Sample Pages from Middle School Monologues: Girls

Transcription

Sample Pages from
Middle School Monologues: Girls
Welcome! This is copyrighted material for promotional purposes. It's intended to give you a
taste of the script to see whether or not you want to use it in your classroom or perform it.
You can't print this document or use this document for production purposes.
Royalty fees apply to all performances whether or not admission is charged. Any
performance in front of an audience (e.g. an invited dress rehearsal) is considered a
performance for royalty purposes.
Visit http://tfolk.me/p139 to order a printable copy or for rights/royalty information and
pricing.
Copyrighted Material
All
Monologues
From
Published
Plays
MIDDLE SCHOOL
MONOLOGUES: GIRLS
EDITED BY
Lindsay Price
Original Playscripts
Copyrighted Material for promotional purposes. Do not print or copy. Performances for an audience subject
to royalty regardless of whether or not admission is charged. Visit http://tfolk.me/p139 to order a printable
copy or for rights/royalties pricing.
Middle School Monologues: Girls
Copyright © 2009
Edited by Lindsay Price
ALL MONOLOGUES BY LINDSAY PRICE
CAUTION: This play is fully protected under the copyright laws
of Canada and all other countries of the Universal Copyright
Convention and is subject to royalty. Changes to the script are
expressly forbidden without written consent of the author. Rights
to produce, film, or record, in whole or in part, in any medium
or in any language, by any group amateur or professional, are
fully reserved.
Interested persons are requested to apply for amateur rights to:
Theatrefolk
PO Box 1064
Crystal Beach, ON, L0S 1B0
Canada
Tel 1-866-245-9138
Fax 1-877-245-9138
e-mail: [email protected]
website: www.theatrefolk.com
Those interested in professional rights may contact the authors
c/o the above address.
No part of this script covered by the copyrights hereon may be
reproduced or used in any form or by any means - graphic,
electronic or mechanical - without the prior written permission of
the author. Any request for photocopying, recording, or taping
shall be directed in writing to the author at the address above.
Printed in the USA
ISBN 978-1-926533-09-4
MIDDLE SCHOOL MONOLOGUES: GIRLS
Character
Play
3
Page
Tamara ............................... Wait Wait Bo Bait........................................5
Snowflake..............................The Snow Show .........................................7
Verges..............................Much Ado High School....................................9
TJ .............................Floating On A Don’t Care Cloud...........................11
Mary-Jean ............................... School Daze .........................................13
Persephone............................Circus Olympus.......................................14
Jane ...................................... Jealousy Jane ........................................17
Iris ........................................ Deck the Stage .......................................19
Connie......................Skid Marks II: Are We There Yet?...........................23
Maddie .................................... Body Body ..........................................26
Ariel.................................... Sweep Under Rug .....................................27
Envy...................................Swimming With Sins....................................29
Evelyn ...................... ths phne 2.0: the next generation ..........................31
Tandy...................................... Censorbleep .........................................34
Chelsey ......................................Ten/Two............................................36
Mia............................................ Hairball ............................................38
Karen.....................The Bright Blue Mailbox Suicide Note........................40
Rea.................................... Look Me In The Eye ....................................41
Asia ...................................... Deck the Stage .......................................43
Shelley .................................. Deck the Stage .......................................46
Agatha..................................... Agatha Rex ..........................................48
Chill......................................The Snow Show .......................................50
Tamara ............................... Wait Wait Bo Bait......................................52
Appendix
Performance Hints and Tips...................................................................54
All plays published by Theatrefolk
ALL MONOLOGUES BY LINDSAY PRICE
TAMARA
PLAY: Wait Wait Bo Bait
GENRE: Comedy
TIME: 2:00
————————
DESCRIPTION
Tamara is waiting to hear from a boy who said he’d call. She
has been going crazy in her room waiting all day for the call.
ACTING HINTS
Make sure the piece is performed with tonal variety. Tamara
should alternate between serenity and insanity.
Is this the first time a boy has ever told Tamara they’d call
her? Why does she wait? What’s so special about the boy?
What led Tamara to give the boy her number?
————————
(singing a made-up melody into a hairbrush
microphone) Oh Mr. Phone. Why don’t you ring?
Why don’t I hear you sing in the night? Oh Mr.
Phone. One ding-a-ling is all I need to make it
right. (speaking as if to a Vegas night club
audience) Thank you. Thank you very much, I’m
here all week. You know, just before I go, I’d like
to send out a little word. Just a little word out
there to all the guys in the world. (singing) To all
the guys in the world. If you meet that special girl.
Don’t make her wait by the phone. All alone.
'Cause that’s not nice. She might curse you and
wish that you had lice. How’d you like that? Have
to shave your head and buy a hat.
(speaking) Thank you. Thank you very much. Try
the buffet. All you guys out there in the world.
5
6
TAMARA
Could you do us gals a favour? It’s just a simple,
teeny, tiny, little thing. If you don’t want to call a
girl then don’t ask for her number. Sounds easy,
don’t you think audience? Don’t ask for her
number. Don’t look her in the eyes and say “I’m
going to call you.” Don’t say it. Don’t say those
five little words. Would that be so hard? I don’t
think so. “I’m going to call you.” Five little words
that make girls all over the world cancel their
plans and sit in their rooms going absolutely
mental waiting for stupid boys to call. I know my
life would be a lot better off if I had never heard
them, isn’t that right audience? Ah, you’re a
beautiful crowd. (singing) For centuries girls have
waited for that invitation to the ball. 'Cause a
stupid boy has told her, “I’m going to call.” For
centuries girls have believed but over and over
and over and over and over and over and over
and over again we’ve been deceived. When will
we learn? When will we ever, ever, ever, ever,
ever, ever, learn?
(speaking) Thank you. Thank you very much. Tip
your waitress! Our next act is Gammy Sam and
his trained seal, Jo Jo. Jo Jo can play You Light
Up My Life on the castanets. Let’s hear it for Jo
Jo!
SNOWFLAKE
PLAY: The Snow Show
GENRE: Drama
TIME: 1:15
————————
DESCRIPTION
Snowflake describes her love of snow angels.
ACTING HINTS
The character is caught between being a child and being a
teenager. Why is important to the character that she make
snow angels every year? If the angel has made no mistakes,
what mistakes has the character made?
She used to be very close with her sister and is no longer.
Think about what their relationship was like when they were
younger and what it’s like now. Why does the sister call the
character a ‘freak?’
————————
I make snow angels. Every year. Not as many as
when I was a kid, but every year. It‘s my tradition.
My sister and I used to make them together. We‘d
wake up and see our lawn turned into a field of
white. Untouched. Pure. A blank page. No
mistakes. We‘d race from the door to the middle
of the lawn; arms out, fly back. Wheeeeeeee!
Arms: flap flap flap. Legs: flap, flap, flap. The
trick is getting up without disturbing the angel.
Points lost if you smudge her or leave a footprint
on her beautiful pure dress. (throwing her arms
into the air) First to the back door wins!
(she lowers her arms) My sister and I don‘t
really… we‘re not really on the same page
anymore. She has her friends. She doesn‘t see
7
8
SNOWFLAKE
the magic in snow angels. “Why do you do that,
freak?” She complains about having to shovel the
driveway, scraping ice off the car. “Did you see
what that stupid snow did to my suede boots?”
On the snowiest day this winter she goes to the
mall. I wait till she‘s gone. “See you later, freak.”
And I run out to the middle of the lawn.
She stands still and speaks without the gestures.
Arms out, fly back. Wheeeeeee! Arms: flap flap
flap. Legs: flap, flap, flap. Carefully, carefully,
standing. (she looks down) She‘s beautiful. Pure
white. No mistakes.
She takes a deep breath and lets it out. She smiles
weakly.
No mistakes.
54
APPENDIX
Performance Hints and Tips:
Things to think about when choosing a monologue.
For Auditions...
If you‘re auditioning for a specific part, find a monologue
that’s going to help you get the part. If the play is a
comedy, do a comedic monologue. The director wants to
know if you can be funny. Same is true for a drama. If the
character is a mean step-sister, find a play with a
character with similar qualities.
If you‘re auditioning for a school, look for variety and
versatility. You only have a couple of minutes to show
what you can do - don‘t spend that two minutes in one
emotional tone, and one physical action.
Never look at the director in an audition. It forces the
director to focus on you, instead of the monologue.
In general, go for comedy. So many actors do the big
overly-dramatic turn. An actor who makes a director
laugh is more memorable than one who weeps and wails.
Know that a director usually makes their mind up in the
first 30 seconds.
For Individual Events...
Properly begin each piece. Take a pause, take a look,
make a definite gesture, have a defined action. Pause
between the introduction and the monologue.
Properly end each piece. Make sure there‘s a defined beat
between the end of one piece and the beginning of the
next. I was watching an IE and it wasn‘t until he finished
completely that I figured out he had done two pieces.
There was no break in-between!
55
Even though each monologue in this collection has a time
listed, it‘s going to be different for every actor as they put
on their own interpretation. Therefore, you must time your
pieces. There‘s nothing worse than seeing an IE that‘s
going so well but goes over time.
Contrast, contrast, contrast. Make sure your pieces are
clearly different.
Know the name of the play and the author! It shows a lack
of preparation if you can‘t come up with this information.
And furthermore…
Yelling does not equal emotion. Even in the most intense
monologue you should not raise your voice for more than
two sentences.
If you’re not moving for a specific reason, then stand still!
It‘s very distracting to watch an actor wander. It‘s the actor
moving about and not the character. It shows you haven‘t
put thought into the blocking.
Who are you talking to? Where are they? What do you
want? What happens to you elsewhere in the play?
Read the whole play. Read the whole play. And yes, read
the whole play.
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Sample Pages from Middle School Monologues: Girls

Transcription

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