Inspiration
When I was a child, I was fascinated with Ruth Draper, so I thought about monologues, but it didn't seem like something someone did in modern times. I hated the idea of a one-woman show. A one-person show just seemed like something that couldn't be done. You needed two actors for a play to happen. The only one-woman show I ever saw that I liked was Pat Carroll's Gertrude Stein. I liked that show very much, was very impressed with it. It was an inspiration to me. To be honest with you, I decided...
charlayne woodard
Charlayne Woodard's first play, Pretty Fire, which she wrote and performed, enjoyed successful engagements at the Manhattan Theatre Club and at the Seattle Repertory Company. It was published by Penguin Press. Her second play, Neat, also enjoyed sold-out runs at the Manhattan Theatre Club, Seattle Repertory Theater, and the Mark Taper Forum in Los Angeles. As an actress, Ms. Woodard performed in the original cast of Ain't Misbehavin' on Broadway. Off-Broadway, she performed in such shows as...
lanie robertson
To begin this section, I wanted to include a segment on Lanie Robertson's play, Lady Day at Emerson's Bar and Grill, the first solo show I ever saw. I remember how impressed I was that one person with a back-up band on a stage could hold an audience's attention just as powerfully as a play with full cast of actors. Lady Day at Emerson's Bar and Grill has had legendary success in the solo play world. There have been countless productions over the last twenty years or so. There are still many...
Phase Two
I was at a performance art piece at St. Marks in the Bowery. I really hated the piece. So I was in the lobby pacing back and forth, smoking cigarettes, and ranting about how bad it was. Chris Kraus, who was the curator, came up to me and said, You're fantastic would you like to do a show here I looked at her and said, What would I do And she said, I hear you write your own material. So I said, I perform it, I don't write it. She said, That's fine with me. She gave me a booking. In my real life,...
Working with Eric Bogosian and Danny Hoch
Danny, Eric, and I have a similar work situation. Both of them came out of theater as actors, not as writers. Initially, when they were both doing their work, they'd get up on stage, unscripted. Much of the work was in their heads, and they'd improvise. When I started to work with Eric, and then later with Danny, I told them, I can't direct you if I don't have something on paper, it's way too ephemeral. So at a certain point, they both started scripting their pieces, transcribing them, writing...
From Full Gallop by Mary Louise Wilson and Mark Hampton
SHE CROSSES TO PHONE, CAREFULLY PICKS UP RECEIVER, AND LISTENS. THEN Fran oise I'll take this, Yvonne . . . Comment a va . . . Je suis arriv Early this morning. . . Oh, it was glorious. Just glorious. London, Milano, Madrid, Paris . . . No trouble with customs, no, but I did have a bit of a set to getting off the plane . . . Well, the stewardess attacked me with a Kleenex. Here dearie, you've gone and got lipstick all over your ears Very efficient, these little steward . . . Oh, I'm tip-top ....
Charles Mathews
During the nineteenth century, Charles Mathews, a comic actor and mimic, wrote The Mail Coach Adventure, which later evolved into what became his very popular one-man show. Eventually Mathews developed an entire group of solo shows called At Homes, which he toured in both England and America. Like Foote's monologues, Matthews's monologues mimicked many of the famous actors of the day, but unlike Foote's, Matthews's were not offensive. By the early 1900s, monologues were quite often used to...
Examples of Different Voices and Styles
As I mentioned earlier, one of the main goals of this book is to help you find your own voice as a monologist. To give you some idea of how diversified this field is, I've reprinted some excerpts from some well-known monologists. Notice the differences in their styles. Notice their choices of words, phrases, and ideas. From An Evening with Quentin Crisp by Quentin Crisp I've been told that I equate wealth with style. I don't, but I would say this To a physicist, money would be the solid state...
The Difference between Solo Shows and Ensemble Pieces
I would say the main differences between working on a solo show and a regular play has to do with whether the piece is scripted as in most plays . With a scripted play, you just apply your vision to the piece. As I mentioned, with a solo piece, I come into the collaboration very early on, at the beginning. My work is similar when working on a new play and working on solo material. In both cases, I help develop the material. I'm part of the creation of the show. I worked on a play for The New...
After the Break Two Scenarios
After the break you continue working in the same way that you were prior to your break. You may notice that you suddenly have fresh ideas, have a new outlook, are able to look at the material from a new point of view. If that's the case, the break was successful. If, however, you're still creatively dry, you have two options. You can either take another break, or this is more advisable work through the dry patch. Periods of mental lethargy can be frustrating, I know. But many times they come...
Your Opening Section The First Paragraphs
The opening section of your monologue is quite important. It's your diving-off point. It's your welcome mat to your audience. It's the once upon a time element that invites your audience to sit down with you for a while and listen to what you have to say. Your monologue should begin where it needs to begin for you. It should start where your story has to start for you. The beginning of your monologue is your foundation, the base that the rest of the piece will stem from. It should hint at, if...
Winfred from Monster by Dael Orlandersmith
I'm thinkin' of my girl Theresa. An I'm feelin' bad 'cause, you know, she ain't with me, right I mean, you know what I'm talkin' about Like when your woman ain't around, man. Dat's some hard shit. beat She write poetry and listen to classical and rock. You know 'bout that shit, right Well, my girl, she like it too. beat You should see her, man, she got soft smooth skin. Yeah, an' she got much booty I likes dat booty, man. In order for me to peep a broad she got to have some ass. Gots to. beat...
Dael Orlandersmith 1
Working with Dael Orlandersmith was different because she's primarily a poet. We worked together very closely on developing her pieces. She writes very close to the bone, based on her own experience. The three pieces we worked on were Beauty's Daughter, Monster, and The Gimmick. Her writing can be repetitive she comes back to the same themes. What freed Dael up was when I introduced her poetry into Beauty's Daughter, then found this poetic narrative voice, a form she is writing in now which is...
Staging a Solo Show
One of the main areas that I work with technically, in solo work, is lighting. The work that I do uses minimal set and props. This isn't always the case with other artists' solo shows. There is a huge range of solo work. Some are very prop-, costume-, and set-intensive. Some use video screens, multimedia, etc. What I like about the solo work that I do with Eric and Danny is the quick change from character to character, and the quick change in body language and voice you're suddenly in another...
The Solo Show Today
Over the last few years there have been many successful one-person shows to hit the Great White Way, such as Elaine Stritch's At Liberty for which she won a Tony , Eve Ensler's The Good Body, Tovah Feldshuh in Golda's Balcony, John Leguizamo's Sexaholix, and Rob Becker's Defending the Caveman, to name just a few. In the last year or so, many solo shows have opened on Broadway. They include Dame Edna Back With A Vengeance, Billy Crystal's 700 Sundays, Mario Cantone's Laugh Whore, and Whoopi...
Fires in the Mirror
The two most well known one-person shows that I've done are Blown Sideways Through Life, written by and starring Claudia Shear, and Fires in the Mirror, written by and starring Anna Deavere Smith. I directed both of these shows at almost the same time, but I believe Fires in the Mirror came first. I believe Fires in the Mirror was the first piece in Anna Deavere Smith's documentary-type series. I didn't know Anna before I was asked to do that piece. For me, the hook there was the material it...
Historical Monologues
As I mentioned earlier, solo shows went through a period of decline, but historical solo shows continued being popular even during that period. Some monologists created shows based on real rather than imaginary characters. Emlyn Williams played Charles Dickens, Paul Shyre played H. L. Mencken, James Whitmore performed in Will Rogers U.S.A., and Hal Holbrook was Mark Twain Tonight . These are just a few that come to mind. Some solo plays have been written by playwrights for specific actors....
From Charlotte by Penny Arcade from True Stories
I'm wearing a wig I have to. I had a face-lift Well, I had to. Well, I had to work. See, I figured I could work four or five years if I got my face done. You know my friend Sandra, the big blonde Well, she had her eyes done up here in New York, and that cost her twenty-five hundred dollars. Well, I did not have that kind of money. But I know this gal, she used to be a madam up here in New York, but she retired to Caracas. She's real well-connected down there, you know, diplomats and all. Now,...
From Pretty Fire by Charlayne Woodard
One day, when Allie and I were watching old black-and-white movies, Mommy walked into the living room and turned off the TV. She said, Ladies, tell me what would you like to be when you grow up. Raising her hand Me first, Mommy, me first Standing I want to be Lassie. Yes, Mommy, I want to run through the field and jump over the fence, and see . . . the little girl . . . trapped in the mine . . . and I will call for help Barking Arf, arf, arf, arf, arf arf And evening will come and they will...
M Release
Introduction to the Second Edition xvii Six Ways to Get the Most Out of This Book xxiii the monologue writing, rehearsing, 1. A Definition of Terms 3 2. A Brief History of the One-Person Show 8 Samuel Foote 1721-1777 Creates the One-Person Show 8 George Alexander Stevens, the Father of the Monologue 8 Ruth Draper Perfects the Monologue 9 Questions to Ask Yourself before Starting Work The Similarities Differences between Being an Actor and Working as a Writer 13 As an Actor, Do I Have the...
Your Personal Style Your Voice
Your voice is your style, your way of expressing yourself. Your voice stems directly from your sense of truth, which we spoke of earlier. It is your unique choice of words and phrases, your rhythm, the way you speak, your vision, how you tell your story. It is your trademark style. It is a major factor in determining the tone of your work. All good writers, successful monologists, and performance artists have their own distinct voice. Finding and developing your personal voice is an integral...
Storytelling Monologues
Actor Scott Robertson took the storytelling workshop led by the late Spalding Gray see Gray's interview at the Esalen Institute in Big Sur. Robertson recalls, There were eight participants in the workshop. Their assignment was to 'tell a story that could engage the rest of the group.' They'd meet three times a day for eight days to tell their stories. According to Scott, Spalding believed that we all have a story in us. That story can be something that once happened to us, an event, something...
From Time on Fire by Evan Handler
One month after Dr. Nixon's diagnosis, I came walking down the hallway of Sloan-Kettering's twelfth floor. Earlier that day some bone marrow had been taken from the back of my hip to be examined and checked for any leukemia. If the marrow was clean, then I could go home, take a month off, before moving on to rounds two and three, known as Consolidation Chemo. In the room when I got there were Dr. Klaus and my parents. I tried my best to mask my awareness of what I was asking, and I faced Dr....
playwriting competitions that accept solo material
Another potential source for income from and exposure for your monologue play is playwriting competitions. These nationally held contests offer cash prizes and in some cases production opportunities to winners. A few things to keep in mind before entering your monologue solo work 1. If a competition requests that you send for guidelines, do so. These guidelines give specific instructions for that particular contest. In some cases, they even request that you fill out an application form to send...
kate clinton
In 1993, Kate Clinton's first one-woman show, Out Is In, debuted in Los Angeles to sold-out crowds. The show then moved to New York for a three-month run off-Broadway. In 1995, her next one-woman show, Impure Thoughts, debuted in Los Angeles. Her next show, All Het Up, toured the country in 1996. Ms. Clinton joined The Rosie O'Donnell Show as a television writer, seeing them through their initial launch and rollout period. She has appeared on Comedy Central, Good Morning America, Nightline,...
How the Rehearsal Processes Varies
The rehearsal process with John Leguizamo was fascinating for me. I learned so much about acting from him. It was simply a question of having an idea, communicating it to him, and then watching him make it his own. You just watch it grow. He has the tools, these extraordinary gifts as an actor. Not only is he a comic, but he's also a stunning dramatic actor. Doug is a highly skilled writer and one of the funniest people alive. I did a lot less dramaturgical work with Doug, and when I'd give him...
guidelines for creating short or audition monologues
Now that you have selected the tools you'd like to work with and have some preliminary ideas of what you think your piece will be about, let's discuss some of the technical aspects of monologue writing. As I mentioned earlier, the monologue form is a very flexible form, with flexible rules. However, since the short monologue and the audition monologue have more strictures, especially when it comes to time, I'd like to give you some of the basic rules. While rules are made to be broken, I offer...
Blanka from Some People by Danny Hoch
Blanka, a young, twenty-ish office worker, stops by her friend's house to borrow shoes. Listen Linette, lemme borrow your shoes The short black ones. No because Manny gets off Footlocker in twenty minutes and I have to take the bus. But I can't be looking ugly in the bus. So find them Don, 't stress me more all right My life is already stressed enough, can I tell you The other day right I was at Manny's house, and we was fooling around, and like you know how guys be getting all shy like when...
Jo from Eternal Pyramid by Anastasia Traina
I wanted to tell her a story, a story . . . of a sunny day when I took my socks and shoes off and sat near Indian Pond, watching the crayfish jump as I threw them some bread. I liked it there, sitting under that tree, near the water. It had motion . . . I wanted to say . . . Life was good and terrible at the same time I mean, with all the fighting going on at home I use to like to watch TV I loved the cowboy stories, John Wayne, Roy Rogers, and the Cisco Kid . . . Oh and Tarzan and Superman too...
agents
Literary agents can be very helpful in getting your material to the best theaters and the top readers for your specific type of play. Although they primarily deal with regular plays, it's certainly worth your while to try to find an agent who believes in your monologue play. It's been suggested that you should only contact a couple of agents at a time. Most literary agents request that you first send a query letter describing your piece. You should also enclose an updated bio with the letter...
Cornelia Otis Skinner
A contemporary and admirer of Draper was Cornelia Otis Skinner. When Skinner first began performing her one-woman shows, there were many similarities between her work and Draper's. Eventually however, her taste ran toward more sumptuous costume dramas. In 1937, she performed an adaptation of Edna, His Wife, a bestselling novel of the day. This further distinguished her from Draper, who primarily did character-created plays. Skinner also made a very comfortable living as an actress in regular...
From Safe by Taylor Mac
I'm safe. I'm not safe. I'm a New Yorker. I'm from California. This is my home. Home is where the heart is. My heart is here. Except in the winter. I hate it in New York in the winter. And the summer. It smells like cat piss in the summer. The spring, then There is no spring here. Fall Then the holidays are coming. I should move back to California. But the North Koreans. The North Koreans can reach California. I should go someplace safe. Someplace central. Someplace landlocked. Someplace where...
Narrative and Dramatic Style
I think it's important to describe the difference between narrative and dramatic writing, since both styles are interwoven throughout most monologues. In the narrative style, a narrator sometimes in character tells a story. There is a great deal of background material with very detailed descriptions. Character, setting, and plot are developed in these detailed descriptions. Generally speaking, autobiographical monologues use more of the narrative style than other types of monologues. In the...
Hedwig and the Angry Inch
I had never seen Hedwig and the Angry Inch before, although they had done several performances before I got involved. I also had never worked on a musical before. I was struck by the intelligence of the writing, a combination of broad standup and very smart storytelling and songwriting. Still, the first thing again was dramaturgy. It was kind of all over the place, hard for the audience to follow. I worked on clarifying it. We broke it down into two acts. Once we did that, it was easy to build...
Questions to Ask Yourself While Reading through Your Script
Whether or not you decide to use the Who Wrote This . . . exercise, here are some important questions you should try to keep in mind while reading through your monologue play . You should refer to these questions periodically, also using them as guidelines during subsequent read-throughs Does the script engage you The moment you feel disengaged, just mark the passages, then continue reading. Don't analyze or try to fix anything at this point. Do you find the story interesting, easy to follow If...
Directing John Leguizamo
I first saw the show at Intar on 42nd Street. It had elaborate costumes and changes could take five minutes between monologues. It was mainly a question dramaturgically of shaping, condensing, combining, and eliminating redundancy. I worked with him on shaping the monologues so they'd have an arc. We worked to illuminate the monologues, to find what a monologue was really about. The best example of this was Crossover King. It was the last monologue of the evening, as a Japanese businessman....