Dramatic 2 minute monologues

Dramatic 2 minute monologues DEFAULT

Free Monologues for Auditions: Men, Women, and Kids Too

Ever have trouble finding free monologues for auditions? Not anymore. We hand-picked these monologues to give you the best edge in the audition room.

(Psst... the monologues are at the bottom...)

What IS A Monologue?

Most actors would define a monologue as a dramatic speech. But the actual definition is more specific than that...

For your purposes, a monologue is a scene where only one character speaks. The other character listens. And here's the catch... you're going to imagine that other character standing in front of you.

Why is the definition so important? Because as an actor, you must always be pursuing an objective. You must remain active.

Recommended Reading for You...

Your Acting Resume: A Beginner's Guide (with FREE downloadable template)

When we define a monologue by these standards, the amount of material available to you diminishes severely.

That's where we come in. Every monologue on this site adheres to that definition. No passive or vague dramatic speeches on Ace Your Audition. Only concrete, actionable, easily-accessible material.

A Good Monologue

A well-written monologue makes them remember you. Good audition monologues will:

  • Be less than two minutes. Two minutes is more than enough to show your stuff. In fact, the auditors have already made their decision after 30 seconds, maybe even less.

  • Have a clear objective. You can't just stand there and talk. You have to be actively talking to someone you've imagined, and you must be trying to get something from them.

  • Have a distinct beginning, middle, and end. A beginning: A strong first sentence to capture attention. A middle: Lots of juicy content. An end: A strong finish. When your monologue has structure, the auditors are more likely to remember you.

  • Free Audition Monologues for Actors
  • Contain conflict. Drama cannot exist without conflict. Who wants to see a play about everyone getting along? Boring...

Choosing a Monologue

Actors often get hung up choosing a monologue. But it's very simple: Pick one you love. If you're going to bring it to life, you must first love it.

Also, it's important to choose a few contrasting monologues. Have at least four monologues ready to go at all times:

  • A classical comedic
  • A classical dramatic
  • A contemporary comedic
  • A contemporary dramatic

After you decide, read it aloud to yourself. Don't feel any pressure to act. Just listen to the words fall out of you. How do they make you feel? What images come to mind? Maybe you'll want to write down your reactions.

From a Published Play?

It's important to note that the audition monologues featured on this site are NOT from published plays. (With a few exceptions.) We're not in the business of violating intellectual property laws.

If the audition you're preparing for absolutely requires that your material be from a published play,

Is It Overdone?

If you've ever sat in on an audition process, especially if the audition was for a young teenage girl, you've probably heard the Luisa monologue from The Fantasticks. You know the one.... she talks about tasting her tears and her hair turning purple.

When a young teenage actress comes into the audition room with this monologue, the folks behind the table will probably be disappointed. Why? Because they've literally heard that monologue hundreds of times in their career.

It's trite. It's overdone.

There's an unofficial list of monologues that are considered overdone. It's not printed anywhere. It doesn't exist in any place except the collective mind of the theatre community at large. Over the years it expands and contracts, shifting with current times and tastes. If you're unsure about the perceived 'triteness' of a monologue, ask someone: Your audition coach, your drama teacher, a trusted friend.

We won't tell you to steer clear of all monologues that are perceived as overdone, that's for you to decide. But we will say this...

Unless you can bring something you KNOW is unique and special to that otherwise tired, worn-out, dead horse... choose something else.

There's a whole ocean of good material out there. And if you're reading these words, that means you've found some really awesome monologues. Just consult the list below.

Sours: https://www.ace-your-audition.com/free-monologues.html

1. “So, the day after I turned 18…” – Val Clarke from ‘A Chorus Line’

Let’s face it: preparing for an audition is nearly as stressful as the audition itself. For many performers, much of that pre-audition anxiety comes in the form of choosing a well-suited monologue. Just like every actress, every monologue brings something new to the table – especially when it comes to comedy!

Next time you’re looking to slay an audition with a funny monologue (YAS, QUEEN!), peruse this diverse collection.

Here are 17 great comedic monologues for women:

Chances are, you and Val have at least one thing in common: you’re familiar with the trials and tribulations of auditioning. This witty monologue, from the acclaimed musical, ‘A Chorus Line,’ denotes one dancer’s darkly comedic journey to the Broadway stage.

Monologue Length: 2:10 – 2:30

“So, the day after I turned 18, I kissed the folks goodbye, got on a Trailways bus – and headed for the big bad apple. Cause I wanted to be a Rockette. Oh, yeah, let’s get one thing straight. See, I never heard about “The Red Shoes,” I never saw “The Red Shoes,” I didn’t give a fu** about “The Red Shoes.” I decided to be a Rockette because this girl in my home town – Louella Heiner – had actually gotten out and made it in New York. And she was a Rockette. Well, she came home one Christmas to visit, and they gave her a parade. A goddamn parade! I twirled a friggin’ baton for two hours in the rain. Unfortunately though, she got knocked up over Christmas. Merry Christmas – and never made it back to Radio City. That was my plan. New York, New York. Except I had one minor problem. See, I was ugly as sin. I was ugly, skinny, homely, unattractive and flat as a pancake. Get the picture? Anyway, I got off this bus in my little white shoes, my little white tights, little white dress, my little ugly face, and my long blonde hair – which was natural then. I looked like a fucking nurse! I had 87 dollars in my pocket and seven years of tap and acrobatics. I could do a hundred and eighty degree split and come up tapping the Morse Code. Well, with that kind of talent I figured the Mayor would be waiting for me at Port Authority. Wrong! I had to wait 6 months for an audition. Well, finally the big day came. I showed up at the Music Hall with my red patent leather tap shoes. And I did my little tap routine. And this man said to me: Can you do fankicks? – Well, sure I could do terrific fankicks. But they weren’t good enough. Of course, what he was trying to tell me was…it was the way I looked, not the fankicks. So I said: Fuck you, Radio City and the Rockettes! I’m gonna make on Broadway!

Well, Broadway, same story. Every audition. I mean I’d dance rings around the other girls and find myself in the alley with the other rejects. But after a while I caught on. I mean I had eyes. I saw what they were hiring. I also swiped my dance card once after an audition. And on a scale of 10….they gave me for dance 10. For looks: 3.”

Who doesn’t love an audition where you’re playing a character auditioning to play a character? This play-within-a-play features Dotty Otley, a washed-up actress who has a flare for the dramatics. Dotty is not only a principal investor in the play’s production but cherishes the role of Mrs. Clackett, a gossipy housekeeper.

Monologue Length: 1:10 – 1:25

“It’s no good you going on. I can’t open sardines and answer the phone. I’ve only got one pair of feet. Hello…. Yes, but there’s no one here, love…. No, Mr. Brent’s not here…He lives here, yes, but he don’t live here now because he lives in Spain… Mr. Philip Brent, that’s right…. The one who writes the plays, that’s him, only now he writes them in Spain… No, she’s in Spain, too, they’re all in Spain, there’s no one here… Am I in Spain? No, I’m not in Spain, dear. I look after the house for him, but I go home at one o’clock on Wednesday, only I’ve got a nice plate of sardines to put my feet up with, because it’s the royal what’s-it’s called on the telly — the royal you know — where’s the paper, then? And if it’s to do with letting the house then you’ll have to ring the house-agents, because they’re the agents for the house…. Squire Squire, Hackham and who’s the other one…? No, they’re not in Spain, they’re next to the phone in the study. Squire, Squire, Hackham, and hold on, I’ll go and look. Always the same, isn’t it. Soon as you take the weight off your feet, down it all comes on your head.”

monologues for women

If it’s traveling back in time you like, choose the words of Lady Mary Lasenby, daughter of an English lord who is stuck on a deserted island with fellow aristocrats. Derived from a play by James M. Barrie (creator of ‘Peter Pan’), this challenging monologue proves a unique pick.

Monologue Length: 45 seconds – 1 minute

“I sighted a herd near Penguin’s Creek, but had to creep round Silver Lake to get to windward of them. However, they spotted me and then the fun began. There was nothing for it but to try and run them down, so I singled out a fat buck and away we went down the shore of the lake, up the valley of rolling stones; he doubled into Brawling River and took to the water, but I swam after him; the river is only half a mile broad there, but it runs strong. He went spinning down the rapids, down I went in pursuit; he clambered ashore, I clambered ashore; away we tore helter-skelter up the hill and down again. I lost him in the marshes, got on his track again near Bread Fruit Wood, and brought him down with an arrow in Firefly Grove.”


Enter Mrs. Armstrong: veteran Christmas pageant director dedicated to ensuring one church’s amateur stage adaptation of the story of Jesus’ birth does the Bible justice. Tackle her hilarious lecture, and you’re sure to bring a little holiday cheer to the room.

Monologue Length: 1:15-1:30

“[Let me]tell you again, Grace, how important it is to give everyone a chance. Here’s what I do — I always start with Mary and tell them we must choose our Mary carefully because Mary was the mother of Jesus… Yes, and then I tell them about Joseph, that he was God’s choice to be Jesus’ father. That’s how I explain that. Frankly, I don’t ever spend much time on Joseph because it’s always Elmer Hopkins, and he knows all about Mary and Joseph, but I do explain about the Wise Men and the shepherds and how important they are. And I tell them, there are no small parts, only small actors. Remind the angel choir not to stare at the audience, and don’t let them wear earrings and things like that. And don’t let them wear clunky shoes or high heels. I just hope you don’t have too many baby angels, Grace, because they’ll be your biggest problem. You’ll have to get someone to push the baby angels on, otherwise they get in each other’s way and bend their wings. Bob could do that, and he could keep an eye on the shepherds too. Oh, another thing about the angel choir. Don’t let them wear lipstick. They think because it’s a play that they have to wear lipstick, and it looks terrible. So tell them…. And, Grace, don’t use just anybody’s baby for Jesus… get a quiet one. Better yet, get two if you can… then if one turns out to be fussy, you can always switch them.”

I got a c monologue

Charlie Brown and friends may be a mere bunch of kids, but the beauty of the hit musical, “You’re A Good Man, Charlie Brown” is that a cast of adult actors brings this motley crew to life. Poor Sally garners an average ‘C’ grade for a school sculpture, and she has a thing or two to say about it…

Monologue Length: 1 Minute

“A ‘C’? A ‘C’? I got a ‘C’ on my coathanger sculpture? How could anyone get a ‘C’ in coathanger sculpture? May I ask a question? Was I judged on the piece of sculpture itself? If so, is it not true that time alone can judge a work of art? Or was I judged on my talent? If so, is it fair that I be judged on a part of my life over which I have no control? If I was judged on my effort, then I was judged unfairly, for I tried as hard as I could! Was I judged on what I had learned about this project? If so, then were not you, my teacher, also being judged on your ability to transmit your knowledge to me? Are you willing to share my ‘C’? Perhaps I was being judged on the quality of coathanger itself out of which my creation was made…now is this not also unfair? Am I to be judged by the quality of coat hangers that are used by the drycleaning establishment that returns our garments? Is that not the responsibility of my parents? Should they not share my ‘C’?”

comedic monologues for women

If it’s another member of Charlie Brown’s gang that strikes your fancy (or if you have a knack for dishing severe sass), check out this infamous declaration by the incomparable Lucy Van Pelt. Spoiler alert: she intends to be a QUEEN!

Monologue Length: 1 Minute

“Do you know what I intend? I intend to be a queen. When I grow up I’m going to be the biggest queen there ever was, and I’ll live in a big palace and when I go out in my coach, all the people will wave and I will shout at them, and…and…in the summertime I will go to my summer palace and I’ll wear my crown in swimming and everything, and all the people will cheer and I will shout at them… What do you mean I can’t be queen? Nobody should be kept from being a queen if she wants to be one. It’s usually just a matter of knowing the right people.. ..well…. if I can’t be a queen, then I’ll be very rich then I will buy myself a queendom. Yes, I will buy myself a queendom and then I’ll kick out the old queen and take over the whole operation myself. I will be head queen.”

Jenny Kirlin’s short play offers plenty of witty political humor. If you’re in need of a shorter monologue, consider reading this snippet of theatre that features a great opening line (we do hate pigeons!)

Monologue Length: 30 Seconds

“I’m sorry, but a good HALF of the United States hates pigeons. One third shoots them for game. I’m not the only bad guy here. You would have voted for an elephant if it had told you it could fix the economy. Which, by the way, is still not fixed. A giant goose egg. […] I’m sorry if I am offending you, but I find it more than a little offensive that I just walked my daughter past a portrait of a pigeon in the National Art Gallery before I came here.”

If you’re a film buff as well as a theatre nerd, you may enjoy reading from the stage version of cult-classic blockbuster, ‘The Graduate.’ Your part? Elaine Robinson, daughter of Mrs. Robinson (*cue Simon & Garfunkel*).

Monologue Length: 1 Minute

“Well nothing’s perfect Benjamin. I wish my mother didn’t drink so much. I wish I’d never fallen out of that tree and broken my thumb because it so affects my fingering I’ll probably never play the violin as well as I’d love to but that’s about it for the bullshit, Benjamin. It’s only bullshit if you let it pile up. Heaven’s in the details. Someone said that. I think Robert Frost said that. I was in this diner with my roommate Diane? And this guy came along with a goat on a rope and it turns out the reason he’s got a little goat on a rope is that he was thrown out the day before for bringing in his dog? But the point is that Diane had stood up to leave when she saw the man walk in and she sat straight down again and said, well if there’s a goat I think I’ll have dessert. And that’s why I love Diane, because if you think like that you not only notice more little goats, you get more dessert.”

Are your acting chops shown best when getting in tune with old-school theatre? A Shakespeare monologue can do no wrong. Fortunately, The Bard did auditionees the favor of writing comedies and tragedies; and “A Midsummer Night’s Dream” is one of his most beloved comedic plays. To read Helena’s monologue or not to read Helena’s monologue, that is the question…

Monologue Length: 45 Seconds

“O, I am out of breath in this fond chase!
The more my prayer, the lesser is my grace.
Happy is Hermia, wheresoe’er she lies;
For she hath blessed and attractive eyes. 
How came her eyes so bright? Not with salt tears:
If so, my eyes are oftener wash’d than hers.
No, no, I am as ugly as a bear;
For beasts that meet me run away for fear:
Therefore no marvel though Demetrius 
Do, as a monster fly my presence thus.
What wicked and dissembling glass of mine
Made me compare with Hermia’s sphery eyne?
But who is here? Lysander! on the ground!
Dead? or asleep? I see no blood, no wound.
Lysander if you live, good sir, awake”

We’ve another Shakespearean gem for you: Cue Rosalind, the smart, cunning and beautiful heroine of ‘As You Like It.’ Yes, this comedic piece also has a dramatic flair to it but the text lends itself to some witty interpretations.

Monologue Length: 1:20-1:30

“And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What though you have no beauty,–
As by my faith, I see no more in you
Than without candle may go dark to bed,–
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature’s sale-work. Od’s my little life!
I think she means to tangle my eyes too.
No, faith, proud mistress, hope not after it:
‘Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south puffing with wind and rain?
You are a thousand times a properer man
Than she a woman: ‘tis such fools as you
That make the world full of ill-favour’d children:
‘Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper
Than any of her lineaments can show her.
But, mistress, know yourself: down on your knees,
And thank heaven, fasting, for a good man’s love:
For I must tell you friendly in your ear,
Sell when you can; you are not for all markets.
Cry the man mercy; love him; take his offer:
Foul is most foul, being foul to be a scoffer.
So take her to thee, shepherd. Fare you well.”

Joseph Arnone’s one-act play, ‘Rather Be A Man’ chronicles two girls who are totally done with men being men. The e-play (available for download on MonologueBlogger.com) features a dark-clever reading into the mind of modern women.

Monologue Length: 1:05-1:15

KIM: “I don’t know what it is with me lately but I just get so UGH! when guys come up to me, with their cheesy lines, (imitating guy) “Hey, you have such a beautiful smile” or “Can I just tell you that you are so beautiful”.  Ugh!  It disgusts me.  I mean, who the hell does this guy or that guy think he is to give me such compliments?  What gives him the right?  I don’t do anything to give off any kind of interest whatsoever, I completely look the other way when I see eye contact happening and they STILL come over thinking they’re so suave and it’s simply repulsive.  You know what I’m saying??

What does a girl have to do these days?  Maybe if I just vomited on myself the guy would walk the other way but I bet even then, I’d get, “The way you vomit on yourself is just so, so delightful.”

…All I want is to be left alone.  I have a man, I love my man and I do my best to be polite but the irritation and the cheesy lines are getting to be too much.  Guys are blind, they really are, OBLIVIOUS to when a girl is not interested.  There are days when I rather be a man.”

This monologue brings to life the high-power attitude of one high-powered fashion designer. If it’s Meryl Streep in ‘Devil Wears Prada’ that acts as your creative muse, take a look at this monologue and add your own personality to this major diva supreme.

Monologue Length: 45 Seconds -1:00

Elmira: “Don’t look at me.  (points) You.  Eh, eh, eh…when I address you, do not look at me.  No eye contact.  Is that understood?  Look away.  (beat)  Okay, look at me now.  (snaps her fingers) I told you not to look at me.  Even if I tell you to look at me, do not look at me. Understood?  Good, good darling.

(she removes her gloves and hands them to her assistant)

Oh!  I have something in my eye, can you help me?  (pointing) Looking, looking, looking!  NO looking under all circumstances.

You must raise up that attention span of yours.  A fish could retain more darling.  That is true.  I have read it.  Less attention span than a fish.

Do not let that be you darling.”

Own the audition room with some Tennessee Williams as you portray Amanda Wingfield, one of the most well-known roles in ‘The Glass Menagerie.’ Though chock full of drama, there are bits of comedic relief throughout the award-winning play. This monologue is spoken by Amanda, an aging and overbearing mother.

Monologue Length: 2 Minutes

“Possess your soul in patience – you will see!

Something I’ve resurrected from that old trunk! Styles haven’t changed so terribly much after all.

[She parts the portières.]

Now just look at your mother !

[She wears a girlish frock of yellowed voile with a blue silk sash. She carries a bunch of jonquils – the legend of her youth is nearly revived.]

[Feverishly]: This is the dress in which I led the cotillion, won the cakewalk twice at Sunset Hill, wore one spring to the Governor’s ball in Jackson ! See how I sashayed around the ballroom, Laura?

[She raises her skirt and does a mincing step around the room.] I wore it on Sundays for my gentlemen callers ! I had it on the day I met your father. I had malaria fever all that spring. The change of climate from East Tennessee to the Delta – weakened resistance I had a little temperature all the time – not enough to be serious – just enough to make me restless and giddy. Invitations poured in – parties all over the Delta! – ‘Stay in bed,’ said mother, ‘you have fever!’ – but I just wouldn’t. – I took quinine but kept on going, going ! Evenings, dances ! – Afternoons, long, long rides! Picnics. – lovely! – So lovely, that country in May. – All lacy with dogwood, literally flooded with jonquils! – That was the spring I had the craze for jonquils. Jonquils became an absolute obsession. Mother said, ‘Honey, there’s no more room for jonquils.’ And still I kept on bringing in more jonquils. Whenever, wherever I saw them, I’d say, “Stop ! Stop! I see jonquils ! I made the young men help me gather the jonquils ! It was a joke, Amanda and her jonquils ! Finally there were no more vases to hold them, every available space was filled with jonquils. No vases to hold them? All right, I’ll hold them myself – And then I – [She stops in front of the picture.] met your father ! Malaria fever and jonquils and then – this – boy…. [She switches on the rose-coloured lamp.] I hope they get here before it starts to rain.”

Ferret murderers and unconventional pets run amok in this monologue by playwright Tara Meddaugh. Maybe you’re looking to read something that reflects your unique, one-of-a-kind sense of humor. We think this bizarrely wild scenario might do just the trick.

Monologue Length: 2 Minutes

Jyoti: “I know you think I murdered your ferret, but—hey, stop crying. You’re gonna make me cry too. And you (starts crying)—know—happens—when—we—both—start—oh! I’m doing it too now…Okay. Okay. What would Zena do? Julia, your ferret ran away. He did. I know you don’t want to believe me, but I know this, because…well, I saw him. And I was wearing my glasses, so I had 20/20. Or 20/30. I need a new prescription. But I could still see it was Foozu, and he was wearing the yellow rain slicker, not the winter coat you tie dyed for him, so I think he was headed for Seattle. And, I don’t think we should go after him, Julia. That Payless box wasn’t big enough; you always forgot to feed him, and when you did, it was usually just pebbles and sticks—and I really don’t think ferrets can live on that. Seattle has a lot more to offer Foozu. Food, drinks, warm shelter, intellectual stimulation, perpetual contentment. He deserves that, don’t you think? I, I know coming in and seeing me with the knife over Foozu’s box makes it look rather strange. But. . . Well. . . You miss him, don’t you? (pause) I could be your ferret. Don’t dismiss it right away. I’d be a good pet. I like to curl up in small places and I don’t mind rocks and sticks. You could knit me a winter coat, and you don’t even have to tie dye it if you don’t want to. That’s okay with me. Is that okay with you? I’m gonna just rinse this knife off and throw this little bag away, and then I’ll curl up in my box. I found a new one—a size 11! I’ll wait for you there and you can throw me a ball, okay? Unless, you don’t want me to be your ferret. You don’t need to back away from me. . . Don’t you want me here anymore? If I’m not here, who’s going to sing to you? I know the entire soundtrack to Sleepless In—don’t be scared—I’ll—but I don’t know where I’m supposed to go, Julia. (pause) I could follow Foozu. I could—I could go to Seattle. . . . I’ll follow Foozu. But Julia, when I go, you’ll have to clean off the knife again—I won’t be able to do it. . . . I don’t have a yellow slicker.”

Step up onto your soapbox and dive into the role of Sarah Brown. In a buzzing New York City, Sarah is set on bringing truth to sinners. This lively monologue is one of the most memorable from this Tony Award-winning musical.

Monologue Length: 45 Seconds – 1 Minute

“Brothers and sisters, resist the Devil and he will flee from you. That is what the Bible tells us. And that is why I am standing here, in the Devil’s own city, on the Devil’s own street, prepared to do battle with the forces of evil. Hear me, you gamblers! With your dice, your cards, your horses! Pause and think before it is too late! You are in great danger! I am not speaking of the prison and the gallows, but of the greater punishment that awaits you! Repent before it is too late!

Just around the corner is out little mission where you are always welcome to seek refuge from this jungle of sin. Come here and talk to me. Do not think of me as Sergeant Sarah Brown, but as Sarah Brown, your sister. Join me, Brothers and Sisters, in resisting the Devil, and we can put him to flight forever.”

Oscar Wilde’s classic work is fully titled, ‘The Importance of Being Earnest, A Trivial Comedy for Serious People.’ It’s incomparable wit and wordplay is perfect monologue content as can be seen by these words from leading lady Gwendolen Fairfax:

Monologue Length: 1:05 – 1:15

“Oh! It is strange he never mentioned to me that he had a ward. How secretive of him! He grows more interesting hourly. I am not sure, however, that the news inspires me with feelings of unmixed delight. [Rising and going to her.] I am very fond of you, Cecily; I have liked you ever since I met you! But I am bound to state that now that I know that you are Mr. Worthing’s ward, I cannot help expressing a wish you were—well, just a little older than you seem to be—and not quite so very alluring in appearance. In fact, if I may speak candidly— […] Well, to speak with perfect candour, Cecily, I wish that you were fully forty-two, and more than usually plain for your age. Ernest has a strong upright nature. He is the very soul of truth and honour. Disloyalty would be as impossible to him as deception. But even men of the noblest possible moral character are extremely susceptible to the influence of the physical charms of others. Modern, no less than Ancient History, supplies us with many most painful examples of what I refer to. If it were not so, indeed, History would be quite unreadable.”

comedic monologues women, funny monologues for girls

Take on one of the most beloved characters of all time (and on Broadway currently). Quirky and lovable, this Eliza Doolittle monologue is an excellent pick for any woman who knows that the rain in Spain falls mainly in the plain!

Monologue Length: 55 Seconds – 1 Minute

“My aunt died of influenza, so they said. But it’s my belief they done the old woman in. Yes Lord love you! Why should she die of influenza when she come through diphtheria right enough the year before? Fairly blue with it she was. They all thought she was dead. But my father, he kept ladling gin down her throat. Then she come to so sudden that she bit the bowl off the spoon. Now, what would you call a woman with that strength in her have to die of influenza, and what become of her new straw hat that should have come to me? Somebody pinched it, and what I say is, them that pinched it, done her in. Them she lived with would have killed her for a hatpin, let alone a hat. And as for father ladling the gin down her throat, it wouldn’t have killed her. Not her. Gin was as mother’s milk to her. Besides, he’s poured so much down his own throat that he knew the good of it.”

You Might Like: 8 Strong Female Monologues From Shakespeare

Research credit to stageagent.com , monologueblogger.com 
Sours: https://theatrenerds.com/17-comedic-monologues-for-women/
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These, one to one and a half minute, monologues are perfect for auditioning for one of our School Muiscal Productions.  Remember at Dandylyon Drama, we know it takes guts to audition, so we give  you  a role just for showing up.  We’ll teach you how to audition while we audition.  Just do your best!  We take pride in working hard to cast you into just the right role that will build on your strengths and stretch you as an actor!

Top Ten Tips for a Great Audition

10. CHOOSE WISELY! Pick a monologue that you like, and memorize it!

9. NO STUFF NEEDED!  Don’t use a chair or prop, just use your imagination.

8. DON’T STRESS!  The directors do not have your monologue memorized, so we won’t even notice if you mess up a word or two, so try to keep going.

7. ENERGY! First impressions count.  Show us your best self, so wake up!

6. EMOTION!  Plays and Musicals capture the most dramatic moments of a story, so we want to see some emotion!

5. ENNUNCIATION! This ain’t no fashion show, we want to understand the words please.

4. EXPRESSION!  You’ve got a face so use it to tell the story.

3. BREATHE!  You need oxygen to survive your audition.

2. STAND TALL!  This helps you look and feel confident and forget your nerves.

1. SMILE!  Directors want to work with fun people!

Pick a monologue that’s fun for you to perform!  It’s best if the monologue is not the exact character in the play you want to play.

Some Suggested 1 Minute Monologues

Wicked Queen

I am so sick of being called the wicked queen! I am not wicked- I’m obsessive. There’s a big difference. All I ever wanted was to be the fairest in the land. Maybe attempted homicide was a bit extreme, but that doesn’t make me evil. Do you have any idea what it’s like to constantly be around someone you know looks better than you? It’s terrible! Besides, I was doing a favor for all of humankind. That girl is just too happy for her own good!  All I’m saying is that it wasn’t completely my fault, but I’m still destined to go down in fairy tale history as “the Wicked Queen.”

Misunderstood Stepmother

Snow white?  I’ll tell you about Snow White!  You think she looks like that naturally?  (she spends hours on her make up.) And who do you think cleans all that up? It wasn’t snow white, I’ll tell you that. I never made her do any chores. She’s just like my friends stepdaughter, in front of guests she refuses to let anyone else lift a finger and then turns it around and makes us look bad. I’m telling you, that Cinderella girl should get together with snow white. Let them fight it out as to who gets to do the work. It’s like some kind of . . . Complex or something.

Where’s My Happily Ever After?

You’re right, you’re absolutely right. I don’t belong here. But do any of us? Wait, wait, wait! We are more alike than you think! Queen Narcissa- the seven dwarfs saved Snow White and then what happened? It left you the Unfairest of them all! Now you’re hustling pool to get your next meal. How does that feel? You, frumpy pigskin, right Rumpelstiltskin…my bad. Where’s that first born you were promised, eh?  Hook! Need I say more? Anastasia, remember when you couldn’t get your fat foot in that glass slipper? Cinderella is out there right now, eating bon bons and schmoozing with every last fairy tale creature that has ever done you wrong! There are two sides to every story. And our side has not been told. So, who wants to come out on top for once? Who wants their happily ever after?

Cinderella’s Dream

I had the strangest dream, my fairy godmother sprinkled happy dust over Anastasia and Drizella, and they were so nice to me!  I know that was only a dream, but it was so nice, that I think I’ll try to pretend that it really happened. Whenever they are mean to me, I’ll pretend they actually said something sweet and kind. “Sure, I’ll wash you dresses, Drizella… I would love to polish your shoes, Anastasia. Right away dear sisters, thank you!”(giggles) did you see their faces! They must to think I’ve gone mad. Did you see how they hurried to their rooms and slammed the doors? They may not actually be caring or good nature, but they’ll be too scared to come out of their rooms for at least a few hours. So … Who’s up for a game of hide-and-seek while we’ve got the run of the house?

Turkey Emergency

The nature of my emergency?  Uhhh, I’m trying to reach nine eleven but my phone doesn’t have an 11  on it.  Ohhhh, this is nine-eleven, I thought you said this was 9-1-1.  What! 9-1-1 and nine eleven are the same thing?  They say you learn something new everyday.  O.k. calm down, my mother wanted me to ask if you guys know how to cook a turkey-  yes cook a turkey.   The emergency is that we are hungry.  Listen, if my mother cooks this turkey, we’ll be calling you anyway because we’ll all be sick.  I know, i know, you have other calls to take, oh, by the way, earlier we heard what sounded like gunshots coming from the brown house on the corner.  No, I don’t have an address, I’m wearing black capris and a top.  Oh, the gunshot thing, minor details.  Gotta go.  Have to convince my mom to spend thanksgiving at Aunt Marcia’s house.  This is the real life or death situation here!

Frog Prince

Hello. My name is prince Frederick and I am a . . . A fly addict. It’s all my father’s

Fault. No, really. I’m not just trying to blame someone else. You see, when he made up the list for my christening he made a slight error. He left my godmother off the list and she got a little . . . Upset. She sort of flew off the handle and turned me into a frog. She has since sought therapy to try and find better ways of dealing with her stress.  Anyway, I had to get a beautiful princess to kiss me so that I could turn back to normal. You can imagine the line of them just waiting to do so. It took me twenty years, but I finally found one willing to kiss my slimy frog lips. After my transformation we were married and supposed to live happily ever after.  Unfortunately, she broke up with me because of my addiction. Well, that and the lily pads in the bathtub drain.

Prince’s Complaint

Aren’t there any normal princesses out there??  I’d like to meet a princess who actually likes me- for me- not just because i came valiantly to her rescue.  A princess who reads by the hour because she likes books!  Not because she’s been locked in a tower for years.  That would be refreshing!  A princess who hide her beautiful face in ashes and pretend to be a maid until i throw a ball, and then suddenly there she appears- only to disappear again.  I mean some guys think that’s interesting- but I’d like to actually finish our dance and say good night?  And then really!  You think the best way to meet me is to eat a poison apple and get your seven best friends put you in a glass coffin!  A simple, “Hi, my name is Snow White.” Would work just fine for me!  Really!  (Prince hears something) oh no!  Gotta run.  Another princess in trouble!


Ahhh, I love this crummy weather!  Oh, yes, isn’t just heaven when it’s all gloomy and dreary like this.  Yep, this weather is my cup of mud.  I’m glad that someone agrees with me!  Oh you don’t huh!?  So you’re with them!  So you think it should all be sunshine and roses, huh? Yuck! Just go with the flow? No way! It warms my heart to feel the frost!  Spring and warmer days? Forget it feather face! Now I’ve done it!  I’ve made you mad!  There’s nothing better than an angry face in a beautifully dreary place!  Guess you think I should leave, huh?  Oh yeah, YOU should scram! (waits for person to leave) well if you’re not leaving, I am!  Have a perfectly rotten day!


(to self)  I c-c-can do this! I just have to practice!  (as if to a mirror) hi!  I’m T -T-T-Tim!  Nice to meet you.  It may seem to you that I don’t care when you say hi and I don’t answer.  Or I hide behind the nearest tree or desk.   You might think that I don’t have a lot to say when I get stuck on a letter or a w-w-w-word.  But I do!  I have lots to say and I do care.  It’s just sometimes the words don’t want to come out, or I’m worried you’ll think I’m weird or something.  (looks up to audience) H-h-h-have you been standing there the whole time???  (smiles big) I did it!  I talked in front of people!!

Respect for the King

You say the king should have the highest respect in his kingdom?  I agree.  I am the king, and i shall have your respect!  A king’s head should be the highest in his kingdom- so sit down already!  I can’t stand forever.   (sits) ahh, that’s better.  Now I will tell you why I want to be respected. Not because I was born with royal blood, or that I own the most land, or have the most political power-no!  Justice!  Above all justice!  This king will be respected because his people know that their king will keep them safe, and bring justice to those steal from the weak!  Justice for my people.

Michael from Peter Pan

I won’t go to bed, I won’t, I won’t! Nana, it isn’t six o’clock yet. Two minutes more, please, one minute more? Nana, I won’t be bathed, I tell you I will not be bathed! I want to play house with Wendy and John. See, they’re pretending to be like mother and father. They need someone to play the child. Now John, have me. If you are not going to have me, then am I not to born at all? Please John, nobody wants me!

Wendy from Peter Pan

Boy, why are you crying? You say that you are not crying? Oh, yes you are. What is your name? Wendy, Moira, Angela, Darling. What’s yours? Peter Pan, is that all? Oh, it is. In that case, I’m so sorry. Where do you live? The second star to the right and straight ‘till what? What a funny address. I ah mean, is that what they put on your letters? Well if you don’t get letters, you mother must get… You don’t have a mother? Oh, Peter.

Peter Pan

Yes, Wendy, I know fairies! But, they’re nearly all dead now. You see, when the first baby laughed for the first time, the laugh broke into thousand of pieces and they all went skipping about, and that was the beginning of fairies. So, there ought to be a fairy for every boy and girl. There isn’t of course. You see children know such a lot now. Soon they don’t believe in fairies, there is a fairy somewhere that falls down dead. I can’t think she is gone. Tinkerbell, Tink, where are you?

John from Peter Pan

Peter, you can really fly? Could you teach us to fly? Could you teach us to jump on the wind’s back and away we’ll go!?! Instead of sleeping in our silly beds we might be flying about saying funny things to the stars! How do we do it? Think lovely thoughts? Think lovely thoughts! Fishing… picnics… sailing… PRESENTS!!! And away we goooooooooo!!!!!!!!!

Lost Boy from Peter Pan

I saw Pirates! I saw Indians! Not only did I see Pirates, and Indians, but I saw a wonderfuller thing. High over the lagoon I saw the loveliest, great, white bird. It is flying this way. It looks weary and as it flies it moans, “Poor Wendy”. I think there are birds called Wendies. See, here it comes! Look how white it is. Hey, there’s Tinkerbell. Tink is trying to hurt the Wendy. She says Peter wants us to shoot the Wendy. Let us do what Peter wishes. Out of my way, Tink. I’ll shoot it. I’ve shot the Wendy! Peter will be so pleased!

Andromeda (a Star)

Have you ever wondered where Neverland is? Is it on another planet?  Another star?  Some say you can find it if you think happy thoughts… some say you must have fairy dust!  Some say babies who fall out of their prams get swept up by fairies and taken to Neverland for safe keeping.  Wait! How come there are only lost BOYS there?Of course, because girls are too smart to fall out of their prams!  At least that’s what Peter says!

Captain Hook from Peter Pan

Split me infinitives, but ‘tis me hour of Triumph! Peter killed at last and all the boys are about to walk the plank. At last, I’ve reached me peak! All mortals envy me- no little children love me. I’m, told they play at Peter Pan, and that the strongest always chooses to be Peter. They force the baby to be Hook. THE BABY!  Blimey, that will be no more!  The strongest will always choose to me!  Captain James Hook!

Tiger Lily from Peter Pan

I’ll not tell you a thing!  I will uphold the honor of my tribe- I do not fear death.  Peter Pan! He will rescue me.  Peter man, who to me, is the sun, moon, and stars!  You are no match for Peter Pan.  Peter Pan is the bravest and strongest of all boys.


Can I talk like a pirate?  Ay, matie!  Avast! Ahoy!  Aye-aye, I can!   Shiver me timbers! I can talk like a pirate better than any lily-livered, jelly-legged sea-goer that ever there once was!  I says whatever I’ve got to say in a pirate way and if any bilge-sucking buccaneer says I don’t, I’ll cleave him to the brisket!  I swear on Davy Jones’ Locker, to be a true blue pirate you’ve got to be able to load a cannon and fire it- but most important you’ve got to talk like a pirate!

Lion from Wizard of Oz

Courage! What makes a king out of a slave? Courage! What makes the flag on the mast to wave? Courage! What makes the elephant charge his tusk in the misty mist, or the dusky dusk? What makes the muskrat guard his musk? Courage! What makes the sphinx the seventh wonder? Courage! What makes the dawn come up like thunder? C ourage! What makes the Hottentot so hot? What puts the “ape” in apricot? What have they got that I ain’t got?  Courage? You can say that again!

Munchkin Major from Wizard of Oz

As Mayor of the Munchkin City, in the county of the land of Oz we welcome you most regally, but we have to verify it legally. To see, if she is morally, ethically, spiritually, physically, undeniably and reliably dead. Then this is a day of independence for all the munchkins and their descendants. Let the joyous news be spread. The wicked old witch at last is dead!

Glinda the Good Witch from Wizard of Oz

Are you a good witch or a bad witch? Or is that the witch? Well, I’m a little muddled. The munchkins called me because a new witch has dropped a house on the wicked witch of the east. There’s the house and here you are and that’s all that’s left of the wicked witch of the east. And so, what the munchkins want to know is, are you a good witch or a bad witch?

Scarecrow from Wizard of Oz

Pardon me, that way is a very nice way. It’s pleasant down that way, too. Am I confusing you on purpose, of course not. You see, I can’t make up my mind because I haven’t got a brain, only straw. How can I talk if I haven’t got a brain? Hmmm, well some people without brains do an awful lot of talking, don’t they?

Dorothy from Wizard of Oz

Follow the yellow brick road. Follow the yellow brick road. Now which way do we go? That’s funny. Wasn’t he pointing the other way?     Don’t be silly, Toto, scarecrows don’t talk.  Why, you did say something. Are you doing that on purpose or can’t you make up your mind? You haven’t got a brain? How can you talk if you haven’t got a brain?

Wicked Witch of the West from Wizard of Oz

Nikko, Nikko! Where is the commander of my aerobatic apes? There you are. I have an important task for you. My enemies are about to enter the Haunted Forest. I want you to rouse your men and snatch the sickening little girl and her equally nauseating little dog. I’ll conjure up a spell to take the fight out of her. Now which of my creepy crawlie creations shall I send to plague her? The flibberty gibbet? No! The fly by night? No! Aha! I have it! The jitterbug! There is no more infectious bug in my book of spells. Once bitten, they can never stop dancing till they drop! And when they do, you shall be there to scoop up the little brat and the little brute and bring them both to me! Now go!

Wizard of Oz

Come forward. I am Oz the great and powerful. Who are you? WHO are YOU? Silence! The great and powerful Oz knows why you’ve come. Tinman, step forward. You dare to come to me for a heart, do you? You clinking, clanking, clattering, collection of collinginous junk.

Lion from Wizard of Oz

Roooaaarrr! Put ‘em up, put ‘em up! Which one of ya first? I’ll fight ya both together if you want. I’ll fight ya with one paw tied behind my back. I’ll fight ya standing on one foot. I’ll fight ya with my eyes closed. Oh, pulling an ax on me eh? Sneaking up on me, eh? Why ruff, ruff!

Munchin Girl from Wizard of Oz

We thank you very sweetly for doing it so neatly. You’ve killed her so completely that we thank you very sweetly. Let the joyous news be spread! The wicked old witch at last is dead.

Tinman from Wizard of Oz

Oil can.  O i l c a n. My mouth.  The other side.  My, my, my, goodness. I can talk again! Oil my arms, please. Oil my elbows. It feels wonderful. I’ve held that ax up for ages. It was about a year ago that I was chopping that tree and suddenly it began to rain. Right in the middle of a chop I rusted solid.

Dorothy from Wizard of Oz

Aunt Em! Aunt Em! Just listen to what Miss Gulch did to Toto.     Aunt Em, she hit him and . . . Oh, but Aunt Em, Miss Gulch hit Toto right over the back with a rake just because she says he gets into her garden and chases her nasty old cat. But he doesn’t do it every day, just once or twice a Week and he can’t catch her old cat anyway. Now she says she’s going to call the sheriff!

Molly from “Annie”
Mama! Mama! Mommy! I was dreamin’ ‘bout my Mama, Annie. We was on the merry-go-round and she was smiling and holding my hand. And then, she was gone. I couldn’t stop the merry-go- round and I couldn’t find her no more, no where. Annie, will you read me your note again, please? It always makes me feel better. I promise I’ll go to sleep after you read me your Note.

Pepper from “Annie”

Hush, Molly! Can’t anybody get any sleep around here? Don’t feel sorry for her. We’re the one’s who aint getting any sleep! Shut your trap, Molly! What? You’re telling me to pipe down? You must have meant that tone of voice for someone else. You wanna make somethin’ of it? You’re just beggin’ for a black eye, pal.

Tessie from “Annie”

Oh my goodness, Oh my goodness! They’re fighting again and I won’t get no sleep all night! Oh my goodness, Oh my goodness! Molly’s talkin’ in her sleep. Her eyes are still closed. She don’t know how loud or soft her voice is when she’s asleep. At least she’s not snoring. Oh my goodness, oh my goodness! Now she’s snoring!


 Pipe down, all of you. Do you want Hannigan to hear you? I know, she’s talking in her sleep. Shhhh, Molly. It’s all right, Annie’s here. Blow. It was only a dream. Now we’ve all got to get back to sleep. It’s after three a.m. All right, I’ll read you my note again if you promise to go back to sleep. (clears throat) “ . . . Please take care of our little darling. We’ve named her Annie. She was born on Oct. 28 . . . “ So, you’re laughing are you? Do you want to sleep with your teeth inside your mouth or out?

Orphan Boy

 I got him! I got the dog! Now what should we do with him? The dog Catcher said he was dangerous. He don’t look dangerous to me. He’s just a dumb mutt, that’s all. He aint worth nothin’. Maybe We should shoot him. We’d be town heroes! Hey, I know what we could do with him. (with a mischievous grin) As long as we don’t get caught . . .

Poor Boy

Stew again? We had stew last night – and the night before. There isn’t any meat in it.   I know, beggers can’t be choosers. Will you look at this? We made the papers again. “…In Hoover they trusted and now they are busted…” The story of our lives. “ … thousands of once affluent Americans are today Living in makeshift towns known as Hoovervilles…” It says here that in New York City alone there are more than a dozen Hoovervilles. We’re famous!

Officer Higgins from “Annie”

 Hey, you, little girl. Come over here. That dog There, haven’t I seen him running around the neighborhood? Ain’t he a stray? You say he’s your Dog? Hmmm? So what’s his name? Sandy, huh? O.K. let’s see him answer to his name. Call him by His name, Sandy. CALL HIM. Maybe he is your dog, but the next time I want to see him with a leash and a license, understand?

Grace from “Annie”

Good afternoon, Miss Hannigan is it? Oh, good. I’m Grace Farrell and the New York City board of orphans suggested that I . . . Miss Hannigan, I’m sorry but I don’t have the slightest idea about this run-away that you’re talking about. I’m not peddling anything. I’m the private secretary to Oliver Warbucks. Mr. Warbucks has decided to invite an orphan to spend the Christmas holidays at his home. I’m here to select one.

Rooster from “Annie”

Hiya Sis. Long time no see. Yup, they finally let me out of Leavenworth. I got six months off for good behavior. You wanna know what I was in for? Ahh, some old geezer from Yonkers said I swindled him out of 11 hundred bucks. Ya know why he said that? Because the Rooster swindled him outta 11 hundred bucks! Sis, I’d like you to meet a friend of mine from . . . Jersey city. Miss Lily St. Regis. Whatdaya think, sis? She’s named after the hotel. (chuckles) No, I’m not sure which floor

Warbucks from “Annie”

Been away six weeks, where is everybody? Hello! It’s good to be home. The flight wasn’t bad. It took eleven hours and we only had to land four times. Now, first thing’s first. Has the painting arrived from Paris? Let me see it before they hang it. Ah, yes. Hmm? No, I don’t think so. Any messages? The president. I’ll get back to him tomorrow. Anyone else? All right, good to see you all again. Grace, if you’ll get your notebook and – – Who is that? The orphan? But that’s not a boy. orphans are supposed to be boys.

Lily from “Annie”

Why did the old geezer from Yonkers say that the Rooster Swindled him outta 11 hundred bucks? Because he swindled Him outta 11 hundred bucks. I’m Lily St. Regis from Jersey City. You know, like the hotel. I’m named after it! So you live in this dump? The city may foot your bill but This aint exactly Buckingham Palace. Your pearls aint even Real. Rooster, I thought you said your big sis was livin’ in Clover? She’s livin’ in the skids.

Hannigan from “Annie”

Ah ha! Caught ya! I hear ya! I always hear ya! Get Up! All of ya! Well, is this the way you say good-Morning? I know it’s 4 O’ clock in the morning. That’s Your problem. Now what do you say? W h a t d o y o u S a y ? Tell me how much you love me. Rotten orphans! You kids in here, get up! Put them things away. For this One’s shenanigans you’ll scrub the floors and strip them beds for the laundry man. Rise and shine!




Sours: http://dandylyondrama.org/clubs/monologues/

Popular Monologues for Actors

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Minute dramatic monologues 2


Tara's dramatic monologues range in actor age from 5 years old to mature adult.  These monologues are great for auditions, workshops, competitions, classes, reels, showcases, monologue slams, performances, and videos. But please contact Tara for permission of use, stating your name and desired use of the monologue.  You must always give proper credit.

Scroll down for descriptions and excerpts from dramatic monologues, or click the title for a link to the specific monologue. 

A Life Spurred into Meaningful Adventure, monologue Genre: DRAMA/COMEDY/TEEN, Cast FEMALE, Setting: FOREST
A Nice Night Together, monologue Genre: DRAMA/COMEDY Cast: MALE, Setting: Hotel
Apple Pie Pain, monologue Genre: COMEDY/DRAMA, Cast FEMALE, Setting, LIVING ROOM
Abhay and the Banana, monologue Genre: DRAMA, Cast: MALE (female), Setting: MUMBAI, INDIA
Birthday Balloons, monologue Genre: DRAMATIC, Cast: FEMALE (male), Setting: BEDROOM
Blessings, a monologue Genre: DRAMA, Cast: MALE (female), Setting: GRIEF SUPPORT GROUP
Buddy’s Mommy, monologue Genre: DRAMA/THRILLER, Cast: FEMALE (male), Setting: LIVING ROOM
Butterfly in the Tomato Plant, monologue Genre: CHILDREN/DRAMATIC/TWEEN, Cast: FEMALE/MALE, Setting: A PARK
Claire, My Eclair, monologue Genre: DRAMA/TEEN Cast: MALE (FEMALE) Setting: Outside
Comprehending Forever, monologue Genre: DRAMA, Cast: MALE (female), Setting: HOME KITCHEN
Covering My Ears, monologue Genre: DRAMATIC/TEEN/CHILDREN Cast: FEMALE/MALE Setting: A Bathroom
Crispy Leaves, monologue Genre: DRAMA Cast: FEMALE (MALE) Setting: GRAVEYARD
Cutting Down The Maple Tree, monologue Genre: DARK COMEDY/DRAMA/THRILLER, Cast: FEMALE, Setting: BACK YARD
Dinner at Canale's, monologue Genre: DARK COMEDY/DRAMA, Cast: FEMALE, Setting: DINING ROOM
Don’t Close the Doors, monologue Genre: DRAMATIC/THRILLER/10-minute Cast: FEMALE, Setting: CLOSET IN A BEDROOM
Eiffel Tower Keychain, monologue Genre: CHILDREN/DRAMATIC, Cast: FEMALE/MALE, Setting: SCHOOLYARD
Engulf the Evil Ashes, monologue Genre: DRAMATIC/TEEN, Cast: FEMALE, Setting: BUILDING IN ALBANIA *Content contains references to violence and human trafficking
F For Friendship,monologue Genre: DARK COMEDY/THRILLER/TEEN Cast: FEMALE Setting: WOODS
Ferret Envy, monologue Genre: DARK COMEDY/THRILLER/DRAMA, Cast FEMALE (male), Setting: APARTMENT
Fingernail Heart, monologue Genre: DARK COMEDY/COMEDY/DRAMA, Cast FEMALE, Setting: OUTSIDE HOUSE
Frog Band-Aid, monologue Genre: DARK COMEDY/DRAMA/THRILLER, Cast FEMALE, Setting: OUTSIDE
Growing Up on the Wrong Side of Bingo, monologue Genre: COMEDY/DARK COMEDY/TEEN/DRAMA, cast: FEMALE (male), Setting: FRONT LAWN
Growing Up Treacherously, monologue Genre: DRAMA/PERIOD/1800s, Cast: FEMALE, Setting: KITCHEN
His First English Words, 5-10 minute monologue Genre; DRAMA/1940s, Cast: FEMALE, Setting: HOME/LIBRARY
I Am a Shark, monologue Genre: DRAMA Cast: MALE/FEMALE Setting: A Beach
If I Were a Kind of Flower, monologue Genre: CHILDREN'S/TWEEN/PRETEEN/COMEDY/DRAMA, Cast: FEMALE/MALE, Setting: A Cafe
I'm Your Frankenstein, monologue Genre: DRAMA Cast: MALE/FEMALE Setting: A laboratory
Livvy's Vase, monologue Genre: DRAMATIC, Cast: FEMALE (male), Setting: HOUSE
Locking the Store, monologue Genre: DARK COMEDY/DRAMA, Cast: MALE, Setting: GIFT SHOP
March in Line, monologueGenre: DARK COMEDY/DRAMA, Cast: FEMALE/MALE, Setting: BEDROOM
Maybe the Next iOS Update... Genre: COMEDY/DRAMA/TEEN, Cast: FEMALE (Male), Setting: RESTAURANT
No More Mirrors, monologue Genre: DRAMATIC, Cast FEMALE (male), Setting: HOTEL/CAMBODIA
No Release, monologue Genre: DRAMA/TEEN, Cast: FEMALE/MALE, Setting: HOUSE
On Washing Cereal Bowls and Other Millennial Matters, monologue Genre: COMEDY/DRAMA, Cast: FEMALE (male), Setting: KITCHEN
Pieces of Coal, monologue Genre: HORROR/THRILLER/DRAMATIC, Cast: FEMALE/MALE, Setting: BEDROOM
Purple Banana Nose, monologue Genre: DRAMATIC, Cast: MALE (female), Setting: POLICE STATION
Remove the Rock, Please, monologue Genre: DARK COMEDY/THRILLER/DRAMA Cast: FEMALE (Male), Setting: OUTSIDE
Rising Fast, monologue Genre: DRAMA Cast: FEMALE (MALE)  Setting: HOUSE
Secret Santa, monologue Genre: COMEDY (DRAMA), Cast: MALE, Setting: AN OFFICE
Seventeen Stitches, Rachel’s monologue Genre: DARK COMEDY/DRAMATIC, Cast: FEMALE (male), Setting: A vortex-like line
Shelley Knows, monologue Genre: THRILLER/DRAMATIC, Cast: FEMALE, Setting: A bedroom
Still Standing Under the Mistletoe monologue Genre: COMEDIC/DRAMATIC, Cast, MALE, Setting: Christmas Party
Strawberry Shortcake Lamp, a 5-minute monologue Genre: DRAMATIC, Cast, FEMALE, Setting: Bedroom
The Adventure of the Seed, monologue Genre: DRAMA, Cast: FEMALE, Setting: HOME
The Beanstalk monologue Genre: Drama/Comedy, Cast: MALE, Setting: A BEANSTALK
The Best General Tso’s, monologue Genre: COMEDIC/DRAMATIC, Cast: FEMALE (male), Setting: KITCHEN, GLOBAL PANDEMIC
The Bus Stop, monologue Genre: DRAMA/COMEDY Cast: MALE (FEMALE), MATURE ADULT Setting: BUS STOP
The Hotel Hallway, monologue Genre: DRAMA, Cast FEMALE, Setting: A HOTEL HALLWAY
The Meaning of Plants, 1-minute version, monologue Genre: DRAMA, Cast: FEMALE/MALE, Setting: DOG GROOMING SALON
The Meaning of Plants, 2-minute version, monologue Genre: DRAMA, Cast: FEMALE/MALE, Setting: DOG GROOMING SALON
The Nicest Worst Club, monologue Genre: DRAMA/COMEDY Cast: FEMALE (male), Setting: A HOUSE
The Other "Other Women," monologue Genre: COMEDY/DRAMA, Cast: FEMALE, Setting: HOTEL ROOM
The Plum-Colored Sweater, monologue Genre: COMEDIC/DRAMATIC, Cast: FEMALE, Setting: A CLOTHING STORE
The Statistics Aren’t Real, monologue Genre: COMEDIC/DRAMATIC/TEEN, Cast: MALE (female), Setting: A DYING FLOWER
This Heat In My Brain, monologue Genre: THRILLER/DRAMATIC/HORROR, Cast: MALE/FEMALE, Setting: AN ALLEY
Those Jimmy Choo Shoes, monologue Genre: COMEDY/DRAMA, Cast: FEMALE, Setting: PRINCIPAL’S OFFICE
Tinsel For Christmas, monologue Genre: DRAMA/DARK COMEDY, Cast: MALE (female), Setting: HOSPITAL
What I Did Before Bingo, 2.5 min version, monologue Genre: DARK COMEDY/DRAMA, Cast FEMALE (Male), Setting: LIVING ROOM
What I Did Before Bingo, 1 minute version, monologue Genre: DARK COMEDY/DRAMA, Cast FEMALE (Male), Setting: LIVING ROOM
What My Fangs Are For monologue Genre: DARK COMEDY/THRILLER/DRAMA/CHILDREN/TEEN, Cast: MALE/FEMALE, Setting: Back Yard
Where’s Your Hand, Chloe? monologue Genre: THRILLER/DRAMA/TEEN, Cast: FEMALE (male), Setting: Woods at night

Goldilocks’ Monologue

excerpted from the 10-minute play, A Life Spurred into Meaningful Adventure

About the play:
Goldilocks and Little Bear have run away from Little Bear’s house in the forest to start a new life together, one full of adventure and hope and away from judgmental eyes. However, they don’t quite know where they are going, how they will find their next meal, and Little Bear has never even made a shelter in the woods. Suddenly, the reality of two young friends on their own in the woods, does not seem as carefree as they once envisioned. To read the 10-minute play,A Life Spurred into Meaningful Adventure, click here.

About the monologue:
Goldilocks, the clear leader of the pair, confesses to Little Bear that, despite her apparent confidence, she actually does not know where they are going. As Little Bear appears to be having second thoughts, Goldilocks does not know if her dear friend deserves to have a life without loving parents, like the one she has been ill-fated to endure. She expresses her gratitude of their friendship, but gives him the freedom to return to his protective and loving family, as the adventure she is embarking on will not be easy.

Setting: A FOREST
Age range: 10-20
Running time: 1-1.5 minutes



I…I don’t know where we’re going…We know your parents don’t accept me in your house.  And…I don’t have much of a home to offer you. (pause) You can go back, Little Bear. If you want to.  I mean—I’d understand.  You have a family that loves you.  You’re not like me. And…I don’t want you to become like me. Bears—They’re—they’re not meant to sleep in beds. But—look, maybe I’m not meant to be scavenging a forest for berries, and yet—this is where I am.  And…this is my life.  This is my adventure…but it doesn’t have to be yours....END OF EXCERPT

Click below for Goldilocks’s complete monologue of “A Life Spurred into Meaningful Adventure.”


SAMUEL, a married man, is standing outside of a hotel bedroom, speaking to his recent fling, Brigit. He explains the difference in her expressing things that will make them have a nice night together and expressing things that will make them have a bad night. He’ll stick around if it’s the former. He’ll leave if it’s the latter.

Cast: MALE
Setting: HOTEL
Age range: 20-70
Approximate running time: 2 minutes



If you can keep those thoughts in your head, if you can, whatever it is you have to do, to make sure those thoughts that you think you’re feeling stay there—inside your head—where they belong, not outside your head—not coming out of your mouth, not going into my ears—then, well, we can have a nice night together. (pause) If you’re not sure what to say out loud and what to keep inside, ask yourself this question: “Is saying what I think going to help us have a nice night? (pause) If it is?  By all means—share.  You want examples?  Okay, so…you could tell me how you brought a bottle of whiskey with you. That’s fine. Whiskey’s gonna help things. Make us have a nice night together. Okay.  You could say how you’ve been thinking about me.  Remembering last night. You could tell me how you’ve been replaying the night over and over. Every touch…every sound…every breath…Yeah, that’s gonna help us have a nice night.  You see?  (pause) What I don’t want to hear, examples of things that should just stay in your head, because, well, they’re not gonna help us have a nice night, um, some examples would be…talking about your husband’s triathlon. Asking me what my wife... END OF EXCERPT

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


HOLLY, is a mother in her 20s-50s. She is at home in the living room. She speaks to her husband, Jesse, who has been watching tv.

Age range: 20-50s
Setting: A living room
Running time: 1-1.5 minutes


My hands are raw—look at them!  I have so many cracks—do you know it stings when I squeeze the lemons? Yeah, it does. I bet you didn’t think about that yesterday.  When you and the boys were sauntering around the apple orchard—picking all that low hanging fruit that even Sammy could reach. Eating cider donuts and launching rotten apples out of the apple canon. Oh, I know you had fun while I was working at the hospital and brought me back this, what, I don’t know, bushel of apples? Yes, I say brought me back because no one else planned on washing all that white pesticide off of them, right?—END OF EXCERPT
Click for the complete free monologue, APPLE PIE PAIN.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

Extracted from the play For My Silent Sisters

Abhay has lived on the harsh streets of Mumbai before being “taken in” by a brothel owner who is grooming Abhay to enter the field. Abhay is a teenager now, and it has been years since he had any kind of home or regular meals at all. Yet he's conflicted as he learns he has moved from one horrific circumstance to another. Abhay relives, to the audience, the moment he loses his mother and home, and what that means to him and his baby sister.

Genre: DRAMA
Cast: MALE (female)
Setting: MUMBAI, INDIA , a brothel
Age Range: 12-25
Running time: 2 minutes



I’ve had two people I loved. And two people who’ve died. I never met my dad, if you can call him that. Some man that got my mom pregnant. A different guy got her pregnant again two years later and gave me my sister. I never met him either but I owe him—‘cause he gave me Purnima. (pause) My mom was always warm, right up until the end. Always kissing my forehead, stroking my cheek with her hand, calling me “baby,” when she was just a kid herself. She had me when she was 14. She wore dark purple nail polish. It almost looked black. I liked the smell of it, like strawberry. Her bracelets would jingle when she hugged me and she told me I gave her the best hugs in the world. I believe it too because she was surrounded by some real bad people. (pause) She never even got to turn 20. She died of tuberculosis when she was 18. My baby sister was two. We got no family, no friends that would stick around and raise two bastard kids. Only took a day before some crazy men took over the hut she’d somehow managed to get for us. They said it was theirs. But I knew they were thieves, but I’m four so what can I do. One guy throws me a banana as he kicks me out. I ask him for another one. I got a baby sister, I tell him. He sorta laughs... END OF EXCERPT
Click for the entire free monologue, "
Abhay and the Banana."

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

For My Silent Sisters, a full-length drama


Set in the countries of Cambodia, Romania, India and the United States, four teenagers struggle to escape the dark underworld of child sex trafficking.  Jorani has been sold to a brothel in payment for her sister’s gambling debt, and her Buddhist upbringing is put to the test.  Marta seeks a new life as a translator in England, but after finding her “employer” has vastly different plans for her, she must risk her own life to save another.  After a fight with her father, Claire meets an older man whom she starts to fall for—but whose manipulation over her brings on severe consequences. Abhay, living on the streets of Mumbai, finds employment at a brothel and must decide if the “good life” is worth the atrocities.  While living in four different parts of the world, their lives are intertwined, and their support of each other binds this connection.  Told through poignant monologues and scenes, this drama shines light on the real horrors that occur all over the world, and the hope and faith that allow children to survive.

This is a drama, with minimal set, for 5 females, 3 males, 1-2 female children.


Adelaide, suffering from a terminal illness, speaks to her best friend in her bedroom. She wants to give her a son as special birthday, but also feels the hopelessness of her situation. 

Genre: Drama
Cast: Female (male)
Age range: 20s-40s
Running time: Approximately 2 minutes
Setting: Bedroom



I want to make him a birthday cake. And buy him a gift, you know, one of those complicated Lego sets. He’s into those right now. And, I always put balloons outside his bedroom door in the middle of the night, so when he wakes up, he’s greeted by these yellow—that’s his favorite color—these yellow “it’s your birthday” balloons and…it’s a great way to start your birthday, right? (pause) Most of the time, I want this, and I think, it’s a month away, only one month away. I can do this. I can do this for him. You know? But… (pause) Then sometimes, it doesn’t seem important anymore. Is that awful to say? Is that awful to say I don’t always feel my 6-year-old’s birthday is important? (pause) I want to be one of those parents where—END OF EXCERPT

CLICK HERE for the complete FREE digital monologue, Birthday Balloons.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


Ian attends a Grief Counseling Group Session and speaks to the other participants. He confronts the whispered notion that it was a blessing that he and his wife did not have children before she died.

Genre: Drama
Running time: Approximately 2 minutes
Cast: Male (could be female)
Age range: Adult
Time Period: Contemporary
Setting: A grief counseling group session



Oh, people say it all the time. It’s behind my back, or in the corner of the room, so they think I don’t hear. My wife is dead so my heart is broken but my ears work fine. So I hear them say it—it’s not just one person—it’s a lot of people, my friends and coworkers and even family members. It must console them to be able to say it to each other. To try to find something good about her death. “Thank God at least they didn’t have children.” (pause) But, you know. She had me. She left me behind. (pause) And maybe if I had children, I could share some of this, this crippling pain with them, and maybe spreading it out between a few people would make it more…bearable. But that’s bad to say, I guess. Why share pain with someone else when you can absorb it all yourself? Maybe I would understand that self-sacrificing concept better if I were a father. But—END OF EXCERPT
Click below for the complete digital copy of the monologue,


Cali is a mother of a young boy, Buddy. She has killed someone she thought was endangering Buddy. Now she is imploring her son to remember that she is a good mother, one who loves him and would protect him, not to think of her as an evil murderer as she may soon be depicted. She pleads her final motherly words as she hears the sirens and police cars drawing nearer.

Genre: Dark, dramatic, thriller
Cast: Female
Age range: 20s-50s
Setting: Inside a living room
Running time: approximately 2 minutes



They’re gonna paint me as some psycho, you hear me? They’re gonna say I’m crazy and out of my mind, and some are gonna say I’m evil. Because when you look at what I did, on paper, okay?—I’m talking on paper, it might look that way. Are you listening? Ignore those sirens. You gotta listen, Buddy, you gotta hear me because I’m not gonna be able to talk to you for a while. Okay? On paper, it might look one way, but paper’s just—it’s just a scrap of a dead tree, right?  There’s no feeling in that. A person is not a piece of paper. So when you hear them say those silly things, you remember what I’m telling you now. Okay?  I’m not crazy. I mean, I’m crazy with love for you, but you know, that’s not a bad thing. Crazy love, mad love, love love love love love! (pause) Buddy, move away from the window. Don’t let those sirens distract you. Look at me, honey. You gotta remember that it was those other people who pushed me, right? Who pushed us? I’m going to—END OF EXCERPT
Click for the complete free monologue,
Buddy’s Mommy.”

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


NICOLE relates to a butterfly with a torn wing, after a group of children mishandled it. She offers the butterfly a safe home in her windowsill.

Genre: Dramatic/Children/Tween/Teen
Cast: Female/male
Age range: 5-12
Setting: A park
Running time: Approximately 30 seconds
Great for: children, dramatic monologue for children, short monologue, competitions, auditions, monologues relating to bullying, finding strength, caring for others

Originally Commissioned by American Pageants.



Oh…Little Butterfly…they ripped your wing…Didn’t they? Those kids…They’re in my class but they are not nice kids. They ripped my bag yesterday too. My mom sewed it up, but you can still see the hole. I thought if I had wings—END OF EXCERPT

Click below for the complete digital copy of the 30-second monologue, Butterfly in the Tomato Plant.


ANDRES, a boy around 16 years old, talks to his ex-girlfriend, Claire. He begs her for forgiveness in stealing from her father, and pleads that she consider how his actions were always for the benefit of their relationship.

Cast: MALE
Setting: Outside of a school
Age Range: 13-20
Running time: approximately 1 minute long



Claire, Claire—my éclair…My chocolatey, sweet treat, my—okay, okay! I’ll stop!  Don’t leave!  I won’t call you that. I guess—I don’t deserve to call you that, do I? You’re not my—you’re not my éclair now. Not anymore. I’m just—if you’re sweet then I’m, I’m a—a—a—a Tylenol, like when you chew it up. All bitter and gross. That’s me. I know it, Claire. I’m a gross chewed up Tylenol, and you don’t deserve that. Why would you talk to me? Why would you even look at me after what I did? (pause) But you do look at me. And that’s just because—that’s just because you’re so perfect. You’re like, the most incredible person in the world, and I was so lucky for those two months to be part of such an incredible person’s life. (pause) And, I want you to know, I mean, I hope you already do—but…I know I messed up.  You trusted me...END OF EXCERPT.
Click for complete free monologue of “Claire, My Eclair.”

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

a dramatic teen/young adult monologue from the one-act play, Seventeen Stitches

About the play, Seventeen Stitches:
In this one-act dark comedy/thriller, teens Rachel and Peter meet in a vortex-like space between opposing lines of people. While Rachel is confidently passing the time before she returns to place in her line, Peter has stepped out of his line in protest. As the lines begin to close in on them, he must make a life-altering decision by choosing to continue forging his path in his father’s line, or join the haunting allure of Rachel’s line, the “line of diamonds.

About the monologue, Clippers:
Peter speaks to a girl, Rachel, who waits for her turn in an ominous line in in the same abyss-like space as Peter. While she is encouraged by words from her father, Peter has severed ties to his father after he feels his father abandoned him. He shares how a bully had once attacked him in order to steal his bike. When Peter’s father came to his rescue, instead of punishing the bully, he told the bully to take the bike. Peter’s father was never able to afford another bike, and without that bike, Peter has not been able to get away from people or things ever since—until now. Peter holds onto his resentment that his father would not seek revenge on the bully for him.

From the one-act play, Seventeen Stitches.
Genre: Dark Comedy/Thriller/Teen/Drama
Cast: Male (female)
Age range: 12-20
Setting: A waiting area in an abyss
Running time: Approximately 2 minutes




One summer my father gave me a bike for my birthday. I rode it everywhere—for five days. I was so happy to be able to finally get away from things and people and… A bike is fast for a kid, y’know? (pause) Then this kid down the street, Jeff Oakland, saw me with it and said he wanted it. He was a lot bigger than me, maybe 2 years older. He had garden clippers from his mom’s greenhouse and that day, he came at me with them. I put the kickstand down and told him to leave me alone. I was right outside my parents’ house, so I figured nothing could happen to me. I was safe, right? But he kept coming closer with the garden clippers and telling me to get off the bike. When I didn’t, he grabbed my right leg and held it while he dug the clippers into my leg. The blood got all over the right pedal and on the lightning decals my dad put on it. But I wouldn’t get off the bike. When he went to my left leg with the clippers, I started screaming. I yelled that my dad was gonna come out, so he better leave me alone. But when my dad did come out, when he finally came out… He—END OF EXCERPT

Click below for the complete digital 2-minute monologue, Clippers, from the one-act play Seventeen Stitches.

Click below to learn more about Peter and to read the complete one-act play, Seventeen Stitches, from which this monologue comes:


Alan’s wife has recently died. His brother, Joe, has stopped by to see him. Alan wonders if it is normal to keep asking where his wife is in moments that remind him of her. His brain hurts trying to comprehend the reality that she is gone.

Genre: Drama
Running time: Approximately 2 minutes
Cast: Male
Age range: Adult
Setting: Alan’s house, kitchen
Time period: Contemporary


Is it strange that I keep asking where she is? I know, I mean, I know she’s not here. Logically. I know that. But—it’s not just the bigger things—like, how I’ll be sitting at the kitchen table where we’ve had coffee together every morning since we moved in together. I’ll look at my mug from, you know, Barcelona or something. She collected a mug from every vacation we went on, so I’m staring at memories with her every single morning. And I’ll look at her chair and just say, I’ll just say it out loud, “Where are you, Elizabeth?” (pause) “Where are you? I shouldn’t be drinking coffee. From this mug. By myself.” (pause) But Joe, it’s the small, random things too. Not just our routines and her chair, but these things that you, that maybe you don’t think you would even remember. This morning, I’m putting eye drops in and I—END OF EXCERPT.

CLICK for the entire free monologue, Comprehending Forever.

This monologue is free to download below, but if you would like to support the playwright and her craft, you may do so here:


Whitney is in the bathroom, envisioning the calmness, peace and escape covering her ears in the shower gives her, before the abrupt harshness of reality comes when she uncovers her ears.

Setting: A bathroom
Age Range: 12-70+
Running time: approximately 2 minutes



I cover my ears in the shower. I stand there—letting the water drip down my hair, my back. I turn into it. It flows down my face. It’s loud. Not like thunder. It’s…it’s…peaceful. Like…I’m swimming under water, in a lake, it’s dark and the rain is pouring down. It’s loud under water. But it’s quiet. Muffled.  Calm. There are no problems under water. There is no yelling. No hurt. No pain. Everything is erased. And no one knows me.  What I’ve done. What’s been done to me. I’m nothing under the water. And nothing is…freeing. To me.  (pause) I uncover my ears. (pause) I have to. I know I can’t stand like this forever. (pause) And when I do…END OF EXCERPT
Click below for the complete monologue of "Covering My Ears"


After a physical run-in with a florist, Lexy visits her mother’s grave, informing her of a change she is making.She speaks to her deceased mother, at her grave.

Genre: DRAMA
Setting: A cemetery
Age Range: 20-40



Yes, the tulips are dead, Mother.  But I didn’t originally plan that.  Plan on giving you brown tulips.  With crispy leaves.  I tried to refuse them, but…I’m just not good at talking to florists...But I know it’s important to you—to have fresh flowers on your grave.  So this afternoon—when she—the florist—when she brings out these dead ones, I try to explain.  But still be polite, like you taught me.  So I say, “Ma’am, thank you for the thought, but—” And I put my hand out, I gesture, to sort of make my point.  And I’m not done, but that’s all I get out, when she shoves them in my hand and almost screams at me, “You’re welcome!” (pause) So the flowers are in my hands and she’s looking at me, grinning, like she expects money or something.  And I’m about to pay her, I’m about to pay her for four dead tulips and leave—when something—I don’t know, something suddenly surges through me, through my veins—like I’ve got new blood in me!  Powerful blood!  Strong blood that people will listen to!  Respect!  So with my new blood pumping through me, I grab the tulips with one hand and this lady’s neck with the other, and I shove those moldy flowers all over her!  I shove them in her ears, and her mouth—since she’s got it open, screaming—and just all over her face!  And it feels so good, Mother!  It feels so good…END OF EXCERPT

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

A dark comedy monologue

Kari speaks to her husband, Richard, by a chopped down maple tree in her back yard. She quickly admits she’s guilty of cutting down the tree, but relays how it has been taunting her, stealing her breath, trying to trap her. This should come as no surprise to Richard as she’s told him of this before. He has refused to do anything about it, but rather, has spent far too much time with “the tree.” Kari asks Richard not to judge her, as…she doesn’t think she knew he was passed out drunk under the tree when she chain-sawed it down (thus appearing to have injured, at minimum, his legs). Well, without the tree and his legs….at least no more distractions now. She looks forward to their fresh start together.

Genre: Dark comedy/drama/thriller
Cast: Female
Age range: 20-60
Setting: Back yard, near a tree
Time period: Present
Running time: Approximately 2 - 2.5 minutes


You got me, Richard! Guilty! I cut it down. This—this Maple tree. But, between you and me, we both knew it was coming. You know it’s been taunting me. Standing there with its slim branches outstretching toward me as if it wanted to—no—not hug me—but...slash me or trap me maybe. (pause) I didn’t want to have to cut it down myself. I asked you to make it stop, didn’t I? I gave you a chance first. Even this morning, over coffee, I said, “That Maple tree is stealing my breath! How can I focus on my job and cook meals and train for the half marathon if that tree is suffocating me? Richard,” I said and then I burned my tongue on the coffee, “Richard, if I have to choose between that tree and having my own life, I’m going to choose to live! (pause) Why would I give up my life for that tree? (pause) You were willing to do that though, weren’t you? To give up your life with me…to spend time with the…tree. (pause) I can still picture you, sitting with your back against it, basking in its shade like a vampire, texting and whispering. I can—END OF EXCERPT

Click below for the complete digital copy of the monologue, Cutting Down the Maple Tree by Tara Meddaugh.

A dark comedy monologue

Vicky has found evidence that her husband, Peter, has been cheating on her and she now confronts him. There is a gun on the table between them, and she implores him to lie to her, so that she is not tempted to actually use the gun against him.

Age Range: 20s-50s
Running Time: 1 MINUTE



Can you please not make me do this?  Just don’t—just don’t tell me what happened.  If you don’t tell me, if I don’t know, then I can’t react.  Right?  Just, let’s keep it simple, okay?    I don’t wanna—I don’t wanna do anything that…you know, that we’ll both regret later?  And…(pause) God, I wish you hadn’t left that gun right there.  It’s just—I can’t stop playing with it now…and you left the safety off, and I…Peter, just tell me you love me and you didn’t cheat on me last night and...END OF EXCERPT

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


Abigail, a ghost in Stephanie’s closet, is sorry she must use her limited powers to freeze Stephanie in place, but what she must share with Stephanie is so dire that sometimes these things must be done. While at first, it appears Abigail’s ominous presence is a threat to Stephanie, as Abigail relays the tragedies which have left her paralyzed in Stephanie’s closet, we realize it is Abigail who desperately needs Stephanie’s help to end her heartbreaking torture.

Genre: Thriller/drama/Halloween
Age range: 20s-40s
Cast: Female
Time period: Contemporary
Setting: A bedroom closet in an old house/apartment building
Running time: Approximately 10 minutes

To read a free excerpt of Don’t Close the Doors, click here.

CLICK below for a complete digital copy ofDon’t Close the Doors by Tara Meddaugh

A dramatic children’s monologue

LINDSEY gains strength as she confronts a bully who has taken a precious glass souvenir of hers.

Genre: Dramatic/Children/Tween/Teen
Cast: Female/male
Age range: 5-12
Setting: A schoolyard
Running time: Approximately 30 seconds




It’s from Paris—please! Don’t drop—it’s glass! Please. Listen—Just— (pause) My dad gave it to me. That Eiffel Tower keychain. He…he moved there, to France, last year and I don’t…I don’t see him much now. And…(pause) I know you think it’s just a dumb keychain and—END OF EXCERPT

Click here for the complete digital free 30-second children’s dramatic monologue, Eiffel Tower Keychain.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

A monologue from the play, For My Silent Sisters

*Note that this monologue contains content referencing human trafficking and violence.

About the monologue: After her dear friend, Tasaria, has been killed trying to escape a “training camp” for forced prostitution, Marta is punished by association. She is placed in the ground, simulating being buried alive. Though grieving, her rage and determination give her strength, and Marta comes up with a plan for her own freedom. She hides sticks from the outdoors and brings them with her when she is placed in an isolated room inside. During the course of a few hours, she is able to start a fire and begin burning down the old wooden building. While the building goes up in flames and smoke, Marta only smells freedom.

About the play, FOR MY SILENT SISTERS: Set in the countries of Cambodia, Romania, India and the United States, four teenagers struggle to escape the dark underworld of child sex trafficking.  Jorani has been sold to a brothel in payment for her sister’s gambling debt, and her Buddhist upbringing is put to the test.  Marta seeks a new life as a translator in England, but after finding her “employer” has vastly different plans for her, she must risk her own life to save another.  After a fight with her father, Claire meets an older man whom she starts to fall for—but whose manipulation over her brings on severe consequences. Abhay, living on the streets of Mumbai, finds employment at a brothel and must decide if the “good life” is worth the atrocities.  While living in four different parts of the world, their lives are intertwined, and their support of each other binds this connection.  This drama shines light on the real horrors that occur all over the world, and the hope and faith that allow children to survive.

Genre: Drama/Teen
Cast: Female
Age range: teen through adult
Setting: Forced prostitution “training camp” in Albania
Time period: Contemporary
Running time: around 2.5 minutes
*Note that this monologue contains content referencing human trafficking and violence.
Good for: social justice issues, powerful monologue for teens, awareness of human trafficking, discussion, conversation for change, empowerment, strong female voice


MARTA (out)

My ashes engulf the evil ashes…I do it for her. For us. For my silent sisters.  (pause) As they fill my mouth, my lungs with dirt, sticks poking at my beaten skin, I grab one. I grab two. They’re small. Not even bigger than the palm of my hand, but I grasp them through the powdery dirt. If this is not the end for me, I will do justice for Tasaria and I will take these sticks with me. I’m naked, so I put the sticks the only place I can hide them. (pause) When they let me back in, they make their mistake. They don’t burn me too or search my naked body. They put me in a room. By myself. They think that seeing my best friend burned to death, feeling myself be buried alive for hours, and now sticking me solitary confinement—this will be punishment enough. This will break me. This will end my resistance. But it doesn’t. And I am not by myself in here. I have two sticks. (pause) I take out my sticks and I blow on them until I feel dizzy, waving my hands over them to dry them completely. It’s dark, but I don’t need light. My mind rushes back to when my brothers and sisters and I would camp in the woods behind our house. My father made us start a fire on our own, no matches. In the wild, we would not have matches, he’d say. We’d race to see who could start their fire first. I never won, but I never gave up and my fire would eventually burn as brightly as any of my brothers’. When my sticks are dry, I feel for the other thing they left in this room with me. My hair. I grab a fistful of dirty hair and I pull. END OF EXCERPT

Click below for the entire digital copy of the monologue, Engulf The Evil Ashes by Tara Meddaugh:

To learn more about Marta and her story, check out the play, For My Silent Sisters. You can find information about the play here, or click below for a digital copy of the entire play.


Michelle is having a casual conversation with fellow mean girl, Alicia. Alicia has complimented Michelle’s nails and shoes, but for some reason, Michelle isn’t buying it. She’s not buying it because Michelle has just beaten up Alicia and Michelle is now holding a gun. Michelle is sick of Alicia’s back-stabbing and the way she treats other people and she has been trying to purge the high school of mean girls, just like Alicia.

Genre: dark comedy/dramatic/thriller/teen monologue
Age range: teen-young adult
Running time: approximately 1 minute

*Contains mature language in the pdf purchase of monologue, although substitutions are also included as an alternative. For the website excerpt, only the substitutions are written (no mature language)



Now you’ll talk to me, right? Now you’ll smile…and tell me you like my shoes and My God, did I do my nails myself because they’re so perfect?  (pause) You little back-stabbing snob.(pause) Your voice is a little shaky, you see. So I don’t know if I should believe you.  (playing with gun) Because my nails are actually chipping, Alicia.  See?—END OF EXCERPT

For the complete 1-minute monologue, F For Friendship, click below:


After murdering her friend’s ferret, Jyoti, wrought with guilt, tries to make some form of amends. Perhaps she could take over the role as ferret of the house. But this hopeful suggestion seems to unnerve her friend, and devastated Jyoti decides to follow the plight of the ferret.

Cast FEMALE (male)
Age range: teen through adult
Running time: Approximately 2.5 minutes



I know you think I murdered your ferret, but—hey, stop crying.  You’re gonna make me cry too.  And you (starts crying)—know—happens—when—we—both—start—oh!  I’m doing it too now…(gaining composure) Okay.  Okay.  What would Hermione do? (pause) Julia, your ferret ran away.  He did.  I know you don’t want to believe me, but I know this, because…well, I saw him.  And I was wearing my glasses, so I had 20/20.  Or 20/30.  I need a new prescription.  But I could still see it was Foozu, and he was wearing the yellow rain slicker, not the winter coat you tie dyed for him, so I think he was headed for Seattle. (pause) And, I don’t think we should go after him, Julia.  That Payless box wasn’t big enough; you always forgot to feed him, and when you did, it was usually just pebbles and sticks—and I really don’t think ferrets can live on that.  Seattle has a lot more to offer Foozu.  Food, drinks, warm shelter, intellectual stimulation, perpetual contentment.  He deserves that, don’t you think? (pause) I, I know coming in and seeing me with the knife over Foozu’s box makes it look rather strange.  But…Well—END OF EXCERPT
Click below for the entire digital copy of the monologue, Ferret Envy.


Emily is horrified that her ex-boyfriend has thrown to the ground the precious gift she’s given him. A bit at a breaking point, she implores him to see all the love and effort that went into crafting her gift: a fingernail heart (yes…a fingernail heart). She urges him to see their love like the muddied fingernail heart metaphor and give them another chance…But…it seems he’s only backing away…

Genre: Dark comedy/comedy/drama
Cast: Female
Age range: 18-40s
Setting: Outside Erik’s house
Time period: Contemporary
Running time: Approximately 1.5 - 2 minutes
Good for: monologue about scorned love, breaking point, lost love, absurd, weird, desperate, love, desperate love



(to her ex-boyfriend. She is horrified at something on the ground) I can’t believe you just threw it on the ground! (pause) I collected your fingernails from the bathroom trash for 9 months, Erik. Nine months of sifting through tissues during Allergy Season and Bandaids when you had that wart—I know it sounds gross, but love can be dirty sometimes, and I’m willing to, you know, get down in the grime because…I love you, Erik! That should mean something to you. (pause) And… (picks up a heart shape object made from fingernails) This fingernail heart should mean something to you too. I crafted it with...well…with my own heart. (pause) And some ideas from Pinterest. (pause) And a few of my own fingernails I threw in, because love is about two people becoming one. (pause) I know you said you never want to see me again, but that was before I gave you this fingernail heart. And—don’t say it now—don’t—END OF EXCERPT
Click below for the complete monologue, Fingernail Heart, by Tara Meddaugh.

A monologue from the full-length play, Free Space

Amelia’s excitement over her new connection with Ricky is diminished when she realizes she may end up hurting him, as she once hurt a frog she stepped on and directed toward a road. She vows she will act wiser with Ricky than the frog, but the domineering talking bingo chip she keeps in her pocket dashes her hope; it threatens Ricky and demands that she focus only on planning their special Bingo Event. Amelia defends her budding relationship with Ricky, but when the bingo chip begins to leave her alone, she concedes, saying she will put her friendship with Ricky on hold and work on the Bingo Night posters with the chip.

Amelia spends her days under the watchful eye of her mother, doing the same nothing she has done for years. Yet when Bingo arrives at her local community center, a talking Bingo chip convinces Amelia that forming her own game is the way out of this life and away from her controlling mother. However, as her mother begins acting like her newly arrived sister, and the chip becomes increasingly dominating, Amelia discovers her new life is nothing as she imagined. To get the full play, visit here.

Amelia is thrilled when the boy she connects with, Ricky, gives her a tour of the cannery where he works. During the tour, she mentions she wishes to run her own life-changing Bingo Game, but has not been able to find a space to hold the event. Ricky offers to host the bingo game at the cannery warehouse. They are excited as they begin to make plans together for the game, as well as to visit a pet shop together. After Amelia leaves the cannery, she speaks to the mysterious Bingo Chip in her pocket which has become increasingly demanding.

Female (or male)
Age range: teen-adult
Genre: Dark Comedy/Drama/Absurd
Running time: Approximately 3 minutes
Setting: Outside, path walking to her home

EXCERPT below:



(to a bingo chip) He wants to show me an albino frog!  I— (pause) Oh, you’re right.  I guess I don’t know how to act in a place like a pet shop.  With Ricky.  And around all those frogs.  I wouldn’t want to hurt them, but sometimes I do things I don’t mean to.  And Ricky said that’s not my fault.  (pause) But I did step on a frog once and—I think I broke his paw.  Or his leg.  But I didn’t kill him, and I even took off the Band-Aid I had on my own knee and put it on the frog’s little leg.  I wish it’d had a picture on it.  Maybe a picture of a mouse.  Or a ‘possum.  He would have looked cute with a ‘possum Band-Aid on him.  But it was just a brown one.  Plain.  So then I sort of—pointed him toward the road and gave him a little push, to help him get started on his way…And I knew even as I pushed him, I was directing him toward that road.  And I don’t know why I did that, because I knew he was going to get hit by a car.  Maybe I wanted to see if the Band-Aid would save him, if he’d escape from under a car…But he didn’t…maybe he escaped from something else though…  (looks down at chip) No, I wouldn’t!  I wouldn’t do that at the pet shop!  I don’t want to push any more frogs in that direction.  I’ll just go with Ricky and he can help me— END OF EXCERPT MONOLOGUE

Click below to get the entire monologue, Frog Band-Aid. To learn more about Amelia and Free Space, from which this monologue comes, click here.

For the complete full-length play, Free Space, from which the monologue, Frog Band-Aid comes, click below:

Free Space, a full-length play by Tara Meddaugh


Amelia spends her days under the watchful eye of her mother, doing the same nothing she has done for years. Yet when Bingo arrives at her local community center, a talking Bingo chip convinces Amelia that forming her own game is the way out of this life and away from her controlling mother. However, as her mother begins acting like her newly arrived sister, and the chip becomes increasingly dominating, Amelia discovers her new life is nothing as she imagined.
-This is a full-length dark comedy/absurd/thriller play with a running time of approximately 95-105 minutes, with 4 actors (3 female, 1 male). The set is minimal.

A monologue from the full-length play, Free Space

About the play, Free Space:
Amelia spends her days under the watchful eye of her mother, doing the same nothing she has done for years. Yet when Bingo arrives at her local community center, a talking Bingo chip convinces Amelia that forming her own game is the way out of this life and away from her controlling mother. However, as her mother begins acting like her newly arrived sister, and the chip becomes increasingly dominating, Amelia discovers her new life is nothing as she imagined. Learn more about the play here.

About the monologue, Growing Up on the Wrong Side of Bingo,extracted from the play,Free Space:
Amelia has just been fired from her volunteer position helping out with Bingo at the local community center, due to refusing to leave the center and jabbing Diane, the Community Center Director, with a bingo chip. It is now late at night and she is outside Diane’s home. She begs for her job back and explains how important Bingo is in her life.

Female (or male)
Age range: teen-adult
Genre: Dark Comedy/Drama/Absurd
Running time: Approximately 1 ½ to 2 minutes
Setting: A front lawn outside a house, nighttime



No, wait!  Okay, I’m ready to talk. (pause) Okay. I just wanted to say that, well, I haven’t done a lot of stuff or anything since High School ended. I just sort of stay at home with my mom and, I don’t really do a lot of activities like a lot of girls do. But I’ve been waiting for Bingo to come here for all my life. I mean, I didn’t really know it was Bingo I was waiting for, but I knew there must be—something more…And when I saw that poster you made—When I saw the pictures of those solid square spaces—all so perfectly in line with each other, and when I stopped by the Center for the first time last week… and I heard all those jumbled up balls, racing through their metal cage, all trying to be the special one chosen to be…well, I knew then my Thursdays would never be the same. Because—Because I know what it’s like to grow up on the wrong side of Bingo, on the wrong end of chance, of luck. You know? I was so—END OF EXCERPT
Click for a complete free digital copy of the monologue, Growing Up on the Wrong Side of Bingo.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

To learn more about Amelia and her story, check out the full-length play, Free Space!

Click below for a digital copy of the complete play, Free Space

Free Space, a full-length play by Tara Meddaugh


Amelia spends her days under the watchful eye of her mother, doing the same nothing she has done for years. Yet when Bingo arrives at her local community center, a talking Bingo chip convinces Amelia that forming her own game is the way out of this life and away from her controlling mother. However, as her mother begins acting like her newly arrived sister, and the chip becomes increasingly dominating, Amelia discovers her new life is nothing as she imagined.
-This is a full-length dark comedy/absurd/thriller play with a running time of approximately 95-105 minutes, with 4 actors (3 female, 1 male). The set is minimal.

Click below for a hard copy version on Amazon of the full-length play, Free Space.


1800s. MRS. GRANT, a woman in her 30s-40s, has been away caring for her sick aunt when she is called back home by her teenage daughter, Mary. Mary informs her that Jane, Mrs. Grant’s younger daughter, who has also been ill, has taken a turn for the worse and is now dying. Mary has held the house together while her father (fighting in the Civil War) and mother are gone, but she has been desperate to have her mother back. MRS. GRANT speaks to Mary, to give her comfort that she may now resume the role as child once more, but also warns her that the future, as an adult, is not one without obstacles. One merely hopes that the joy of love outweighs the grief of tragedy.

Genre: Drama/Period/1800s
Cast: Female
Age range: 30s-40s
Setting: Kitchen of small New England home, 1800s



When I received your telegram to make haste and come home, my heart ached for you. You’re but sixteen years old and you have had to care for your very ill sister entirely on your own. Your last letter to me expressed your fear in how treacherous growing up will be. How if it will be only one obstacle after another, you would rather decline this invitation into adulthood. I wish that I could tell you that you would not experience obstacles. That this would be your only trial. Your only loss. (pause) I know you have longed for me, your mother, to come and make things right. To restore you to your proper place as daughter, as older sister—not as nurse, not as the only grown up person of the house to make decisions on very serious matters. I can do this for you, my darling Mary. You may step back and read your books aloud to Jane and let me change her bed and hold the cloth to her forehead and make arrangements as the situation necessitates. You may go on a stroll now and breathe the fresh air outdoors. You may pick flowers and bring them back if you like, but you may leave them on their stalks, as well. I will comfort you and Jane and I will make things easier for you now. (pause) But I cannot stop what is to come. What you will see as Jane grows worse. I cannot...END OF EXCERPT
Click for complete free monologue, “Growing Up Treacherously.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


Grace is a Catholic widow who takes in a Jewish refugee child in the 1940s. She knows very little of his experience, culture, or language and strives to find a way to connect.

Genre: Drama, 1940s, monologue
Running time: Approximately 5-6 minutes
Cast: Female, 40s-60s
Setting: a home, a public library
Great for: Showcases, performances, festivals, monologue competitions, forensics, dramatic interpretation, Toastmasters performance, 5-minute solo pieces, strong female role, a play about an historical issue

Click here for more information on this monologue.
*This monologue stands alone as its own piece, but it also comes from the collection of shorts in the full-length play, Victory Gardens.

Click for a free excerpt to His First English Words.

Click below for a complete digital copy of His First English Words (once purchased, you will be given a link to download the script)-

The Victory Garden Plays, a full-length play in 7 parts


While soldiers fight abroad in WW2, those remaining in Westchester County strive to make a difference on the Homefront by creating Victory Gardens, supplementing limited food supply. But the pressures on the homefront extend much further than simply growing produce. A child worries her failing rooftop garden is an omen of misfortune for her father’s return from a POW camp. An infertile woman throws her purpose into feeding neighborhood families. A wealthy man whose chemical plant is commissioned by the government for war purposes struggles with how to leave a meaningful legacy not tainted with warfare. These stories, and more, are given light in The Victory Garden Plays, a series of vignettes chronicling people’s journeys with their new realities of love, growth, life and death.


Jaime is standing at a beach when confronted by a group of bullies who push him into the sand. He imagines he is a shark who is tough and can feel no pain.

Genre: Drama/Children/Teen
Running time: Approximately 2 minutes
Cast: Male/Female, 10 years and up
Setting: A beach



Sometimes, when I stand on the beach and look out at the ocean, I imagine I’m a shark.  My feet are hot, so hot they’re burning.  Burning so much, I start to not feel the pain anymore.  I take several deep breaths, and I breathe out the heat through my nose.  I can feel it leaving me.  My feet are tingling.  A little numb.  But I feel no pain.  I am a shark.  I’m swimming through the water and you can cut me with your knives, but my skin is hard and I am tough.  And I feel no pain.  A boy, this boy I know, but wish I didn’t, runs out of the ocean and past me.  I feel the cold water he’s brought in on my legs.  He’s tossed sand on me too and it’s sticking to me.  I reach my hand down to feel the roughness on my legs.  It’s like sandpaper.  His friend runs out of the water too, chasing him, and he bumps into me.  Pushes past me—END OF EXCERPT

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


Anibel speaks to her older sister, Gracie, at a café. Anibel expresses joy that her newly planted daffodils actually came up for the first year, but also expresses concern that they will die in the Spring snowstorm. Her mother has faith in the daffodil’s strength, but Anibel is not so certain. She imagines how she would respond to the snow, if she were a daffodil.

Cast: FEMALE (male)
Setting: A CAFE
Age range: 5-11
Length: Approximately 1-1.5 minutes



Do you know the daffodils I planted last year actually came up? They did! I was like, “What are these little yellow hats doing in the grass?” And then I was like, “They’re not hats, Anibel! They’re your daffodils!” It worked, Gracie! I planted them with Mom and she said they would come up and I didn’t believe her but they did come up! (pause) But then now, there’s all this snow covering them, and it’s already Spring, and it’s not right, but the world keeps getting weirder and weirder. (pause) I don’t want my daffodils to die, Gracie… (pause) Mom said daffodils are really strong and excited for Spring, like me, and that’s why they come up so quickly after Winter. She thinks they’ll survive the snow. (pause) I don’t know if I believe her, but if I were a daffodil, I would—END OF EXCERPT

Click for the complete free pdf of the monologue,
If I Were A Kind of Flower.

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:


JOE is in his science lab. He speaks to his creation, a horrid mass of muscles and blood. While he knows he should be repulsed by this monstrous experiment, he finds himself drawn to it.

Age range: 20-80+



I should think you’re ugly. Logically.  You—you—are covered in scale-like features—They’re not scales of a fish—placoid, cosmoid, ganoid or cycloid and ctenoid, and they don’t bear resemblance of reptilian scales, not being ossified or tubercular, or modified elaborately, so I dare say they are not truly scales as we know them, and it would go against my standards to call them scales. So I call them scale-like features, and I hope that you take no offense to this generalization, but I doubt that you do, considering I find it very implausible that you would understand my language, being only truly self-aware—if you are at all even self-aware—for less than this one day (pause And yet (pause You cock your head, and…you crinkle the balls in your eye sockets, and you use the wrinkles above those eye sockets to furrow or to make compassionate gestures with your face (pause So while your face is far from symmetrical and your body is more blood and muscle with little skeleton and only occasional scale-like substances—it does not repulse me as I know it should.  (pause I want to…hug you, and, shake what ought to be your hand, and pat you on the back. Because—I created you. And not like a father creates a son with his wife, but as a, well, as the truth stands: As a biochemist living seventy miles from the next known human creates some form of life from shreds of his own life and from carbon and…you are the “Adam of my labors…” and yet…END OF EXCERPT
CLICK FOR complete free monologue, “I'm Your Frankenstein.”

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

Adapted from the 10-minute play, Holding Ginger

Jenna is standing in the hallway of her house.  Her older sister, Livvy, is near her, and they’ve both witnessed Jenna’s running through the hall and knocking over Livvy’s (empty) glass vase. There is broken glass on the floor.

Cast: FEMALE (male)
Setting: HOUSE
Age range: 5-14 years old



Uh oh…uh oh…I’m sorry!  I’m so...I’ll clean it up! Right now!  I’ll—I didn’t do it on purpose. You know that, right?  It was an accident! I was just running through—I know I’m not supposed to be running through the hall, but…Ginger was chasing that ball and I was trying to catch him…Come on.  I’m sorry.  Okay?  I just bumped into it by accident…I’m cleaning it up, see?  Even though Mom would probably be mad I’m touching glass like this and you’re not helping even though you’re older than I am.  But look—I’m doing it!  I’m really sorry, Livvy.   You’ve had that vase for…I don’t know…when did that boy give it to you?  You were…were you my age?  Maybe older.  No boy has given me flowers yet…END OF EXCERPT

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

Click below for the complete 10-minute play, Holding Ginger, from which the monologue comes:

Holding Ginger, a 10-minute play


When Jenna breaks a special gift a boy gave her older sister, they are not only faced with broken glass to clean up, but they are also faced with the changing dynamics of their family.
-This is a 10-minute drama/comedy for 2 young female actors, with a minimal set.

From the one-act play, Poorly Wrapped

Clark is a young man in his late teens or twenties. He is the sales clerk at a gift shop on a small isolated island. Grace, a beautiful customer, has convinced him to give her a free disposable camera, and to wrap it with a roll of wrapping paper from his store. He is smitten with her, beyond rational thought, and does what she asks. He has been wrapping the camera for her, but has been distracted by her beauty.

Cast: MALE
Setting: GIFT SHOP
Age range: 13-30 years old
Running time: Around 1.5 minutes



Grace, you’re so beautiful. Maybe I should…look, it’s almost five. I think maybe I’ll just turn that sign over. Turn it over to say we’re closed. Lock the door, maybe? Would that be alright with you? If I did that? I mean, just so we could make sure our time wasn’t interrupted. You’re so beautiful that I just couldn’t, I just really wouldn’t want it to be interrupted. You know? I mean, if someone walked through that door right now, I just, I just don’t know what I’d do. What I’d be able to do. I just… (moves to door) I’m going to lock it. To say we’re closed. No one will come here anyway. No one should. No one on this island stays out past 4:00. I’m mean, we’re out. But that’s us. We’re different than all of them, aren’t we? We’re the two people who are different, and I’m going to keep the rest of them out…END OF EXCERPT
CLICK FOR COMPLETE FREE MONOLOGUE, “LOCKING THE STORE”.This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

Click below for the complete one-act play, Poorly Wrapped, from which the monologue “Locking the store” comes:

Poorly Wrapped, a one-act play


When a beautiful woman walks into a local gift shop on a small island, Clark, the sales clerk, is instantly smitten with her. Under this woman’s “guidance,” he goes to extreme lengths to make sure she is satisfied with her purchase. Yet as her demands increase, Clark is torn between his duty to the shop and his growing lust of this stranger.
This is a dark comedy play with a running time of approximately 20-25 minutes, for 1 male and 1 female, with a minimal set.


Stephanie has been bullied long enough and she is now making a point her community will never forget! She commands her troops to obey her every word and they are willing to even jump out a window for her. But first…she notices a problem one of her loyal troops is having… It’s Mr. Teddy. His stuffing is seeping out again.

Cast: FEMALE/MALE, inclusive casting
Setting: BEDROOM
Age range: 13-25 years old


(to her bedroom stuffed animals) I’m thrilled you all could make it tonight, gentlemen.  I know I ask a lot of you, but I hope you all realize, I notice everything.  Every tiny smile, every command obeyed, every sacrifice given.  You’re my men, aren’t you?  And tonight, you’re going to prove it. (pause)
Now, I want you all to pick up your instruments and line up in—You!  Stand up straight, please.  I said, stand up!  Would you like the whole town to see you in a wrinkled band uniform?  Don’t answer, just listen. (surveys the troops) Now, form that single line and reflect on your assignment tonight.  Remember, you’re more than simply clarinet players or baton twirlers.  You have a mission, a purpose—and while you may not be here to witness the difference you make, know that I will.  And that’s really what matters most, now isn’t it? (pause) So all those people who said I didn’t have a voice, who said no one would ever listen to me—those awful people, with their awful taunts in my head—“She called ‘fire’ and no one heard her!”  “Have you noticed how the waiter never stops at her table?”  “She can’t even get a dog to lick her hand!” Well—END OF EXCERPT

For the complete 2-minute dark comedy monologue, March in Line, click below:


ESTELLE, a woman in her 20s-40s, has just made it to a restaurant to meet Dan, a man she is dating. She is one hour late to their dinner, and implores him to understand this is not her fault and no reflection of how much she likes him. It’s all just because of, well, her jealous Siri…

Age Range: late teen-40s
Running time: approximately 3 minutes



I know I’m late again, and you’re a, you’re a saint to wait an hour for me, but, listen, really, I didn’t know we were meeting at 6. I thought—remember yesterday, you said 7? And, I know, I know, I know, you’re not gonna believe me, but, I never got the update you sent to my calendar.  I thought we were still meeting at 7.  And—listen to me, I know this has happened before, and you think, you think I’m some sort of flake or, maybe I get off by making you wait, but I don’t. I don’t!  I (pause) Dan…I really like you. (pause) I like…how you make fun of my penguin socks, and how I sometimes have to look up words you use in your emails. I like how you take me to vegan restaurants when I know you love steak.  And, how you’ll listen to pop music with me and pretend to dance even though I know you want to listen to old-man jazz music. And…I like how you look at me, and take your glasses off, because your eyes make me feel warm…and safe… like we’re sitting by a fire place with a blanket around us and maybe drinking hot chocolate…and…you make me feel so happy my stomach’s always nervous around you. (pause) And…I think, see, I think that’s the problem. (pause) I haven’t felt this way before.  Not since...END OF EXCERPT
Click below for the complete monologue of “Maybe the Next iOs Update…

From the full-length play, For My Silent Sisters.

JORANI is a young teen in Cambodia when she is taken from her home to work at a brothel. She sees herself in the mirror and does not recognize her face, filled with bruises.  She is speaking out toward the audience.

Genre: DRAMA
Cast: FEMALE (could be male)
Setting: A hotel room
Age Range: 13-30+ years


The bruise should be no surprise.  I’ve felt them often enough.  They don’t hurt unless you touch them.  So don’t touch them.  That’s what my mom would say.  No one says that now.  No one notices them.  They pull on my arm which is covered with bruises.  I flinch but they don’t see.  My caramel skin is more green and yellow now.  I’m used to seeing this.  My skin is no longer mine.  My body is no longer mine.  I understand that.  The Buddha shows us suffering is life.  When I last saw my mother, she reminded me of what I have known all my life—we must rid ourselves of our attachments, and then we can be on the path to enlightenment.  My path.  I think of this often, as I give up my body. I accept that.  I hold no attachment.  But when I see my face, I know that it’s mine.  I’m still attached.  I see it in the broken mirror of the hotel bathroom.  I see it in a reflection of his family’s picture on the nightstand.  I see it in the water he’s put in a bowl for me to drink out of on the floor.  My eyes house my soul.  My mouth houses my voice.  My ears house my compassion.  This essence of who I am is still mine.  Seeing my face reminds me…of me.
The American chose me.  I prayed he would not, but he did.  I saw him months ago and I dirtied my pants when I saw him choose me again.  I’ve been with him for two weeks now and I haven’t once looked at my face after all he’s done to me.  Our faces matter, Madam tells us.  Our faces are to stay clean and soft.  But this doesn’t stop them.  They’ll pay extra, but this doesn’t stop them.
And I need to see.
He’s stepped out to get high again.  He knows I won’t leave.  I crawl to the bathroom and reach up to the sink.  I pull myself up and ignore the pain in all of my body.  I stand, but my legs are shaking.  This mirror is clean.  I rub it with my finger and it squeaks.
I stare.  I breathe in…But I am quiet, I am a mouse.  I cannot make a sound...CLICK FOR THE FREE COMPLETE "NO MORE MIRRORS" MONOLOGUE

This monologue is free to download above, but if you would like to support the playwright and her craft, you may do so below:

To learn more about Jorani and her story, check out the play, For My Silent Sisters. You can find information about the play here, or click below for a digital copy of the entire play.

For My Silent Sisters, a full-length drama


Set in the countries of Cambodia, Romania, India and the United States, four teenagers struggle to escape the dark underworld of child sex trafficking.  Jorani has been sold to a brothel in payment for her sister’s gambling debt, and her Buddhist upbringing is put to the test.  Marta seeks a new life as a translator in England, but after finding her “employer” has vastly different plans for her, she must risk her own life to save another.  After a fight with her father, Claire meets an older man whom she starts to fall for—but whose manipulation over her brings on severe consequences. Abhay, living on the streets of Mumbai, finds employment at a brothel and must decide if the “good life” is worth the atrocities.  While living in four different parts of the world, their lives are intertwined, and their support of each other binds this connection.  Told through poignant monologues and scenes, this drama shines light on the real horrors that occur all over the world, and the hope and faith that allow children to survive.

This is a drama, with minimal set, for 5 females, 3 males, 1-2 female children.

From the full-length play, For My Silent Sisters.

JORANI is a young teen in Cambodia when she is taken from her home to work at a brothel. She sees herself in the mirror and does not recognize her face, filled with bruises.  She is speaking out toward the audience.

Genre: DRAMA
Cast: FEMALE (could be male)
Setting: A hotel room
Age Range: 13-30+ years



Sours: https://www.tarameddaugh.com/dramatic-monologues
Dramatic Female Monologue-Full Monologue in Description-

Moistening the head of the penis with saliva, he attached it to the lips of the pussy and began to slowly push them. Apart. He reached the stop and continued smooth back and forth movements. It hurt a little and for some reason it hurt him, but he could not ask such questions now, especially since it passed quickly. The sculptor watched in what bliss the face of his creation blurred and from this he felt much more beautiful than she.

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