monologues 26th of feb 2016

In this post I will be sharing the new monologues I am looking at for auditions I have thought of. My last two monologues were form ‘Macbeth’ and ‘The Crucible’ I am trying to think of monologues that are more of a contrast from Lady Macbeth and The Crucible because they were both very strong and had a sinister feel to them. However I have found that I love to play strong female characters more than the ‘Juliet’ who is in an awe of love all of the time, but at the same time I feel like I need monologues like this as well to have a good range that I can play so I am more able to play a wide variety of characters.

Cathrine from ‘Snow White gets her say’ By Chris Wind

“That you don’t recognize me by name is but the first of my complaints about my tale. Oh you know me alright. I’m the main character—in a tale titled with the name of one of the men in the story. But what’s in a name? A lot. Especially if it’s a man’s name. This man’s name is the answer to the question upon which rests the fate of myself and my newborn child. So his name is very powerful, it is very important. My name apparently is not.

Nor is my life. For whether it is to be filled with joy and delight from being with my newborn, or empty with grief and loss from separation is to be decided by a mere guessing game.

Nor are my words important. I denied my father’s boast. I told the King I most definitely could not spin gold out of straw. But he didn’t believe me. Of course not. He chose instead to believe the words of an immature, egotistic, vain man. And I suffer the consequences.

The consequences. To pay for my father’s ridiculous lie, I lose my sanity, my freedom, and my dignity for three nights—and almost my child, forever. (And one sentence—one sentence in the whole tale is devoted to that ‘choice’, that decision to give up my child in return for my life.)

Because I ‘succeeded’ on the third night, I was ‘rewarded’ with marriage to the King. Thus, for all intents and purposes, I also lost my life. Can you imagine what it is like to be married—legally bound to honour and obey until death, and socioeconomically bound with little option but to stay and make the best of it—to a man who didn’t believe me, a man who locked me in a room for three nights, a man so greedy that he said three nights in a row he’d kill me unless I did as he wanted? And that was before he owned me.

But as the tale says, I am shrewd and clever. And I have learned the force of threat, and the importance of a name—especially if it is male. Proud fathers want very much to pass it on. But royal fathers—dear husband, aging Highness, what would happen to your precious lineage if my, your, only son were to suddenly—

Since I am not dead, and am living still…”

I love this monologue because the play is about the characters of classic fairy tales shown in a more feminist light, Cathrine is from the tale ‘Rumplestiltskin’ and this sheds a new light on how the actual main character feels in the tale and the aftermath of when she has been married to the king. I found this very refreshing and challenging because it shows a range of emotion, it has frustration, confusion, anger, sorrow, bitterness and fear. This is a huge range of emotion that would have to come though smoothly but clearly with little show of specific staging.

King John:Constance


“A wicked day, and not a holy day! [Rising] What hath this day deserved? what hath it done, That it in golden letters should be set Among the high tides in the calendar? Nay, rather turn this day out of the week, This day of shame, oppression, perjury. Or, if it must stand still, let wives with child Pray that their burthens may not fall this day, Lest that their hopes prodigiously be cross’d: But on this day let seamen fear no wreck; No bargains break that are not this day made: This day, all things begun come to ill end, Yea, faith itself to hollow falsehood change!”


King John: Constance

“Grief fills the room up of my absent child, Lies in his bed, walks up and down with me, Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form; Then, have I reason to be fond of grief? Fare you well: had you such a loss as I, I could give better comfort than you do. I will not keep this form upon my head, When there is such disorder in my wit. O Lord! my boy, my Arthur, my fair son! My life, my joy, my food, my all the world! My widow-comfort, and my sorrows’ cure!”

Both of these monologues are beautiful and have so much potential and i am very keen to do them, howveer because of her character – “Arthur’s mother, Constance convinces Philip to be her son’s champion in his quest for the throne. After Arthur is captured, she mourns extravagantly and accuses Philip of having sold her out by arranging a marriage between Louis and Blanche.” http://www.sparknotes.com/shakespeare/kingjohn/characters.html. I feel like her character is to old for my acting age as my acting age is form 14-20 I feel like this would not suit me. I feel like i would be successful at performing one of these monologues but for an audition I don’t think it would be very believe able because of the age difference.



Rehearsal log 25th Feb 2016

Today we went through ‘Love will tear us apart’ dance as the musical theatre students haven’t been thought it properly. It was really good for us to take time to go through it and learn it properly because then we can work on cleaning it and making sure we are all in time. I feel like I picked it up rather quickly as it is quite simplistic but now we just have to make sure we execute it perfectly for it to be effective. We also started to go though the other dance which is when Oberon and Titania have made up and everything is all good again. This dance is quite challenging for me because it is more commercial than I am comfortable with doing because in the past when I have done commercial my knees have dislocated before so I am quite nervous about this. Since my operation I have felt a lot stronger even though I have only been dancing properly for a short period of time.

My goal for this is to overcome my nerves for performing a more commercial piece and hopefully then I won’t be so cautious for the next time I have to do a commercial piece.


monologue log 24th feb 2016

Yesterday we did a lot of work on voice acting and the effect voice can have in a monologue. There is so much that you can do with the voice to have a specific effect and characterization.

There are many ways you can use you voice and manipulate it to give a different effect. these are a few we came up with.

  • A change of pitch
  • Vocal indentation – to express emotion
  • inflections at the end of your voice up wards and downwards
  • speed
  • accent and dialect
  •  tone
  • open and closed sounds
  • dynamics
  • pauses
  • emphasis

We then did an exercise with different ways to say “How can I help you?”  this was more difficult then I anticipated, because there are so may ways of saying it but using emphasis on each of the five words really makes you think about how you speak and how it could be portrayed and taken by other people. For example “HOW can I help you?” this could be taken as a sincerer question because you really want to know what the other person needs you do to to be able to help them. On the other hand if you put the emphasis on the I, then it could be “how can I help you?” that could be taken as how to you expect me to help you?

We then did a monologue from Rosencrantz and Guildenstern Are Dead, by Tom Stoppard it was very interesting to see peoples different portrayals but the one that stood out for me the most was Jack’s interpratation but on the line “Think in your head, now, think of you most… private… secret… intimate…. thing you have ever done”, it was very soft and gentle which I found very refreshing and it was quite a contrast to the of the sinister actor Jack was portraying.



Work progress, 23rd of Feb, 2016

Yesterday was the first day back after half term and I feel the like day overall went really well, however there were some aspects that could have been avoided. For example very few of us had taken time to learn the lyrics properly for ‘Step on’ by the happy Mondays. I was included in the group for not knowing lyrics because I wasn’t confident on them and kept stumbling on my lyrics and the timing. I could have avoided this by learning them over half term on the days that I wasn’t working or in rehearsal for my other show. However I feel like the slow motion fight scene for step on with myself Scott and Harry is coming along rather well. The only issue with it is that I end up on the wrong side but I don’t think that will confuse the audience to much because I end up on the floor with Harry and Scott beating me up then we end in that freeze to it will be clear to the audience that is was has happened and that’s why I am on the that side of the stage with Oberon’s gang and not Titana’s. The singing over all I don’t think is at the slandered that it needs to be because it is still very weak from everyone and as there are 38 of us in the production there is no excuse for us to be as weak and as quiet as we are and I feel everyone needs to up there game for the show to reach its full potential and as it is in two weeks I hope this happens soon because there is limited time left and I want this show to be as amazing at we want it to be but at the moment I do not think it is there yet.


Progress work on ‘A Midsummer Nights Dream’

So far in our work on ‘A Midsummers Nights Dream… Or Raving Madness’ we have started the opening scene which will be to “Step on” by ‘Happy Mondays’. This scene is a fight scene between the two gangs of Oberon and Titania. In this we begin with a freeze frame of people in various fighting positions in which we move out of using slow motion. We have done this because the music starts in a slow beat, although this introduces the theme of the eighties with how we are under the influence of drug abuse as we are setting our performance in the rave era of the eighties.

https://www.facebook.com/groups/937140906364327/?fref=ts This is the link to a video of the first stages of the development of ‘Step on’. We are still filming the version of the new opening with the freeze frame.

With in the opening scene we’re also planning to lift ‘Titania’ played by Rachel, At the moment we are doing a lift where we lift her into a standing crucifix so she can pry a box off ‘Puck’ and ‘Robin’ played by Sian and Jamie.

https://www.facebook.com/groups/937140906364327/?fref=ts This video shows us attempting the lift. This is a good idea however it has its faults because a few of us are not strong enough to lift her for a long amount of time, we have had other ideas the include using Titania’s gang members as a stair case so she can then walk up at snatch the box leaving Titania and her following victorious.

I feel like this is a strong opening because it very clearly distinguishes the characters of Titania and Oberon, as well as showing who following the other characters are on with in the play. We have also learnt the lyrics of step on because in an ideal world we will be singing and moving so it is a musical and not a play with an eighties soundtrack. At the end of stand off of the gangs we will be going into individual fight scenes which shall also be slow motion to reinforce the influence of the rave era. I shall be in a routine with Harry and Scott as they are both in Oberon’s gang, this is a new development as it was myself, Sophia and Scott. However we realised that then there would be two people short of a pairing in Oberon’s gang, therefore Sophia is now paired with Vicky and Harry has replaced Sophia. Scott and Harry are both form Oberon’s posse and I am form Titania’s. This gives us room however to hopefully place in a few simple lifts which will give the performance some more levels, this maybe difficult though as it is in slow motion and the difficulty level rises when lifting anything once it is in slow motion as because you have to make it realistic and it may not have enough energy to lift with the same effect being applied.

Sian in the performance is playing the character of Puck and Jamie is playing the character of ‘Robin’. In the scene with the three fairies and puck and robin, Puck and Robin have a song called ‘Free’ and in this they are showing off to the fairies and we have created a small piece of choreography.

https://www.facebook.com/groups/937140906364327/?fref=ts In this video it shows the characters of Puck and Robin and the three fairies. Fairy 1 and 2 are the more mature and have a stronger attitude in the show where as fairy 3 is less intelligent and starts to join in with Puck and Robin before fairy 1 and 2 pull her away. I feel like this scene needs more work and needs to be finished and polished but it gives a good feel for the characters personalities and introduces them in the show very strongly. I fell like the movement however needs some more work because even though the freedom of movement is good for Puck and Robin and is quite simplistic we need to keep in mind that they will be singing the song and not the people up in the radio studio therefore we need to make sure that the movement represents their characters while still creating a clear sound for the audience to hear.

https://www.youtube.com/watch?v=rNWf2wPygA8&index=4&list=PLE73Z0S7Hm2lyLaqBxnVLZL-5RRllhMWz The youtube video is the chours of ‘No More Lonely Nights’ which features once of the opening scenes with Theseus and Hippolyta. This song is relevant here because the opening dialogue with Theseus and Hippolyta is about their wedding day which is to commence in four days but Theseus feels as though the days are approaching too slow and the old moon is taking far too long to fade away. Hippolyta is consoling him and telling him that, four days will quickly turn into four nights. And since they dream at night the time shall pass fast enough. Hense the song ‘no more lonely nights’, this in our rendition if ‘A Midsummer Nights Dream’ is about how they will be together soon enough and how these lonely nights will shortly pass before they are married and will spend the rest of their life’s together. The harmonies in the songs are not cleaned properly but I think that for the first few rehearsals they are sounds rather good. I believe what we need to do is to stop singing just as our four section and star to sing as a group because I think that we haven’t found the correct amount of blend for it have a sound of meaning as at the moment it just sounds like we are singing what we have been told to sing.

This is a link to the first movement of Oberon’s gang to the song ‘Moments in love’. I am not in Oberon’s gang but i feel this is a mystical piece of dance and represents Oberon and is difference to Titana as they are like dawn and dusk. Oberon represents the dusk he is colder and lacks compassion but has alot of mystery. This is the reason I feel like this movement has a lot of his character in it because it reminds me of the nocturnal animals coming out and causing mischief. I really like the disjointed timing and the cannon that is used but at the same time it has a fluidity to it that almost entrances you, Harry Ladell in this piece really stands out because I feel at the moment he is the only one who is in his character the whole time and is really performing it my eyes are locked on him because of his facial expressions and his energy. I feel like he is doing what everyone should be doing, when I watch this piece I see a lot of people lacking in emotion or showing the wrong emotion for the piece, there also seems to a lack of execution to the dance at this moment in time as there is a high lack of energy that needs to be brought to a piece like this one. For this to be achieved when it has been finished it then will have to be cleaned but i would strongly suggest that everyone needs to starts putting character into this even when its just a rehearsal so then it can be re-produced time and time again like a second nature.


This is the link to the final song, ‘Back to Life’ this is the most developed piece so far but we still have a long way to go as we do with all the piece’s however fir this we do know all the movement. This puts us in a much better position to clean the movement and perfect it quickly. However my point about the non expressive facial features and little effort is once again relevant in this piece, from a personal point of view i could have out a lot more effort into this i could have used my face in the performance but as I didn’t in this video I look lifeless and rather bored which is totally wrong for the performance. I am confidant in saying that I am not alone in this, the marjority of us were doing exactly what i was doing, what we had learnt but not putting much performance into the video above.






Musical theatre research: Once


“ONCE tells the enchanting tale of a Dublin street musician who’s about to give up on his dream when a beautiful young woman takes a sudden interest in his haunting love songs. As the chemistry between them grows, his music soars to powerful new heights… but their unlikely connection turns out to be deeper and more complex than your everyday romance.”


First performance: December 6, 2011
Adapted from: Once
Playwright: Enda Walsh
Lyricists: Markéta Irglová, Glen Hansard
Composers: Markéta Irglová, Glen Hansard