MONOLOGUE PACKET We know that you’re always on the lookout for monologues. We also know you’ve no time to search for monologues. Enjoy the material in this packet. Use them in your classes. Give them to your students for their next IE’s. The full scripts for all monologues can be found at theatrefolk.com. We hope you find them useful and a great timesaver!

Drama Teacher ACADEMY © Drama Teacher Academy 2018 1 PLAY: Wait Wait Bo Bait by Lindsay Price

GENRE TIME Comedy 1:55

Tamara has been waiting all day by the phone because a boy has said DESCRIPTION he was going to call her. The waiting has made her a little crazy.

There‘s lots of room here for physical and vocal gymnastics. Take this monologue to the extreme. Lots of changes in volume and tone. It‘s ACTING HINTS better to think that the character has truly gone crazy because the boy didn‘t call, rather than to ‘act‘ crazy. How does she say the last line? With glee or with a little bit of menace?

TAMARA is curled up in a ball behind a chair. From behind the chair, a hand emerges. The hand is held like a puppet, using the fingers and thumb as a mouth. The hand can be bare or covered by a sock, to make a sock puppet. TAMARA: Where‘s Tamara? Where‘s Tammy? How come she‘s not sitting by the phone anymore? What‘s the matter with Tammy? Could it be that‘s because she‘s lying on the floor in a pit of despair? (the puppet shakes back and forth) Oh no. Not our Tammy. She‘d never lie on the floor in a pit of despair just because she waited all day and all night for a boy to call and (yelling) HE NEVER DID. (the other hand comes up to clamp down on the puppet) Oh. Oh. Inside voice. No need to shout. (Suddenly her phone starts to ring. TAMARA stands up) What‘s that? Is that my phone? I do believe that‘s my phone. But who could it be? It couldn‘t be Dylan. Nooooooo. That would be too precious. Make a girl go absolutely crazy bonkers and then call. That would be a treat. (on phone) Hello? Loony Bin Incorporated. Who? Tammy? Hold on a sec I‘ll get her. (she stares into space humming for a second, then goes back to the phone.) Hello? Yes this is she. Why, Dylan! Dylan Blankers-Wallace. It‘s Dylan Blankers-Wallace I‘ve got on the phone. Isn‘t that a treat. Isn‘t that precious. Why no! There‘s nothing wrong with me. Nope. I‘m like fresh bread. Fresh bread rising in a pan, that‘s what I feel like Dylan Blankers-Wallace. I feel like a big ole loaf of fresh bread. Is there something you wanted? Is there a reason for this ever-so-timely call? A date. You want a date. Next weekend. 7:00. A movie! Isn‘t that precious. Oh I love movies. Well, Dylan Blankers-Wallace let me tell you something. (a little angry) Let me give it to you straight. Let me lay it on the line for you. I would... I would like to say... I just want to… (delighted) Yes! Yes! I would love to go on a date with you. I would love to see a movie with you. I would love to go out next weekend at seven o‘clock. Just one thing. (beat) Don‘t be late. I‘m a girl who doesn‘t like to be kept waiting!

All monologues are from published plays and can be found at theatrefolk.com PLAY: Bottle Baby by Lindsay Price

GENRE TIME Drama 2:00

Alice, a young teen, tells her older sister Beeb why she’s not DESCRIPTION the “good girl” everyone thinks she is. Beeb has been battling sobriety for a year after a car accident that seriously hurt Alice.

Alice thinks she’s smart and calculated but she doesn’t have it ACTING HINTS all figured out. She’s making huge mistakes with her life. Think about that, especially with the end. How does Alice emotionally change throughout?

ALICE: I have headaches. I have terrible headaches. Everyone knows. I was in this “little” car accident a year ago. No one ever questions that I have a big bottle of aspirin in my backpack. And no one ever shakes the bottle. No one’s ever wondered why there aren’t any pills. How come I don’t hear any pills? How come it sounds like liquid in there? How could that be? I had a cough syrup bottle for a while, liquid for liquid, but I thought, that’s too easy. This past year has been the most fascinating experiment. I should have documented the whole thing for posterity. “How far can an Invisible Good Girl go before anyone pays attention?” What the hell do I have to do to get noticed in this town? The funny thing is that no one notices. No one cares. They think they see a good girl and that’s what they believe. They think they see a bad girl and that’s what they believe. Good ole, hell raising, car smashing, money stealing, amount to nothing, take her little sister for a joy ride on a bottle of Jack so she almost killed her, bad girl Beeb. If I’m the good girl white hat coming in on my horse from the sunset to save everyone, life jackets for everyone, then I won’t be able to handle a pull from that bottle. (she holds out her hand) Give me the bottle. What are you afraid of? You’re right aren’t you? (ALICE wipes her mouth, tips up the bottle and takes a long pull. It’s obvious she’s done it before.) Who’s the bottle baby now, huh Bee Bee? Who wears the crown? Who’s the one who drinks her liquor straight from the bottle, no mix, no nothing and it’s smooth like butter. You think you’re the only one who sneaked drinks at Mom’s? You think you’re the only one who got Roger Thompson to buy you bottles? You think you’re the only person in this house? This world? This life? Aw Beeb don’t cry. You’re not supposed to cry. How can I feel good about being bad if you cry?

All monologues are from published plays and can be found at theatrefolk.com PLAY: Neet Teen by Lindsay Price

GENRE TIME Drama 1:30

Tyne has bullied a girl and that girl committed suicide. Tyne DESCRIPTION has been under media scrutiny over the event. She is holed up in her house.

Tyne is trying to convince herself that she is right and that she ACTING HINTS speaks the truth. Where in the monologue does she doubt herself? How does she show this doubt physically? Who is Tyne talking to? Is this an interview? Is she talking to a relative? Define the listener for this monologue.

TYNE: I didn’t kill her. She killed herself. She... It’s her own fault. That’s the truth. I’m good, a nice person. They keep calling the house. Surrounding the house. Flashes like lightning, over and over – get your side, tell us your side, tell us your side, killer... A shark feeding. Frenzy. The noise, the angry snapping. People foaming at the mouth, over me. They’re not supposed to be angry at me. I’m right, a good person. She should have known it wasn’t real. She should have had a tougher skin. I do. My parents taught me to be tough. You think they’re babying me over this? To get what you want you can’t be a baby. Stand up. I have four brothers. You want the turkey leg at Thanksgiving you better roll up your sleeves and fight. And if you have to bleed a little so be it. If you have to be a little mean, so be it. A little mean never... hurt anybody. Right? A little mean is all it was. That’s the truth. You can’t blame me, she should have stood up for herself. I do it all the time. My brother Jimmy calls me fat every day. “Hey fatso, pass the ketchup. Hey fatso, what do you want for breakfast?” It’s just a little mean. Right? I take it and I don’t crumble. She shouldn’t have crumbled like that, she shouldn’t have believed what we were saying if it wasn’t true. If it wasn’t true why did she... I’m not wrong. I’m not fat. My brothers do it to me all the time. I’m not wrong. I’m not. I can’t be. (she takes a breath) It’s her own fault she died. It was just a little... mean.

All monologues are from published plays and can be found at theatrefolk.com PLAY: Skid Marks: A Play About Driving by Lindsay Price

GENRE TIME Comedy 2:00

DESCRIPTION Jillian confronts her car.

Keep the light tone. If Jillian gets too angry or manic the piece ACTING HINTS loses its comic edge. She’s frustrated and a little loopy as she perceives her car is rebelling against her.

JILLIAN: Herman, I want you to listen up and listen good. We’re going for a drive and you’re not going to give me any grief. You’re going to start properly. You’re not going to stall. You’re not going to make those knock, knock, cha-ping noises like last time. I know you were just doing it to spite me ‘cause I took you to the mechanic and the mechanic said there was nothing wrong! So there’s no point in making knock, knock, cha-ping noises. I’m on to you now. I know the little game you’re trying to play. But who’s in charge here Herman? Who’s got the keys? Is it Jillian or Herman? Jillian or Herman? JillianHerman? I could put you in a no-park zone, let you get towed and never collect you. How’d you like that, huh? I could take you to the wrong side of town and leave you all alone with the windows down and the keys in the ignition. That wouldn’t be nice would it? Would it? So you just better behave yourself from now on. No more knock, knock, cha-ping noises. No more chugha-ka-sloughing. No more wheeza, wheeza, humpa humpa znack znack znack when we’re going up hills. No more flashing the oil light when the oil is full and fine. I HATE that. And absolutely no more spitting gas when I’m filling the tank. Oh I can hear you snickering, Herman, when I’m standing there covered in gas but it is so not funny. Not funny. Repeat after me please. I will not spit gas on Jillian when she is trying to fill the tank. (she listens) Don’t mumble! (she listens) Thank you. There. I’m glad we had this little talk. I hope we can continue working on our relationship and put this little difficulty behind us. All right then. Let’s drive.

All monologues are from published plays and can be found at theatrefolk.com PLAY: Box by Lindsay Price

GENRE TIME Drama 1:30

Justice tries to explain why she can’t get excited by normal DESCRIPTION things like Thanksgiving.

Justice’s home life is awful and there’s nothing she can do about ACTING HINTS it. She’s frustrated and smart. She know things are not good. How can you show this in her vocal and physical choices? What does the mom look like? Visualize her. Give her a different presence when Justice dramatizes her.

JUSTICE: Everything is upside-down at my house. People keep leaving when they shouldn’t and not leaving when they should disappear. Nothing is the same day-to-day. Last week I went downstairs and the furniture was gone. And she sat there, eating cereal on a milk crate like everything was alright. “It’s fine. Eat your cereal.” (getting loud) There’s no furniture. This is not all right. What are you going to do about it? (regaining control) “It’s fine. Eat your cereal.” Everything is fine to her. Maybe if she keeps saying it things will magically... I don’t know. Yesterday I came downstairs and she was eating cereal, on a milk crate with a black eye. (beat) Everyone in school is talking about Thanksgiving. “I can’t wait— my mom makes awesome stuffing. I haven’t seen my cousins all year! Football, Football, and more football...” I don’t remember the last time my sister and I had Thanksgiving. There’s no one to do that for us. She says holidays are for suckers. (imitating) “Holidays are for suckers and I’m gonna take advantage of every one.” (looks around) How do I explain my life? The cafeteria is filled with noise. The hallways are filled with drama. My mom is sitting on a milk crate with a black eye. This is my box.

All monologues are from published plays and can be found at theatrefolk.com PLAY: Betweenity by Lindsay Price

GENRE TIME Comedy 2:00

DESCRIPTION Still is in the cafeteria. He approaches a girl he really likes.

This piece is all about the beats and pauses. How does Still act ACTING HINTS in the pause? What is he thinking? Based on how he speaks, what is his physicality? Visualize where the girl is and what she does during the monologue.

STILL: Hi. (STILL counts to five as he sits awkwardly) Do you... (silently count to five) So. Cafeteria. Great cafeteria. Come here often? Of course you do. We all do. Every day. Gotta eat. Eating is important. Don’t eat, you die. (pause) That’s unpleasant. (pause) Of course we’re not going to die. (pause) Well, we ARE going to die. Someday. We can’t help that, but we can eat and we can prevent that kind of death. The starvation kind of...death? I should stop talking about death. (pause) It’s morbid. (pause) I should stop. (pause) I’ll...stop. So. Do you shower? Oh my god, oh my god, I didn’t say that. I didn’t just – Of course you do. You smell very nice! I just meant...This is not going the way I imagined. Actually, it’s going exactly the way I imagined. You’re disgusted. Aren’t you. (pause) You’re not saying anything because you are absolutely disgusted. I don’t blame you. I don’t blame you. (suddenly standing) Wait! Don’t leave. Please? Give me another chance. I can be normal. I can avoid all abnormal conversation surrounding death and showering, and showering when you’re dead. (pause) That was a joke. That wasn’t an actual topic of conversation. I don’t think the dead think about body wash. Ah ha. A smile! Sorry. (He sits.) I… just wanted to ask you to the movies. That’s all. That’s what all this is leading up to. So. Would you like to go to the movies…..? With me?

All monologues are from published plays and can be found at theatrefolk.com PLAY: Neet Teen by Lindsay Price

GENRE TIME Drama 1:00

DESCRIPTION Toch explains his family situation.

Toch is a calm character. But there is an underlying panic to ACTING HINTS his situation. How can you show these contrasting elements: control and lack of control? Even in the chaos, Toch has a sense of humour. Play with that. That will keep the monologue from being one note. Where did the mother go? Where is his dad?

TOCH: The future for me is... I don’t know. Uncertain. Unclear. A lot of un words. Un-talked about, oh that’s not a word. Wait, unspoken! Ha! This week we had heat. And I was able to cook dinner for my sister. Spaghetti. I’m getting good at that. Afterwards we did the dishes. I wash. She dries. We... we laugh. Like we’re doing something normal, like we do it all the time. “I can’t do the dishes, I have a date tonight...” you know. Normal. We had food. And we didn’t have to wear seven sweaters inside. We washed and dried the dishes like normal people do. And we talked about our day. Normal. We did not talk about Mom. Why would we? Nothing has changed. Where is she? Don’t know. Did she give you any money? No. The rent is due. (beat) The rent is due. I have no energy to think about the future. The present takes everything I got. Doing the dishes isn’t normal. It’s fake but we do it because that’s what a brother and a sister are supposed to do. “You dry, why do I have to dry, I always dry...” (beat) The rent is due.

All monologues are from published plays and can be found at theatrefolk.com PLAY: Betweenity by Lindsay Price

GENRE TIME Comedy 1:30

Blake is tired of his girlfriend’s constant talking. This is his DESCRIPTION internal monologue.

Blake’s girlfriend is standing beside him. Block where she stands ACTING HINTS and keep her position consistent. Visualize the girlfriend. Decide what the girlfriend looks like and sounds like. How long have they been dating? Why is he sharing this story?

BLAKE starts off with his arms folded, looking off to the side. His girlfriend is talking nonstop. He tries to say something, no dice. He tries to get her attention. No dice. He turns to the front. BLAKE: I think I have to break up with Brittney. We don’t have anything in common. Sometimes, I can’t even hear what she’s saying. It all just runs together, (toward her) blah, blah, blah, like wet gravy and cranberry sauce. (out to front) I know gravy is normally wet, you don’t eat dry gravy. But if the consistency is overly runny ‘cause Jimmy likes runny gravy and you don’t make a big enough well in your mashed potatoes the gravy just runs all over your plate right into the cranberries. It looks like a crime scene. I don’t like eating a crime... He trails off. There’s a look of horror on his face. He whips his head to the side and then whips his head tothe front. She stopped talking. (he whips his head to the side and then whips his head to the front) When did she stop talking? What did she say? Did she ask me a question? I have to say something, otherwise it’ll look like I haven’t been listening. Even though I haven’t been listening. How long has it been? Are we just staring at each other? Say something, anything! (He takes a breath, turns to his girlfriend and smiles. He speaks very tentatively) Yes...? I am...? (with slow horror) Celine Dion here we come? (calling after) Wait! (runs after her)

All monologues are from published plays and can be found at theatrefolk.com PLAY: Stupid is Just 4 2day by Lindsay Price

GENRE TIME Comedy 1:30

Trombone explains why he’s not in the Environment club DESCRIPTION anymore.

Create your own name for the character. Based on the text, ACTING HINTS what would his name be? What conclusions can you draw about his personality? He’s a calm character but also frustrated. Incorporate both emotions in your portrayal. How will you physicalize these emotions? Who’s he talking too? Decide the listener.

TROMBONE: So I’m standing in front of the whole school. It’s some world environment, world recycling, some kind of save the world kind of day. I’m supposed to read a poem. A save the world poem. I really hate save the world poems. The only reason I’m in the Environment Club to start with is because my parents said, “Join more clubs. You’ll get into a better school if you look like you’re well-rounded.” They didn’t say I was well-rounded. I just have to look like I am. So, whatever. I’m in the Environment Club, but I hate the people in the Environment Club. They’re very serious about the environment. It’s not a fun club. It’s very much a “the earth is dying” kind of club. Every day the earth is dying. Every day. Which I know, we should be concerned about the earth. But couldn’t we be concerned AND eat pizza at the same time? Every once in a while? But I’m a trooper. No one can say I don’t troop. So I start reading the stupid save the world poem. And I can see my friends out of the corner of my eye, off to the side. Laughing. I try to turn so I can’t see them. But I still hear them. I don’t want to be laughed at because my parents made me join the Environment Club.

So I fart. Loudly. Right in the middle of the poem. Right in the middle of the assembly. It’s a spectacular fart.

One of my best. (pause) I’m not in the Environment Club any more.

All monologues are from published plays and can be found at theatrefolk.com PLAY: Skid Marks: A Play about Driving by Lindsay Price

GENRE TIME Drama 1:45

Greg’s best friend was killed by a drunk driver. Before attending DESCRIPTION the funeral, Greg brings flowers to the site of the car accident.

All monologues, even those with tragic subject matter, need a ACTING HINTS variety of tone. Try to find a light moment in the piece so that your portrayal isn’t all one note. It will also allow you to deliver the darker moments with more dramatic punch.

GREG: I promise I won’t snot on my arm this afternoon. I have a hankie on me. I thought about bringing a box of Kleenex but... it’d probably make you laugh, right? I was telling your mom about it, ‘bout how I’m always bothering you for Kleenex till you got so fed up one day you said “Snot on your arm Greg. Just snot on your arm. Do it once and I’ll bet you’ll never bother me about Kleenex again.” She smiled a bit. I haven’t been by here since. I have to go to the community centre twice a week and I won’t take the Parkway. I know it’s stupid. Your mom put a cross at the corner. There’s already a ton of flowers there. I bought daisies. No roses, right? (beat) I think she blames me. She doesn’t want to, I know, I know she doesn’t but that... that... he’s gone and I’m here so... I blame me too. If you weren’t coming over to my house, you wouldn’t have been at that stoplight and... God I – I see you lying on the pavement and I was waiting for you and I thought you had forgot. I was laughing that you had forgot ‘cause you’re always bugging me about my memory and I was laughing when I picked up the phone and… I think about calling you all the time. Something funny will happen and for a flash I think – I have to tell Meg and then I remember I can’t. Sometimes I see someone from school from behind and I’m positive it’s you. Why did it have to be you? Why did you have to be at that stoplight and why did that... He got in his car and he took you away. Just like that. Like a breath. I miss you so much.

All monologues are from published plays and can be found at theatrefolk.com