Audition Arsenal for Women in their 20's
Page 1
AUDITION ARSENAL FOR WOMEN IN THEIR 20s
101 Monologues by Type,
2 Minutes & Under
A Smith and Kraus Book
Published by Smith and Kraus, Inc.
177 Lyme Road, Hanover, NH 03755
www.smithandkraus.com
Copyright ©2005 by Smith and Kraus
All rights reserved
CAUTION: Professionals and amateurs are hereby warned that the monologues represented in this book are subject to a royalty. They are fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound taping, all other forms of mechanical or electronic reproductions such as CD-ROM and CD-I, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved. Particular emphasis is laid upon the question of public readings, permission for which must be secured from the Author’s agent in writing. Pages 116 to 122 constitute a continuation of this page.
First Edition: August 2005
10 9 8 7 6 5 4 3 2 1
Manufactured in the United States of America
Text Design by Julia Gignoux, Freedom Hill Design
Cover Design by Alex Karan of Blaise Graphics, www.blaisegraphics.com
The Library of Congress Cataloging-In-Publication Data
Audition arsenal for women in their 20s; 101 monologues by type, 2 minutes and under / edited by Janet B. Milstein. —1st ed.
p. cm. — (Monologue audition series)
Includes bibliographical references.
ISBN-10 1-57525-396-8 ISBN-13: 978-1-57525-396-1
1. Monologues. 2. Acting—Auditions. I. Milstein, Janet B. II. Series.
PN2080.A77 2005
813’.045089287—dc22
2005044119
AUDITION ARSENAL
FOR WOMEN IN THEIR 20s
101 Monologues by Type, 2 Minutes & Under
EDITED BY JANET B. MILSTEIN
MONOLOGUE AUDITION SERIES
A Smith and Kraus Book
Acknowledgments
I would like to express my deepest gratitude to Eric Kraus and Marisa Smith for entrusting me with this project and for their wisdom, patience, and generosity.
I would also like to thank the following people for their help and support:
Karen Milstein
Barbara Lhota
The Milsteins
Alex Karan
Russ Tutterow
Sandy Shinner
Keith Huff
Karen Vesper
Tom Volo
Julia Gignoux
Susan Moore
All of the wonderful actors who took the time to give their input and all of the talented writers who shared their work with me.
Contents
INTRODUCTION
TIPS FOR SELECTING AND PREPARING A MONOLOGUE
WACKY/QUIRKY/ODD
Hot Tub Haggle by Werner Trieschmann (comic)
The Big House by Barbara Lhota and Ira Brodsky (comic)
Go See from Occupational Hazards by Mark McCarthy (comic)
Why I Want to Be Your Junior Asia Miss by Lauren D. Yee (comic)
The Gary Chain by Adam Simon (seriocomic)
Bridge Partners by Ira Brodsky and Barbara Lhota (seriocomic)
Skid Marks: A Play About Driving by Lindsay Price (comic)
I Think You Think I Love You by Kelly Younger (comic)
The Whiz by Ira Brodsky and Barbara Lhota (comic)
The Dead Deportee by Dan O’Brien (comic)
TROUBLED/ROUGH LIFE
La Llorona and Other Tales of the American Southwest by Elise Forier (dramatic)
A Good Solid Home by Barbara Lhota and Janet B. Milstein (dramatic)
IceSPEAK by Jeanette D. Farr (dramatic)
Not Everyone Sees It by Barbara Lhota and Ira Brodsky (dramatic)
Sueño by Scott McMorrow (dramatic)
A Story About a Girl by Jacquelyn Reingold (seriocomic)
Four Glasses by Marki Shalloe (dramatic)
Threnody by David-Matthew Barnes (dramatic)
YOUTHFUL/NAÏVE
Pensacola by David-Matthew Barnes (comic)
Shattered by Lindsay Price (dramatic)
Knock by Lauren Kettler (seriocomic)
Black Flamingos by Julius Galacki (seriocomic)
home by Heather Taylor (dramatic)
Mud People by Keith Huff (seriocomic)
Groom and Doom by Douglas Hill (seriocomic)
Kim and Claudia Capture Death in a Box by Lauren D. Yee (seriocomic)
Ismene by David Eliet (dramatic)
BLUNT/DIRECT
Lavinia Speaks by Jennie Redling (seriocomic)
The Cock of the Walk by Melissa Gawlowski (comic)
Dreaming of a White House by Leanna Hieber (comic)
Paralyzed July by Kevin M. Lottes (dramatic)
Headwork by Keith Huff (seriocomic)
Sky Lines by David-Matthew Barnes (seriocomic)
Sky Lines by David-Matthew Barnes (comic)
Window of Opportunity by Barbara Lhota and Janet B. Milstein (dramatic)
The Audience by Kathleen Warnock (dramatic)
Swap by Barbara Lhota and Ira Brodsky (comic)
VULNERABLE/HURT/EXPOSED
Key West by Dan O’Brien (dramatic)
St. Colm’s Inch by Robert Koon (dramatic)
Fun House Mirror by Dori Appel (dramatic)
Jugger’s Rain by Ron Mark (dramatic)
Lone Star Grace by Suzanne Bradbeer (seriocomic)
Autumn’s Child by Tom Smith (dramatic)
Autumn’s Child by Tom Smith (dramatic)
Training My Hands for War by Matt Di Cintio (dramatic)
Throwing Stones in Glass Houses by Kevin Schwendeman (dramatic)
Heaven and Home by Matthew A. Everett (seriocomic)
ROMANTIC/IN LOVE
Temporary Heroes by David-Matthew Barnes (dramatic)
A Question of Water by Steven Schutzman (seriocomic)
Brian and Shevat by Gabrielle Reisman (seriocomic)
Thoughts and Remembrance by Jennifer Miller (dramatic)
The Six Basic Rules by Mara Lathrop (comic)
A Rustle of Wings by Linda Eisenstein (dramatic)
Jugger’s Rain by Ron Mark (seriocomic)
ANGRY/FED UP
Lavinia Speaks by Jennie Redling (seriocomic)
Heaven in Your Pocket by Mark Houston, Francis J. Cullinan, and Dianne M. Sposito (dramatic)
Robertson & Kyle by Adam Simon (seriocomic)
Get Real by Kay Rhoads (dramatic)
Optional by Linda Eisenstein (seriocomic)
Optional by Linda Eisenstein (seriocomic)
A Summer Wasting by Erica Rosbe (seriocomic)
Cutting Remarks by Barbara Lhota and Ira Brodsky (comic)
Gentrification by Linda Eisenstein (seriocomic)
Something Simple, Plain-Spoken by Caridad Svich (dramatic)
PERSUASIVE/INSPIRATIONAL
The Beauty of Life by Barbara Lhota and Janet B. Milstein (dramatic)
The Beauty of Life by Barbara Lhota and Janet B. Milstein (dramatic)
RiO by Jeremy Menekseoglu (seriocomic)
The Igloo Coup by Barbara Lhota and Ira Brodsky (co
mic)
Tribe of Three by Eliza Wyatt (seriocomic)
Sacrifices by Barbara Lhota and Janet B. Milstein (dramatic)
Picture Show Video by Kevin M. Lottes (dramatic)
Marvel by Joshua Scher (seriocomic)
A Wing and a Prayer by Ira Brodsky & Barbara Lhota (dramatic)
HIGH-STRUNG/NEUROTIC/STRESSED-OUT
Better Places to Go by David-Matthew Barnes (comic)
Less Is Less from Occupational Hazards by Mark McCarthy (comic)
Missed Connections by Barbara Lhota and Ira Brodsky (comic)
Missed Connections by Barbara Lhota and Ira Brodsky (comic)
The Pyre by Terri Campion (comic)
Changing Attire by Robert Koon (comic)
The Fainting Couch by Jill Elaine Hughes (seriocomic)
Cutting Remarks by Barbara Lhota and Ira Brodsky (comic)
Cutting Remarks by Barbara Lhota and Ira Brodsky (comic)
Bridewell by Charles Evered (seriocomic)
LOST/CONFUSED/TRYING TO MAKE SENSE
Robertson & Kyle by Adam Simon (dramatic)
Gray by Tom Smith (dramatic)
Gray by Tom Smith (dramatic)
Women in Heat by Rich Orloff (comic)
Sky Lines by David-Matthew Barnes (dramatic)
Southland by Allan Staples (seriocomic)
Twin Towers by Ira Brodsky and Barbara Lhota (dramatic)
Bread and Circuses by Jo J. Adamson (dramatic)
Sally Sees the Light by Barbara Lindsay (comic)
SEXUAL/FLIRTATIOUS
Water Pressure by Darren Callahan (dramatic)
The Age of Cynicism or Karaoke Night at The Hog by Keith Huff (seriocomic)
Natural Selection from Crazyology by Frank Higgins (comic)
The Honeypot Redux by Chance D. Muehleck (dramatic)
Women in Heat by Rich Orloff (comic)
The Metric System by James Armstrong (dramatic)
If This Isn’t Love by Jonathan Bernstein (seriocomic)
God Dancing by Marki Shalloe (dramatic)
Fun City from Twinges from the Fringe by Bob Jude Ferrante (comic)
PERMISSIONS
Audition Arsenal Introduction
Redefining the monologue book
When Eric Kraus approached me about editing a new series of monologue books based on character type, some questions immediately came to mind: Was this type as in theater or film? Most specific types fall under film, yet monologues are rarely used for film or on-camera. For theater there are really only three main types: Leading Man/Lady, Ingénue/Young Man, and Character Actors. If I wanted to offer more detailed types, what criteria would be most useful? Would profession be considered a type? How about funny? Could social status define type?
In addition, I considered what was needed in a monologue book that had not yet been addressed. How would I improve upon the monologue books I own? What would make a book more valuable? How could I create a book to solve the problems my students are constantly voicing? As an actor, writer, and monologue coach, I wanted this new monologue series to give actors what they truly need for auditions. I had my own ideas about what I would find useful, but I decided to poll some actors to get their input, as well. The actors had a lot of common requests that confirmed my initial instincts. Most importantly this series would need to maximize the number of monologues an actor would actually use from one source. To do that, the traditional monologue book would need to be reinvented.
How are the books in this series better?
When I was studying acting in college, I’d always wished that there were monologue books just for actors in their twenties. And my dream books would have taken it a step further and been separated by gender to increase the number of monologues in one book that specifically applied to me. Now, I am presenting that to you — Women 20s, Men 20s, Women 30s, and Men 30s. No more skipping over pages and pages because the characters are out of your age range or not for your gender. Within each book, the choices are plentiful, and you’re sure to find pieces that fit your specific needs.
That brings me to the next revolutionary feature of the Audition Arsenal series: The books are organized by type. By type, I’m referring to the most prominent quality the monologue reveals about the actor. So instead of being typed somewhat generically (e.g., waitress or Ingénue), the monologues are designed to show you possess the qualities crucial to a particular character or role. Auditioning for a Harry Kondoleon play? Check out the High-strung/Neurotic/Stressed-Out category. Want to get a callback for that Durang play? Prepare one of the Wacky/Quirky/Odd pieces.
Not only can you use these monologues to audition for a specific role, but you can use them to show your range in general auditions. When asked to prepare two contrasting pieces, you can go beyond simply a comedic and a dramatic (or a contemporary and a classical, if requested), and demonstrate significantly contrasting personas. Put yourself in the director’s chair. Which would be more interesting to see an actor perform — a blunt, strong comedic piece with a blunt, strong dramatic piece or a vulnerable comedic piece with an intimidating/dangerous dramatic?
As actors, we must remember that directors are often meeting us for the first time and might assume that we can play only what we show them. So by all means show them! Think of the different impressions you make with your classmates versus coworkers, or on a first date versus a job interview. The pieces you choose tell directors something about you and your capabilities. Sell your strengths, cast yourself against your usual type, and prepare your personal “arsenal” of monologues so you’ll be ready for any upcoming audition — no matter what it calls for.
Here are some additional bonuses you’ll find in this series:
The monologues are two minutes and under — some are one minute and under — to fit the time constraints of auditions.
Very few, if any, of the monologues sound classical. Why? If you are required to do a classical and a contemporary monologue, you want them to contrast as much as possible.
Only a small number of the monologues require dialects or accents. Why? The rule of thumb is to avoid dialect pieces in auditions unless they are specifically requested. If your accent is not dead-on directors tend to focus on the accent rather than the acting.
There are 101 monologues to choose from in each book!
The monologues are from plays as opposed to self-contained pieces. Some of the writers, kindly, at my request, edited the pieces slightly or pasted dialogue so that the monologues would be better suited to audition situations. However, when you read the play, you will see the bulk of the monologue in the same form and that the character and his or her situation have not changed.
I have included a Tips section in each book containing helpful information that pertains to the selection and preparation of monologues.
I hope you find this new monologue series to be as valuable, time-saving, and innovative as I have set out to make it. In this particular book, I anticipate that you’ll find a plethora of monologues to use for upcoming auditions. But don’t let that stop you from checking out all of the books in the Audition Arsenal series. I wish you the best of luck in all of your endeavors. And when auditioning, have fun and break a leg!
Janet B. Milstein
www.janetmilstein.com
Tips for Selecting and Preparing a Monologue
Selection
Choose monologues that make you laugh, cry, feel, or think: “I can relate to this!” If a piece speaks to you, even it makes you angry, chances are you will naturally be invested in the piece.
Although each monologue in this book falls into your age range, you should still consider whether you could realistically be cast in this role. If not, choose another piece.
Find a piece that helps you shine. When reading a monologue ask yourself if it really shows what you can do or if it sells you short.
If you are selecting a monologue for a specific role in an upcoming audition, be sure the monologue reveals that you possess the crucial
qualities needed to play that role.
If you are preparing for generals and are selecting two or more monologues, choose contrasting pieces that effectively demonstrate your range.
The monologues in this book are two minutes and under. However, you may have auditions that ask for two monologues to be performed in three minutes, or for one-minute monologues. When choosing pieces, make sure they fit the requirements. It is not professional to run overtime. In some cases you may even be timed. Therefore, it is best to keep your monologue at least ten seconds shorter than the allotted time slot. Also, keep in mind when you are reading and timing your monologue(s) that performing time will run longer than reading time.
Pick your monologue(s) now! Don’t put it off. Choosing a monologue that fits you well, reading the play, and working and memorizing the piece all take time. If you wait until the last minute, you will not be adequately prepared. Unlike cold readings, monologues give you the chance to show what you’re capable of when you have time to prepare a piece.
Preparation
In terms of preparing a monologue for use in auditions, there is much work to be done. Depending on where you are in your process and which methods you are studying, you will work differently. However, I find the following steps to be useful regardless of the method you subscribe to and the extent of your acting experience.
Read the play your monologue is from in its entirety. It will help you to understand the character, history, relationship, setting — everything that is needed even when you only perform the monologue. Not only will it help you to clarify your choices and understand the circumstances, but you just might find a new role, play, or author to add to your list of favorites!
If you have difficulty locating the play, look in the permissions section in the back of the book to contact the author or the author’s agent to obtain a copy. If that information becomes outdated, check with Smith and Kraus to see if they can help put you in touch with the right person.
Answer the questions below with respect to your monologue and write your answers in the first person (e.g.: I am twenty-eight, I want her to …).