loved his liquor, he fell in love with his liquor the same way you’ve fallen in love with Echo Spring!- And my poor Mama, having to maintain some semblance of social position, to keep appearances up, on an income of one hundred and fifty dollars a month on those old government bonds! When I came out, the year I made my debut, I had just two evening dresses! One Mother made me from a pattern in Vogue, the other a hand-me-down from a snotty rich cousin I hated! -The dress that I married you in was my grandmother’s weddin’ gown… So that’s why I’m like a cat on a hot tin roof! You can be young without money but you can’t be old without it. You’ve got to be old with money because to be old without it is just too awful, you’ve got to be one or the other, either young or with money, you can’t be old and without it.- That’s the truth, Brick…

Anna Christie By Eugene O’neill

ANNA: I s’pose if I tried to tell you I wasn’t- that- no more you’d believe me, wouldn’t you? Yes, you would! And if I told you that yust getting out in this barge, and being on the sea had changed me and made me feel different about things,’s if all I’d been through wasn’t me and didn’t count and was yust like it never happened- you’d laugh, wouldn’t you? And you’d die laughing sure if I said that meeting you that funny way that night in the fog, and afterwards seeing that you was straight goods stuck on me, had got me to thinking for the first time, and I sized you up as a different kind of man- a sea man as different from the ones on land as water is from mud- and that was why I got stuck on you, too. I wanted to marry you and fool you, but I couldn’t. Don’t you see how I’d changed? I couldn’t marry you with you believing a lie- and I was shamed to tell you the truth- till the both of you forced my hand, and I seen you was the same as all the rest. And now, give me a bawling out and beat it, like I can tell you’re going to. Will you believe it if I tell you that loving you has made me- clean? It’s the straight goods, honest! Like hell you will! You’re like all the rest!

Bull By Mike Bartlett

ISOBEL: When she hears you’re out of work, her low estimation of you will drop even further. It will. I promise. She won’t be surprised. She won’t be like “oh my god he lost his job!” – she’ll be like “of course he lost his job, the fucking retard. Good job I got out when I could. Wouldn’t want Harry to see too much of him though. Better not let Harry to grow up into this distorted, disabled, fucking image of his fucking drip of a father.” I expect that’s what she’ll think. It’s tough isn’t it? Life. Is it a lot more difficult than what you’d thought it would be? I mean, I’m sure you thought it was going to be difficult but that through sheer hard work and practice and training and inspiration – and in your case perspiration – that you would come through and in the end succeed. Because you thought, y’know, in this country at least, it was, at the end of the day, a meritocracy. And that fair play and honest, transparent work behaviour would be rewarded in the end. That bad people like me would fall by the wayside. And good people like you would triumph. Is that what you thought? Oops.

Male Dramatic Monologues For Auditions

Here are some male dramatic monologues that are sure to wow the school of your choice:

The Seagull By Anton Chekhov

TREPLEV: She loves me – she loves me not…She loves me – she loves me not… Loves me, loves me not. (laughs) There you are – she doesn’t love me. Well, of course she doesn’t. She wants to live and love and dress in light colours, and there am I, twenty-five years old, perpetually reminding her that she’s stopped being young. When I’m not there she’s thirty-two – when I am she’s forty-three; and that’s why she hates me. Then again I don’t acknowledge the theatre. She loves the theatre – she thinks she’s serving humanity and the sacred cause of art, whereas in my view the modern theatre is an anthology of stereotypes and received ideas. When the curtain goes up, and there, in a room with three walls lit by artificial lighting because it’s always evening, these great artists, these high priests in the temple of art, demonstrate how people eat and drink, how they love and walk about and wear their suits; when out of these banal scenes and trite words they attempt to extract a moral – some small and simple moral with a hundred household uses; when under a thousand different disguises they keep serving me up the same old thing, the same old thing, the same old thing – then I run and don’t stop running, just as Maupassant ran from the sight of the Eiffel Tower, that weighed on his brain with its sheer vulgarity. What we need are new artistic forms. And if we don’t get new forms it would be better if we had nothing at all.

Mercy By Adam Szymkowicz

IAN: I feel like such a fucking idiot. You come over looking for a friend and I’m . . . I guess I thought . . . I’ve always had this problem. It’s not just you. Sometimes you see the signals you want to see instead of the signals that are actually there. I used to ask. I used to say, ‚Äúcan I kiss you now‚Äù but it’s so unromantic. So unspontaneous. I just thought . . . But yeah. Sorry about that. I guess I needed you to want that whether or not you did. I guess I just really need something right now. This whole thing has been really fucked up. Not just being sober, but . . . I was a whole different person. I never thought I’d be the kind of person who — It’s been really hard to get through the day. I stopped drinking because I had to. I couldn’t keep going that way but now I’m trying to figure out how to keep living, you know? I’m running out of reasons to stay alive. Not that — I’m sorry. This isn’t your problem. You don’t want to hear this. Right? Ted? Are you still there?

Wink By Phoebe Eclair-Powell

MARK: When dad died he had this shit blog he was really proud of – before Tumblr was even a thing and you would’ve thought he had just invented space travel cos he was beaming for days, going upstairs to put another post on – “gotta keep my views up, son,” and he would look at me like “see, we understand each other” but I told him that no fucker in their right mind wanted to know about middle-aged running clubs and he said “that’s where you’re wrong, son, that’s where you are so very wrong.” He would say that a lot, and try not to let me get to him, because for some reason I used to like to undermine him even though I loved him. When he signed up for the London Marathon he linked it to his JustGiving page and it was like he had landed on the moon. Mum said it was unfair that a man that fit should just drop down dead and her friend said – “it’s always the ones you least suspect.” And I told her to go fuck herself in my head but not out loud because everyone looks at you really hard when it’s your father’s funeral. Shannon did a lot of fainting which was annoying, and Mum kept holding my hand saying “thank you for keeping it together – we need you to keep us all together” and so I decided that I wasn’t going to be what they needed. Online there are people who create Facebook pages for dead people, loved ones, relatives, pets. My mum wanted me to make a page on his blog to tell people what had happened – “they need to know” she said, “they’re not pen pals, Mum, that’s not how it works, they’ll just think he gave up blogging for a bit” and I rolled my eyes at her for a full stop. Sometimes I did check it, just to see if he’d had any more views, but then I realised I was the one making the counter go up.

Cock By Mike Bartlett

JOHN: I’m sorry I’m not speaking, I’m sorry, I know it’s weird but I’m trying to work out how to handle this who to be because I’m two different people with the two of you when you’re separate and now I’m in the middle and no one. I have absolutely no idea who I am. Everyone else seems to have a personality, a character but I’ve never, I’ve never – I used to do voices, I remember this, and I don’t think anyone can really understand it when I say it but I remember one moment when I couldn’t think what was my own voice, I’d been doing high voices and northern voices and men’s voices and impressions of the teachers and my dad, and people on the telly and everyone was laughing and I tried to go back to my own voice but I couldn’t remember what it is. And I always stand in front of the mirror for ages, every day I never know what to wear, when I go shopping for clothes I bring him and he says it’s up to you, what do you like, and I think I don’t know I don’t have a fucking clue just choose something that isn’t too strange, that means I don’t look like a fucking idiot.

The Glass Menagerie By Tennessee Williams

TOM: I didn’t go to the moon. I went much further–for time is the longest distance between two places. Not long after that I was fired for writing a poem on the lid of a shoebox. I left St. Louis. I descended the steps of the fire escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space. I traveled around a great deal. The cities swept about me like dead leaves, leaves that were brightly coloured but torn away from their branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of coloured glass, tiny transparent bottles in delicate colours, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes. Oh Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger–anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura – and so goodbye…

Orpheus Descending By Tennessee Williams

VAL: You know they’s a kind of bird that don’t have legs so it can’t light on nothing but has to stay all its life on its wing in the sky? That’s true. I seen one once, it had died and fallen to earth and it was light blue colored and its body was tiny as your little finger, that’s the truth, it had a body as tiny as your little finger and so light on the palm of your hand it didn’t weigh more than a feather, but its wings spread out this wide but they was transparent, the color of the sky and you could see through them. That’s what they call protection coloring. You can’t tell those birds from the sky and that’s why the hawks don’t catch them, don’t see them up there in the high blue sky near the sun! But those little birds they don’t have no legs at all and they live their whole lives on the wing, and they sleep on the wind, that’s how they sleep at night, they just spread their wings and go to sleep on the wind like other birds fold their wings and go to sleep on a tree…. They sleep on the wind and… (His eyes grow soft and vague.) Never light on this earth but one time when they die!

A View From The Bridge By Arthur Miller

ALFIERI: You wouldn’t have known it, but something amusing has just happened. You see how uneasily they nod to me? That’s because I am a lawyer. In this neighborhood to meet a lawyer or a priest on the street is unlucky. We’re only thought of in connection with disasters, and they’d rather not get too close. I often think that behind that suspicious little nod of theirs lie three thousand years of distrust. A lawyer means the law, and in Sicily, from where their fathers came, the law has not been a friendly idea since the Greeks were beaten. I am inclined to notice the ruins in things, perhaps because I was born in Italy . . . I only came here when I was twenty-five. In those days, Al Capone, the greatest Carthaginian of all, was learning his trade on these pavements, and Frankie Yale himself was cut precisely in half by a machine gun on the corner of Union Street, two blocks away. Oh, there were many here who were justly shot by unjust men. Justice is very important here. But this is Red Hook, not Sicily. This is the slum that faces the bay on the seaward side of Brooklyn Bridge. This is the gullet of New York swallowing the tonnage of the world. And now we are quite civilized, quite American. Now we settle for half, and I like it better. I no longer keep a pistol in my filing cabinet. And my practice is entirely unromantic. My wife has warned me, so have my friends; they tell me the people in this neighborhood lack elegance, glamour. After all, who have I dealt with in my life? Longshoremen and their wives, and fathers and grandfathers, compensation cases, evictions, family squabbles – the petty troubles of the poor – and yet . . . every few years there is still a case, and as the parties tell me what the trouble is, the flat air in my office suddenly washes in with the green scent of the sea, the dust in this air is blown away and the thought comes that in some Caesar’s year, in Calabria perhaps or on the cliff at Syracuse, another lawyer, quite differently dressed, heard the same complaint and sat there as powerless as I, and watched it run its bloody course.

Burn This By Lanford Wilson

PALE: Well, see, fine, you got these little social phrases and politenesses–all they show me is this–like–giganticness of unconcern with your “I’m sorrys,” man. The fuckin’ world is going down the fuckin’ toilet on “I’m sorrys.” I’m sorry is this roll of toilet paper–they’re growing whole forests, for people to wipe their asses on with their “I’m sorrys.” Be a tree. For one day. And know that that tree over there is gonna be maybe music paper, the Boss is gonna make forty million writin’ some poor-slob-can’t-get-work song on. This tree is gonna be ten-dollar bills, get passed around, buy things, mean something, hear stories; we got sketch pads and fuckin’ “I don’t love you anymore” letters pinned to some creep’s pillow–something of import. Headlines, box scores, some great book or movie script–Jack Nicholson’s gonna mark you all up, say whatever he wishes to, anyway, out in some fuckin’ desert, you’re supposed to be his text, he’s gonna lay out this line of coke on you-Tree over there is gonna be in some four-star restaurant, they’re gonna call him parchment, bake pompano in him. And you’re stuck in the ground, you can’t go nowhere, all you know is some fuckin’ junkie’s gonna wipe his ass and flush you down the East River. Go floating out past the Statue of Liberty all limp and covered with shit, get tangled up in some Saudi Arabian oil tanker’s fuckin’ propellers–you got maybe three hundred years before you drift down to Brazil somewhere and get a chance to maybe be a coffee bush. “I’m sorrys” are fuck, man.

Sankebit By David Marshall Grant

JONATHAN: I can’t believe you never told me you slept with my wife three months before I was married. Don’t say anything. I don’t want you to say anything. I just think there’s been too many secrets at the table, that’s all. I don’t want any more secrets, okay. I’m out in the hallway, you’re in the kitchen. God, I miss you Michael. I want us to be closer. I need you, really. Please. I’m going to a shrink, okay? I’m going to cure myself. I have to. Nobody likes me anymore. She’ll come home, I know she will. I mean, we’ve been married ten years, you make allowances. I’m a shit I admit it. But what nobody seems to give me credit for, is I hate myself. I accomplish a thing just to see how worthless it is. I know that. I eat myself basically. I keep winning, watching it prove nothing but my own failure. She’s the only thing I didn’t win, Michael. She took me. I don’t know why. I have to keep her. We’ll make up. We’ve been doing it for a decade. And if we can’t, we’ll bury it, like nuclear waste, and we’ll move on. We’ve done it before. That’s what people do. Do you remember when your mother died and I hugged you? I was a better person then. I want to help you. I’m sorry, I don’t know what to say. You gotta feel snakebit. Michael, you’re going to be fine. They know so much more now. I know you’re going to be fine.

Disgraced by Ayad Akhtar

AMIR: You keep saying that like it means something. You still don’t get it. The Quran is about tribal life in a seventh-century desert, Isaac. The point isn’t just academic. There’s a result to believing that a book written about life in a specific society fifteen hundred years ago is the word of God: You start wanting to re-create that society. After all, it’s the only one in which the Quran makes any literal sense. That’s why you have people like the Taliban. They’re trying to re-create the world in the image of the one that’s in the Quran. Amir has since gotten up from the table and is now pouring himself another drink. Here’s the kicker. And this is the real problem: It goes way deeper than the Taliban. To be Muslim—truly—means not only that you believe all this. It means you fight for it, too. Politics follows faith? No distinction between mosque and state? Remember all that? So if the point is that the world in the Quran was a better place than this world, well, then let’s go back. Let’s stone adulterers. Let’s cut off the hands of thieves. Let’s kill the unbelievers. And so, even if you’re one of those lapsed Muslims sipping your after-dinner scotch alongside your beautiful white American wife—and watching the news and seeing folks in the Middle East dying for values you were taught were purer—and stricter—and truer… you can’t help but feel just a little a bit of pride.

Male and Female Classical Monologues For Auditions

Many programs ask you to include at least one classical monologue, so if you’re looking for classical monologues for women or classical monologues for men, here are ten to pick from:

Agamemnon by Aeschylus (Male)

AEGISTHOS: Hail, joyous light of justice-bearing day!

At length I can aver that God’s supernal,

Judges of men, look down on earthly woes,

Beholding, in the Erinyes’ woven robes,

This man, thus prostrate, welcome sight to me,

The wiles atoning compassed by his sire.

For Atreus, Argos’ ruler, this man’s father,

Did from the city and his home expel

Thyestes, rival in the sovereignty,–

My father, to be plain, and his own brother.

But coming back, a suppliant of the hearth,

Wretched Thyestes found a lot secure,

Not doomed his natal soil with blood to stain,

Here in his home: but this man’s godless sire,

Atreus, with zeal officious more than kind,

Feigning a joyous banquet-day to hold,

Served to my sire, for food, his children’s flesh.

Their feet indeed, the members of their hands,–

Seated aloof, in higher places, he hides.

Partaking of the undistinguished parts,

In ignorance, Thyestes eats the food,

Curse-laden, as thou seest, to the race.

Discerning then the impious deed, he shrieked,

And back recoiling the foul slaughter spewed.

Spurning, with righteous curse, th’ insulted board

Dread doom he vows to the Pelopidæ;–

“So perish the whole race of Pleisthenes.”

Hence is it that ye see this man laid low;

The righteous planner of his death am I.

For me, the thirteenth child, in swathing clothes,

He with my wretched sire, to exile drove.

But, grown to manhood, Justice lead me back,

And I, although aloof, have reached this man,

The threads combining of the fatal plot.

Now for myself ’twere glorious to die,

Seeing this man entrapped in Justice’ toils.

The Merchant of Venice By William Shakespeare (Male)

LAUNCELOT: Certainly my conscience will serve me to run from this Jew my master. The fiend is at mine elbow and tempts me, saying to me, ‘Gobbo, Launcelot Gobbo, good Launcelot,’ or ‘good Gobbo,’ or ‘good Launcelot Gobbo — use your legs, take the start, run away.’ My conscience says, ‘No. Take heed, honest Launcelot; take heed, honest Gobbo,’ or as aforesaid, ‘honest Launcelot Gobbo — do not run; scorn running with thy heels.’ Well, the most courageous fiend bids me pack. ‘Fia!’ says the fiend; ‘away!’ says the fiend. ‘For the heavens, rouse up a brave mind,’ says the fiend, ‘and run.’ Well, my conscience hanging about the neck of my heart says very wisely to me, ‘My honest friend Launcelot, being an honest man’s son’ — or rather ‘an honest woman’s son,’ for indeed my father did something smack, something grow to; he had a kind of taste — Well, my conscience says, ‘Launcelot, budge not.’ ‘Budge,’ says the fiend. ‘Budge not,’ says my conscience. ‘Conscience,’ say I, ‘you counsel well.’ ‘Fiend,’ say I, ‘you counsel well.’ To be ruled by my conscience, I should stay with the Jew my master who, God bless the mark, is a kind of devil; and to run away from the Jew, I should be ruled by the fiend who, saving your reverence, is the devil himself. Certainly the Jew is the very devil incarnation; And in my conscience, my conscience is but a kind of hard conscience to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel. I will run, fiend; my heels are at your commandment; I will run.

All’s Well That Ends Well By William Shakespeare (Male)

PAROLLES: It is not politic in the commonwealth of nature to preserve virginity. Loss of virginity is rational increase, and there was never virgin got till virginity was first lost. That you were made of is metal to make virgins. Virginity by being once lost may be ten times found; by being ever kept is ever lost. ‘Tis too cold a companion. Away with’t! ‘Tis against the rule of nature. To speak on the part of virginity is to accuse your mothers, which is most infallible disobedience. He that hangs himself is a virgin; virginity murders itself, and should be buried in highways out of all sanctified limit, as a desperate offendress against nature. Virginity breeds mites, much like a cheese, consumes itself to the very paring, and so dies with feeding his own stomach. Besides, virginity is peevish, proud, idle, made of self-love, which is the most inhibited sin in the canon. Keep it not; you cannot choose but lose by’t. Out with’t! Within ten year it will make itself ten, which is a goodly increase, and the principal itself not much the worse. Away with’t! ‘Tis a commodity will lose the gloss with lying: the longer kept, the less worth. Off with’t while ’tis vendible; answer the time of request. Virginity, like an old courtier, wears her cap out of fashion, richly suited, but unsuitable, just like the brooch and the toothpick, which wear not now. Your date is better in your pie and your porridge than in your cheek; and your virginity, your old virginity, is like one of our French withered pears: it looks ill, it eats drily. Marry, ’tis a withered pear; it was formerly better; marry, yet ’tis a withered pear! Will you anything with it?

Medea by Euripides (Male)

JASON: I ought not to be rash, it seems, in speech,

But like the skilful pilot, who, with sails

Scarce half unfurled, his bark more surely guides,

Escape, O woman, your ungoverned tongue.

Since you the benefits on me conferred

Exaggerate in so proud a strain, I deem

That I to Venus only, and no god

Or man beside, my prosperous voyage owe.

Although a wondrous subtlety of soul

To you belong, ’twere an invidious speech

For me to make should I relate how Love

By his inevitable shafts constrained you

To save my life. I will not therefore state

This argument too nicely, but allow,

As you did aid me, it was kindly done.

But by preserving me have you gained more

Than you bestowed, as I shall prove: and first,

Transplanted from barbaric shores, you dwell

In Grecian regions, and have here been taught

To act as justice and the laws ordain,

Nor follow the caprice of brutal strength.

By all the Greeks your wisdom is perceived,

And you acquire renown; but had you still

Inhabited that distant spot of earth,

You never had been named. I would not wish

For mansions heaped with gold, or to exceed

The sweetest notes of Orpheus’ magic lyre,

Were those unfading wreaths which fame bestows

From me withheld by fortune. I thus far

On my own labours only have discoursed.

For you this odious strife of words began.

But in espousing Creon’s royal daughter,

With which you have reproached me, I will prove

That I in acting thus am wise and chaste,

That I to you have been the best of friends,

And to our children. But make no reply.

Since hither Iolchos’ land I came,

Accompanied by many woes, and such

As could not be avoided, what device

More advantageous would an exile frame

Than wedding the king’s daughter? Not through hate

To you, which you reproach me with, not smitten

With love for a new consort, or a wish

The number of my children to augment:

For those we have already might suffice,

And I complain not. But to me it seemed

Of great importance that we both might live

As suits our rank, nor suffer abject need,

Well knowing that each friend avoids the poor.

I also wished to educate our sonsIn such a manner as befits my race

And with their noble brothers yet unborn,

Make them one family, that thus, my house

Cementing, I might prosper. In some measure

Is it your interest too that by my bride

I should have sons, and me it much imports,

By future children, to provide for those

Who are in being. Have I judged amiss?

You would not censure me, unless your soul

Were by a rival stung. But your whole sex

Hath these ideas; if in marriage blest

Ye deem nought wanting, but if some reverse

Of fortune e’er betide the nuptial couch,

All that was good and lovely ye abhor.

Far better were it for the human race

Had children been produced by other means,

No females e’er existing: hence might man

Exempt from every evil have remained.

Much Ado About Nothing By William Shakespeare (Male)

BENEDICK: O, she misused me past the endurance of a block! An oak but with one green leaf on it would have answered her; my very visor began to assume life and scold with her. She told me, not thinking I had been myself, that I was the Prince’s jester, that I was duller than a great thaw; huddling jest upon jest with such impossible conveyance upon me that I stood like a man at a mark, with a whole army shooting at me. She speaks poniards, and every word stabs. If her breath were as terrible as her terminations, there were no living near her; she would infect the North Star. I would not marry her though she were endowed with all that Adam had left him before he transgressed. She would have made Hercules have turned spit, yea, and have cleft his club to make the fire too. Come, talk not of her. You shall find her the infernal Ate in good apparel. I would to God some scholar would conjure her, for certainly, while she is here, a man may live as quiet in hell as in a sanctuary; and people sin upon purpose, because they would go thither; so indeed all disquiet, horror, and perturbation follows her.

Macbeth By William Shakespeare (Female)

HECATE: Have I not reason, beldams as you are,

Saucy and overbold? How did you dare

To trade and traffic with Macbeth

In riddles and affairs of death;

And I, the mistress of your charms,

The close contriver of all harms,

Was never called to bear my part

Or show the glory of our art?

And, which is worse, all you have done

Hath been but for a wayward son,

Spiteful and wrathful, who, as others do,

Loves for his own ends, not for you.

But make amends now: get you gone

And at the pit of Acheron

Meet me i’ th’ morning. Thither he

Will come to know his destiny.

Your vessels and your spells provide,

Your charms and everything beside.

I am for th’ air. This night I’ll spend

Unto a dismal and a fatal end.

Great business must be wrought ere noon.

Upon the corner of the moon

There hangs a vap’rous drop profound;

I’ll catch it ere it come to ground:

And that, distilled by magic sleights,

Shall raise such artificial sprites

As by the strength of their illusion

Shall draw him on to his confusion.

He shall spurn fate, scorn death, and bear

His hopes ‘bove wisdom, grace, and fear:

And you all know security

Is mortals’ chiefest enemy.

[Music, and a song.]

Hark! I am called. My little spirit, see,

Sits in a foggy cloud and stays for me.

Ajax by Sophocles (Female)

TECMESSA: You shall hear all that passed,

Being sharers in the event. At dead of night,

When the evening campfires no longer blazed,

He grasped his two-edged weapon, and seemed bent

To sally upon some errand, objectless.

I, in surprise, said to him “What dost thou, Ajax?

Why thus unsummoned either by the voice

Of messengers, or any trumpet-call,

Goest thou forth? Now the whole host is sleeping!

“But briefly he replied and in cant phrase;

“Woman, a woman should be seen, not heard.”

I held my tongue, and he rushed forth alone.

What there befell him truly I cannot say;

But he came in and brought, bound all together,

Bulls, herdmen’s dogs and fleecy spoil of sheep.

Some he beheaded; of some, their heads bent upward,

He cut the throats and clave the chins in twain,

And some he bound and tortured, as if human,

(Though it was cattle he fell on;) and at last

Rushing out through the door he hurled up words

To a phantom, some against Atridae, some

About Ulysses, laughing loud and long

At all the outrage he had wreaked on them;

Then darting back into the hut, once more

Hardly and by degrees he comes to reason;

When looking on the chamber filled with havock

He shrieked, and smote his head. Then he sat down,

Flinging himself among the weltering wrack

Of sheep that he had butchered, and clutched hold

Upon his hair with his clenched fists. Since then,

Most of the time he sat, uttering no sound;

After, he threatened me–’twas terrible!

If I disclosed not all that had befallen,

And questioned me, what could have come to him.

O friends, in fear, I told him the whole story,

So far as I well knew it. Instantly

He burst out crying lamentably–cries

Such as I never heard from him before.

For clamour of the kind, he ever taught,

Belonged to base and pusillanimous spirits;

Rather, suppressing all shrill outcries, he

Would groan, low, like the rumbling of a bull.

Now, prostrate under such adversity,

He, without meat or drink, sits on the ground

Among the beasts his edge has dealt on, dumb.

And plain it is he meditates no good;

That way, at least, his words and wailings tend.

But O dear friends–for therefore was my errand-

Come in and help us, if by any means

You have the power; for such men as he

Are conquered by the counsels of a friend.

Octavia By Lucius Annaeus Seneca (Female)

OCTAVIA: Though I should endure what must be borne, ne’er could my woes be ended, save by gloomy death. With my mother slain, my father by crime snatched from me, robbed of my brother, by wretchedness and grief o’erwhelmed, by sorrow crushed, by my husband hated, and set beneath my slave, the sweet light brings no joy to me; for my heart is ever trembling, not with the fear of death, but of crime — be crime but lacking to my misfortunes, death will be delight. For ’tis a punishment far worse than death to look in the tyrant’s face, all swollen with rage ‘gainst wretched me, to kiss my foe, to fear his very nod, obedience to whom my smarting grief could not endure after my brother’s death, most sinfully destroyed, whose throne he usurps, and rejoices in being the worker of a death unspeakable. How oft does my brother’s sad shade appear before my eyes when rest has relaxed my body, and sleep weighed down my eyes, weary with weeping. Now with smoking torches he arms his feeble hands, and with deadly purpose aims at his brother’s eyes and face; and now in trembling fright takes refuge in my chamber; his enemy pursues and, e’en while the lad clings in my embrace, savagely he thrusts his sword through both our bodies. Then trembling and mighty terror banish my slumbers, and bring back to my wretched heart its grief and fear. Add to all this the proud concubine, bedecked with our house’s spoil, as gift for whom the son set his own mother on the Stygian bark; and, when she had o’ercome dread shipwreck and the sea, himself more pitiless than ocean’s waves, slew her with the sword. What hope of safety, after crimes so great, have I? My victorious foe threatens my chamber, blazes with hate of me, and, as the reward of her adultery, demands of my husband his lawful consort’s head. Arise thou, my father, from the shades and bring help to thy daughter who calls on thee; or else, rending the earth, lay bare the Stygian abyss, that I may plunge thither headlong.

Medea By Euripides (Female)

MEDEA: O my sons!

My sons! ye have a city and a house

Where, leaving hapless me behind, without

A mother ye for ever shall reside.

But I to other realms an exile go,

Ere any help from you I could derive,

Or see you blest; the hymeneal pomp,

The bride, the genial couch, for you adorn,

And in these hands the kindled torch sustain.

How wretched am I through my own perverseness!

You, O my sons, I then in vain have nurtured,

In vain have toiled, and, wasted with fatigue,

Suffered the pregnant matron’s grievous throes.

On you, in my afflictions, many hopes

I founded erst: that ye with pious care

Would foster my old age, and on the bier

Extend me after death–much envied lot

Of mortals; but these pleasing anxious thoughts

Are vanished now; for, losing you, a life

Of bitterness and anguish shall I lead.

But as for you, my sons, with those dear eyes

Fated no more your mother to behold,

Hence are ye hastening to a world unknown.

Why do ye gaze on me with such a look

Of tenderness, or wherefore smile? for these

Are your last smiles. Ah wretched, wretched me!

What shall I do? My resolution fails.

Sparkling with joy now I their looks have seen,

My friends, I can no more. To those past schemes

I bid adieu, and with me from this land

My children will convey. Why should I cause

A twofold portion of distress to fall

On my own head, that I may grieve the sire

By punishing his sons? This shall not be:

Such counsels I dismiss. But in my purpose

What means this change? Can I prefer derision,

And with impunity permit the foe

To ‘scape? My utmost courage I must rouse:

For the suggestion of these tender thoughts

Proceeds from an enervate heart. My sons,

Enter the regal mansion. [Exuent SONS.] As for those

Who deem that to be present were unholy

While I the destined victims offer up,

Let them see to it. This uplifted arm

Shall never shrink. Alas! alas! my soul

Commit not such a deed. Unhappy woman,

Desist and spare thy children; we will live

Together, they in foreign realms shall cheer

Thy exile. No, by those avenging fiends

Who dwell with Pluto in the realms beneath,

This shall not be, nor will I ever leave

My sons to be insulted by their foes.

They certainly must die; since then they must,

I bore and I will slay them: ’tis a deed

Resolved on, nor my purpose will I change.

Full well I know that now the royal bride

Wears on her head the magic diadem,

And in the variegated robe expires:

But, hurried on by fate, I tread a path

Of utter wretchedness, and them will plunge

Into one yet more wretched. To my sons

Fain would I say: “O stretch forth your right hands

Ye children, for your mother to embrace.

O dearest hands, ye lips to me most dear,

Engaging features and ingenuous looks,

May ye be blest, but in another world;

For by the treacherous conduct of your sire

Are ye bereft of all this earth bestowed.

Farewell, sweet kisses–tender limbs, farewell!

And fragrant breath! I never more can bear

To look on you, my children.” My afflictions

Have conquered me; I now am well aware

What crimes I venture on: but rage, the cause

Of woes most grievous to the human race,

Over my better reason hath prevailed.

As You Like It By William Shakespeare

PHEBE: I would not by thy executioner.

I fly thee, for I would not injure thee.

Thou tell’st me there is murder in mine eye:

‘Tis pretty, sure, and very probable

That eyes, that are the frail’st and softest things,

Who shut their coward gates on atomies,

Should be called tyrants, butchers, murderers.

Now I do frown on thee with all my heart,

And if mine eyes can wound, now let them kill thee.

Now counterfeit to swound; why, not fall down;

Or if thou canst not, O, for shame, for shame,

Lie not, to say mine eyes are murderers.

Now show the wound mine eye hath made in thee;

Scratch thee but with a pin, and there remains

Some scar of it; lean upon a rush,

The cicatrice and capable impressure

Thy palm some moment keeps; but now mine eyes,

Which I have darted at thee, hurt thee not,

Nor I am sure there is no force in eyesThat can do hurt.

Final Thoughts

Finding good monologues for auditions or college audition monologues can be challenging, but any of the above options should impress your drama school! Thank you and hope you can find a piece out of the 50 Great Monologues For Auditions!


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