Don’t fear the Monologue: How to overcome walls of text with your students
Discover innovative methods and practical tips to keep your students captivated and engaged as they explore the art of monologue. Plus, your weekly round-up of theatre news you may have missed!
Welcome to The Scene, your weekly round-up of theatre news you may have missed. In this week’s email,
We're dishing out innovative strategies and fresh ideas that will transform how you approach teaching monologues, ensuring every student stays engaged and inspired.
We take a moment to celebrate the life and work of one of America's greatest playwrights, Arthur Miller, on what would have been his 109th Birthday!
Don’t forget to check out this week's free read, The Very UnMerry Adventures of Robin Hood by Jason Pizzarello and Patrick Greene
So, raise the curtain, shine the spotlight, and dive into another thrilling week in the theatre world. Welcome to The Scene.
Sadie Sink to Star in Broadway Play Inspired by ‘Crucible’ and #MeToo by Michael Paulson, The New York Times | Kimberly Belflower’s “John Proctor Is the Villain” will be directed by Danya Taymor, who won a Tony this year for “The Outsiders.” Read...
Suffs Won Tony Awards for Best Score and Book. Now It’s Closing. by Michael Paulson, The New York Times | The musical, created by Shaina Taub, announced that it will play its final performance on Jan. 5 and start a national tour next fall. Read...
Lonny Price Directing Dirty Dancing Stage Musical Aimed at Broadway by Logan Culwell-Block, Playbill | Stage adaptations of the 1987 film have previously toured the U.S. and played London's West End. Read...
Elton John turns the saga of televangelist Tammy Faye into a song for Broadway by Mark Kennedy, AP | When Elton John was on tour in America in the 1970s, there was someone on TV who caught his eye. She was an over-the-top, heavy makeup-wearing performer who wore her heart on her sleeve and yet seemed in on the joke — televangelist Tammy Faye Bakker. You could say game was recognizing game. Read...
Jack Antonoff on the "Randomness" of Creativity by Tracy Smith, CBS Sunday Morning | The Grammy-winning music producer for artists including Taylor Swift, Lana Del Ray, Sabrina Carpenter, and The Chicks talks about his life, music and his first Broadway show, which just opened. Antonoff did the music for the play Romeo + Juliet. Read...
Kate Douglas' The Apiary, More Added to Dramatists Play Service Catalogue by Molly Higgins, Playbill | Two of Lauren Gunderson's works have also been added to the catalog. Read...
‘The Warriors’ Hooked Lin-Manuel Miranda at 4. Now Comes the Album by Michael Paulson, The New York Times | He collaborated with Eisa Davis to make a concept album inspired by the 1979 movie. One big change: the main gang is made up of women. Read...
Political Theater: 7 Shows That Wrestle With Cultural Issues by Kellina Moore, The New York Times | These productions are grappling with climate change, reproductive rights, the Arab Spring, and accusations of sexual assault. Read...
Don’t fear the Monologue: How to overcome walls of text with your students
By Hattie Fisk, UK Editor of The Scene
Many drama students shy away from monologues as much as they can. Performing on your own is much more daunting than a duologue or group piece, and for the majority of young people, this is something they are not familiar or comfortable with yet.
But, if a character is well developed and the scene's message is clear, effective monologues can be a massive help in lessons on both scripted and devised drama. These speeches can convey passion, excitement, yearning, sadness, and fear – the full scope of human emotion. Characters could be confessing or confiding in the audience, sharing things they don’t wish anyone else to hear. In many ways, monologues can be used as starting points for growing the emotional intelligence of your students or for touching on the techniques of Stanislavski or Brecht.
While, at times, a block of text from one character can be daunting, it doesn’t have to be. Here are a couple of ideas for retaining engagement with your class when looking at monologues.
Choose the right text
Before presenting any script in your classroom, monologue or not, you need to choose the right text. Your choices should be short and punchy, with a clear audience and purpose that you can point to immediately to help students establish intention when preparing their work for critique. Don’t be afraid to suggest texts with challenging topics and themes, as these are often the interesting ones!
A great way to introduce scenes from a single character is to first ask your class what monologues they have seen, whether that be on stage or on screen, to see what has stuck with them and work from there. This could range from Gretchen Wieners in Mean Girls to Puck in A Midsummer Night’s Dream.
With so many amazing extracts to choose from, my advice would be to keep your selection varied in theme, gender, and time period. Shakespeare, of course, has some amazing monologues to choose from, most notably those in Macbeth, The Taming of the Shrew, and Hamlet. If you feel stuck, take a look at Shakespeare Monologues for Men and Shakespeare Monologues for Women by Luke Dixon for some inspiration. Similarly, I always opt for Greek tragedies when looking for emotive monologues, namely those in Sophocles’ The Oedipus Trilogy.
Modern monologues are also great options for students who may feel that olden language is daunting. Opening Monologue is a brilliant resource for this – a virtual database housing popular modern monologues from stage and screen. If you are stuck for time, try looking at monologues in plays that you are already studying with your students to try out individual performances in turn.
Focus on character
An easy way to distract students from daunting blocks of text is to focus on the character rather than the delivery. You can ask your students to create storyboards for each character in your chosen monologues, outlining their aims, fears, and passions. To delve further into characters, try ‘hot seating’: taking turns quizzing a single student who responds in character when sitting in the ‘hot seat’ at the front of the room.
Break down the text
If the text looks bulky, split it up into manageable chunks and give each one to a different student (or group, depending on how big your class is). Ask your students to discuss what their segment of the monologue is trying to convey, and then compare and contrast the conclusions of each group after 10 minutes of discussion. It is often interesting how differently individuals perceive dialogue, so this is a great way to show your class how various productions of the same text can differ in focus.
Be aware that drama often challenges some people if sensitive issues are raised. Remember to be sensitive to the feelings of students, parents, colleagues, and school policies.
Tackling the work as a group
Just because the text is for one actor doesn’t mean that it has to be used by just one student at a time. One option to broaden the reach of a single monologue is to use a ‘spotlight’ technique. To do this, you place a real light or a circle on the floor, having established a set character for the class. When a student enters the circle, they must adapt an instant given role and share with the audience the emotions and experiences of that character for 30 seconds in the format of a devised monologue. Be ready to perform some devised or scripted monologues yourself as demonstrations and encouragement.
Breaking down walls
Refining the delivery of a monologue is a unique skill and one that is often required for students looking to pursue drama in higher education institutions. The sooner that students are comfortable with this form of theatre, the more likely they are to grow in confidence when presenting performances to their classmates. While this can be scary and vulnerable, it can also be incredibly empowering! The most important aspect of this in a drama workshop is to cultivate a welcoming and open space and to be positive in your responses to those presenting work.
Acknowledging that performing monologues can be scary while also not feeding students' fears by dwelling on that emotion is a fine line. Ensure you remind your class and yourself that every performer starts somewhere and that watching one another can create a wonderful sense of community and togetherness.
Arthur Miller: Why His Legacy Matters More Than Ever
by Zach Dulli, The Scene
This week marks what would have been Arthur Miller’s 109th birthday, a moment to celebrate the life and work of one of America's greatest playwrights. Miller was a master of dissecting the human condition and unmasking the complexities of societal pressures, morality, and identity. While The Crucible often steals the spotlight for its powerful commentary on mass hysteria and paranoia, Miller’s contributions extend far beyond.
In works like Death of a Salesman, All My Sons, and A View from the Bridge, Miller explored the American Dream’s promise and the disillusionment that often accompanies it. He used characters like Willy Loman to expose the gap between expectation and reality, prompting audiences to question not just the external pressures of society, but the internal conflicts of ambition and self-worth. Today, when conversations around mental health and personal fulfillment are more relevant than ever, Miller’s work resonates deeply.
In a world grappling with division, misinformation, and economic instability, Miller’s plays are timeless reminders of the need for empathy and honesty in our personal and public lives. He challenged audiences to confront uncomfortable truths and engage in introspection, emphasizing the importance of accountability and integrity.
Miller's genius lay in his ability to write stories that transcend their time while urging future generations to reflect on the consequences of unchecked ambition, societal conformity, and ethical compromise. As we face new challenges, his work continues to call on us to seek the truth and stand up for what matters most.
Dr Strangelove with Steve Coogan in the West End – first look photos released by Alex Wood, WhatsOnStage | The hit film has been adapted for the stage. Read...
Conor McPherson's 'The Brightening Air' to have world premiere at London's Old Vic by Olivia Rook, London Theatre | The Brightening Air marks McPherson's return to the Old Vic following Girl from the North Country in 2017, which later transferred to the West End and Broadway. Read...
Sarah Kane’s 4.48 Psychosis to be revived with original cast, 25 years on by Alex Wood, WhatsOnStage | A landmark production plays in London and Stratford. Read...
Matilda The Musical Announces Second UK & Ireland Tour by RSC | The first seven venues have been announced in the award-winning musical's second tour of the UK and Ireland. Read...
American Sign Language Brings New Layers to ‘American Idiot’ by Gabe Cohn and Chad Unger, The New York Times | Performed simultaneously in sign language and sung English, a Los Angeles revival of the Green Day musical finds new ways to communicate rage and angst. Read...
Get an Exclusive 1st Look at Alley World Premiere of Anna Ziegler's The Janeiad by Andrew Gans, Playbill | The new work tells the story of a 9/11 widow through the lens of Homer's The Odyssey. Read...
Manuel Oliver's Guac, More Join Upcoming Woolly Mammoth Season by Molly Higgins, Playbill | The D.C. theatre's programming will also include open mics, the return of the Black Joy Disco, and more. Read...
Rutka Musical Opens World Premiere at Cincinnati Playhouse in the Park by Andrew Gans, Playbill | The new indie-rock musical is adapted from Rutka’s Notebook: A Voice From the Holocaust. Read...
Free Reads of the Week
Read entire plays for free! Playscripts offers a selection of full-length and one-act plays that you can access for free, which is ideal for use in theatre productions, school performances, or competitions. To explore these titles, click on the cover image below or select the "READ FOR FREE" button at the bottom of this section. This action will direct you to the play's page on the Playscripts website. Once there, click "READ NOW" to begin enjoying the play immediately!
The Very UnMerry Adventures of Robin Hood by Jason Pizzarello and Patrick Greene
The Story: Sherwood Forest is in danger of being destroyed, and it's up to Robin and his band of dimwitted Merry Men to save the day. When the Sheriff challenges them to a contest to determine the forest's rightful owner, their skills are put to the test. Unfortunately, archery is only the first round. Robin and his men will also have to win a talent show and a beauty pageant. Will this be the end of Sherwood? Most likely.
Comedy | 30 - 40 minutes | 7 W, 8 M, 10 Any (10-30 actors possible: 4-25 W, 5-25 M) | Set: Minimal.
