o good iago what shall i do to win

The audition room tin can be a stressful identify, and preparing for your shot in front of casting directors can exist as as daunting. Pick up your metaphorical sword and slay your next audition for a dramatic role by choosing a monologue that fits you.

Have no fear! Hither are 17 dramatic monologues for women:

one. "Set down, set down your honourable load…" – Lady Anne Neville from 'Richard III'

When it comes to drama, Shakespeare'southward 'Richard Iii' doesn't autumn short – equally shown by this monologue spoken past the complex and emotionally-driven Lady Anne…

Monologue Length: Up to two:00

"Set down, gear up down your honourable load,
If honor may be shrouded in a hearse,
Whilst I awhile obsequiously complaining
The untimely fall of virtuous Lancaster.
Poor primal-common cold figure of a holy king!
Stake ashes of the firm of Lancaster!
G bloodless remnant of that imperial blood!
Be it lawful that I invocate thy ghost,
To hear the lamentations of Poor Anne,
Married woman to thy Edward, to thy slaughter'd son,
Stabb'd by the selfsame hand that made these wounds!"

[Full Monologue Hither ]

2. "And for that matter I have no secrets." – Julie from 'Miss Julie'

The woeful tale of Miss Julie dates back to 1888, written by playwright August Strindberg (information technology has since and then been adapted into modern works such as the National Theatre's production of 'Julie').

Monologue Length: ane:25 – two:00

"And for that matter I take no secrets. You see, my mother was not of noble birth. She was brought up with ideas of equality, woman'southward liberty and all that. She had very decided opinions confronting matrimony, and when my father courted her she alleged that she would never exist his married woman—but she did so for all that. I came into the world against my female parent'southward wishes, I discovered, and was brought up like a child of nature by my mother, and taught everything that a boy must know as well; I was to be an example of a woman beingness as expert as a man—I was made to get virtually in boy's clothes and accept care of the horses and harness and saddle and hunt, and all such things; in fact, all over the manor women servants were taught to do men's work, with the result that the belongings came near beingness ruined—and and so we became the laughing stock of the countryside. At concluding my father must have awakened from his bewitched condition, for he revolted, and ran things co-ordinate to his ideas. My mother became ill—what it was I don't know, simply she frequently had cramps and acted queerly—sometimes hiding in the cranium or the orchard, and would even be gone all night at times. Then came the big fire which of grade you lot have heard about. The house, the stables—everything was burned, nether circumstances that pointed strongly to an incendiary, for the misfortune happened the twenty-four hour period later on the quarterly insurance was due and the premiums sent in by father were strangely delayed past his messenger so that they arrived too tardily."

3. "My sister, Veronica, and I did this double act…" – Velma Kelly from 'Chicago'

…v, vi, 7, eight! Take on the part of Melt County Jail diva, Velma Kelly, who recounts her murderous mishap involving her late husband and sister.

Monologue Length: 0:40 – i:00

"My sister, Veronica, and I did this double human activity and my married man, Charlie, traveled around with us. Now for the terminal number in our human activity, we did these 20 acrobatic tricks in a row, one, ii, three, four, v…splits, spread eagles, flip flops, back flips, one correct after the other. Well, this one night nosotros were in Cicero, the iii of us, sittin' up in a hotel room, boozin' and havin' a few laughs and nosotros ran out of water ice, and then I went out to get some. I come back, open the door and there's Veronica and Charlie doing Number Seventeen–the spread eagle. Well, I was in such a state of daze, I completely blacked out. I tin't remember a affair. Information technology wasn't until later, when I was washing the claret off my hands I even knew they were dead."

iv. "I dream of a place where we could be together at last…" – Audrey from 'Little Shop Of Horrors'

While 'Picayune Shop Of Horrors' offers audiences plenty of laughs (and horrors), it also carries a few heavy themes. Cue Audrey'due south heartfelt monologue, denoting her hopes and dreams to alive somewhere that's green beyond Slip Row.

Monologue Length: 0:30 – 0:50

"I dream of a place where we could be together at concluding… Information technology's just a daydream of mine. A little development that I dream of. Only off the interstate in a picayune suburb, far, far from urban Skid Row. The sweetest, greenest place – where everybody has the same little backyard out front and the same little flagstone patio out dorsum. And all the houses are so neat and pretty… 'Cause they all look just alike. Oh, I dream about information technology all the time. Just me. And the toaster. And a sweet footling guy – similar Seymour…"

5. "I come here from North Carolina at seventeen…" – Esther from 'Intimate Apparel'

Lynn Nottage'south play is set up in 1905 and chronicles the journey of a young woman post-obit her dreams in New York City.

Monologue Length: 0:50 – 1:00

"I come here from North Carolina at seventeen after my female parent died of flu. God bless her loving spirit. My father died two years later, he was a slave you run across and didn't accept to life as a freeman. He'd lost his tongue during a nasty fight over a chicken when I was a baby, so I never heard him speak, no complaints, no praise, no gentle words, no farewell. He was… silent. Broken really. I come to this city by myself, worked my way Due north fiddling by little, picking berries in every country until I become here. An one-time woman in the rooming house teach me to sew intimate apparel, saying folks'll pay you lot good coin for your discretion. It was just about the best gift anybody give me. It was as though God kissed my hands when I get-go pulled the fabric through the sewing motorcar and held upward a finished garment. I discovered all I need in these fingers. I wanted you lot to know that almost me."

vi. "Long gone away somewhere I don't know…" – Mrs. Robinson from 'The Graduate'

And here's to you, Mrs. Robinson… The story of 'The Graduate' has graced both screen and stage, an acclaimed script accompanying both.

Monologue Length: 0:30 – 0:45

"Long gone away somewhere I don't know. I met your begetter, he used t'sing t'me. Nosotros'd exist go someplace in the car and he would sing. He could sing. But not the high notes. Some songs he couldn't get those high notes. So at school I had this teacher. Who taught the choir and the pianoforte and the oboe, but the choir, so I know if y'all singing high up there you must think yous breathing in, not out, as you get upwardly… You understand? In, not out, and loftier every bit you like. Then one dark. In the car. I taught him. And correct away, he could. And all the songs he used to sing… to want to sing… suddenly… he could sing 'em. And y'all know what? He never sang to me again."

7. "1 woe doth tread upon another's heel…" – Gertrude from 'Hamlet'

If there'due south 1 playwright who knows drama, it'south William Shakespeare. In one of his most-read works, the character of Queen Gertrude laments the death of Ophelia as she informs Ophelia'south brother, Laertes.

Monologue Length: 0:50 – 1:10

"1 woe doth tread upon another's heel,
And so fast they follow. Your sister's drown'd, Laertes.
Drown'd! O, where?
There is a willow grows cater-corner a brook,
That shows his hoar leaves in the glassy stream.
There with fantastic garlands did she come
Of crowflowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser proper name,
Just our common cold maids exercise dead men'south fingers call them.
At that place on the pendant boughs her coronet weeds
Clamb'ring to hang, an envious sliver broke,
When down her weedy trophies and herself
Savage in the weeping brook. Her clothes spread wide
And, mermaid-similar, awhile they diameter her up;
Which fourth dimension she chaunted snatches of former tunes,
As one incapable of her ain distress,
Or similar a creature native and indued
Unto that chemical element; but long it could not be
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death."

viii. "O adept Iago, What shall I do to win my lord over again?" – Desdemona from 'Othello'

In another monologue penned by The Bard, Desdemona beckons the help of her friend, Iago, to win back her husband's love and angel.

Monologue Length: 0:40 – 1:00

"O good Iago, What shall I practice to win my lord once again? Good friend, become to him; for, by this light of heaven, I know non how I lost him. Here I kneel: If east'er my volition did trespass 'gainst his love, Either in discourse of thought or actual deed, Or that mine optics, mine ears, or any sense, Delighted them in any other form; Or that I do not yet, and always did. And ever will—though he do shake me off To measly divorcement—love him dearly, Condolement forswear me! Unkindness may practice much; And his unkindness may defeat my life, But never taint my honey. I cannot say 'whore:' It does abhor me now I speak the discussion; To do the act that might the addition earn Non the world's mass of vanity could make me."

nine. "Chiliad knowest the mask of dark…" – Juliet from 'Romeo and Juliet'

Perhaps the virtually iconic tragedy to appointment, 'Romeo And Juliet' bare endless woeful speeches. You can get your make full of drama with Juliet's "Thousand knowest the mask of night" monologue.

Monologue Length: 1:00 – i:fifteen

"Thou knowest the mask of dark is on my face up;
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night.
Fain would I dwell on form — fain, fain deny
What I take spoke; merely farewell compliment!
Dost thou love me? I know thou wilt say 'Ay';
And I will take thy word. Yet, if thou swear'st,
One thousand mayst prove imitation. At lovers' perjuries,
They say Jove laughs. O gentle Romeo,
If thousand dost beloved, pronounce it faithfully.
Or if yard thinkest I am too quickly won,
I'll frown, and exist perverse, and say thee nay,
So m wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst recollect my havior light;
Simply trust me, gentleman, I'll testify more true
Than those that have more cunning to be strange.
I should have been more foreign, I must confess,
But that thou overheard'st, ere I was ware,
My true-love passion. Therefore pardon me,
And non impute this yielding to light love,
Which the nighttime dark hath so discovered."

10. "Cremuel– tell the Ambassador of the nib you lot are bringing into Parliament." – Anne Boleyn from 'Wolf Hall'

'Wolf Hall' sheds calorie-free on the Tudor era of King Henry Viii and Anne Boleyn through the eyes of Thomas Cromwell. Aqueduct your anguished inner queen with these words by Anne…

Monologue Length: one:05 – one:20

"Cremuel– tell the Ambassador of the bill you are bringing into Parliament. I wish it made clear to your primary, and to all Europe, that a bill is going through Parliament which settles the succession of England on my children. Mine. Not Katharine'due south. When a son is born to me he shall succeed to the throne of England. And my daughters are and shall be royal princesses.

Cremuel'south beak declares that Katharine'due south child Mary is a bastard– she was never your wife, Henry, so the child you go on her is a bastard–is that not then, Cremuel? Information technology'southward not enough to put Mary out of the line of succession! Information technology's no good to me. I want her made a bounder. You pecker will make her a bastard.

You are worried nigh her cousin, the Emperor? You don't want to provoke him? No? Then I shall provoke him for you. I shall tell you lot, Ambassador, what will happen to Mary. The Princess Elizabeth is to take her own household and the bastard Mary will join it as her servant. She will go on her knees to my daughter. And if she won't bend her articulatio genus so she shall be browbeaten and buffeted until she does bend. She will call my daughter Princess, or I shall brand her suffer."

11. "I went to the typing instructor and introduced myself as your female parent." – Amanda Wingfield from 'The Glass Menagerie'

A devoted yet overprotective mother involves herself with the business concern of her children in this monologue from the acclaimed play, 'The Glass Menagerie'.

Monologue Length: 1:25 – 1:xl

"I went to the typing teacher and introduced myself equally your mother. She didn't know who y'all were. Wingfield, she said. We don't have any such student enrolled at the school! I assured her she did, that y'all had been going to classes since early in January. 'I wonder,' she said, 'if you lot could be talking nigh that terribly shy fiddling daughter who dropped out of schoolhouse afterwards but a few days' omnipresence?' 'No,' I said, 'Laura, my girl, has been going to school every day for the past half-dozen weeks!' 'Excuse me,' she said. She took the attendance volume out and there was your name, unmistakably printed, and all the dates y'all were absent until they decided that yous had dropped out of schoolhouse. I nevertheless said, 'No, there must take been some mistake I There must have been some mix‐upwardly in the records!' And she said, 'No – I remember her perfectly now. Her hands shook so that she couldn't striking the correct keys! The starting time time we gave a speed‐test, she broke downwards completely ‐ was sick at the tum and about had to be carried into the wash‐room! After that forenoon she never showed up whatsoever more. We phoned the firm simply never got any answer' – while I was working at Famous and Barr, I suppose, demonstrating those – Oh! I felt so weak I could barely go on on my feet! I had to sit down down while they got me a drinking glass of water! Fifty dollars' tuition, all of our plans – my hopes and ambition for yous – just gone upwardly the spout, just gone up the spout like that."

12. "When I was very small…" – Beneatha Younger from 'A Raisin In the Sun'

Audiences are brought into the living room of one Chicago family in 'A Raisin In The Sun'. Beneatha, 1 of the play's main characters, discusses her past in the below snippet.

Monologue Length: 1:15 – 1:thirty

"When I was very small…we used to have our sleds out in the winter and the only hills we had were the ice covered stone steps of some houses down the street. And we used to fill them in with snow and brand them smooth and slide down them all mean solar day…and it was very unsafe you know…far too steep…and sure enough i solar day a kid named Rufus came down likewise fast and hitting the sidewalk…and we saw his face but split open up right there in forepart of us…and I retrieve standing there looking at his encarmine open up face thinking that was the terminate of Rufus. Only the ambulance came and they took him to the hospital and they fixed the cleaved basic and they sewed it all up…and the adjacent time I saw Rufus he just had a trivial line downwards the middle of his confront…I never got over that…

That that was what 1 person could do for some other, fix him up–sew together up the problem, make him all correct again. That was the almost marvelous thing in the earth…I wanted to practise that. I always thought it was the ane concrete matter in the world that human being could do. Gear up up the sick, you know–and make them whole once again. This was truly existence God…"

13. "Yes–someday, possibly, afterwards many years…" – Nora Helmer from 'A Doll's House'

This play's leading lady is a model housewife and mother plagued by an inner discontentment for her "perfect" world.

Monologue Length: one:00 – 1:fifteen

"Yes–someday, perhaps, after many years, when I am no longer as nice-looking as I am at present. Don't laugh at me! I mean, of class, when Torvald is no longer equally devoted to me every bit he is now; when my dancing and dressing-upward and reciting take palled on him; so it may be a good matter to have something in reserve–[Breaking off.] What nonsense! That fourth dimension volition never come. Now, what do you lot retrieve of my corking undercover, Christine? Do y'all still think I am of no use? I can tell you, as well, that this affair has caused me a lot of worry. It has been by no means easy for me to see my engagements punctually. I may tell y'all that there is something that is called, in business organisation, quarterly involvement, and another matter called payment in installments, and information technology is always so dreadfully hard to manage them. I have had to relieve a picayune here and in that location, where I could, you understand. I have not been able to put aside much from my housekeeping money, for Torvald must have a good tabular array. I couldn't allow my children be shabbily dressed; I have felt obliged to utilize up all he gave me for them, the sweet lilliputian darlings!"

xiv. "He was a male child, merely a boy…" – Blanche DuBois from 'A Streetcar Named Desire'

In one of theatre'south most known works written by Tennessee Williams, Blanche DuBois shares her discovery of love and its tumultuous and tragic downfall.

Monologue Length: 1:50 – 2:10

"He was a boy, merely a boy, when I was a very immature girl. When I was sixteen, I made the discovery–love. All at once and much, much too completely. It was like you suddenly turned a blinding low-cal on something that had e'er been half in shadow, that's how it struck the world for me. But I was unlucky. Deluded. At that place was something different well-nigh the boy, a nervousness, a softness and tenderness which wasn't similar a human being's, although he wasn't the least bit effeminate looking–notwithstanding–that thing was at that place…. He came to me for assist. I didn't know that. I didn't observe out annihilation till later our union when we'd run away and come back and all I knew was I'd failed him in some mysterious mode and wasn't able to requite the help he needed only couldn't speak of! He was in the quicksands and clutching at me–but I wasn't property him out, I was slipping in with him! I didn't know that. I didn't know anything except I loved him unendurably but without being able to help him or help myself. And then I found out. In the worst of all possible means. Past coming suddenly into a room that I idea was empty–which wasn't empty, but had two people in it… the boy I had married and an older man who had been his friend for years….

[… …]

I ran out–all did!–all ran and gathered virtually the terrible thing at the edge of the lake! I couldn't get near for the crowding. Then somebody defenseless my arm. "Don't go whatever closer! Come dorsum! You don't want to come across!" See? Come across what! And so I heard voices say–Allan! Allan! The Grey male child! He'd stuck the revolver into his mouth, and fired–and so that the back of his head had been–blown away!

It was because–on the dance-floor–unable to stop myself–I'd of a sudden said–"I saw! I know! Yous cloy me…" And then the searchlight which had been turned on the world was turned off once more and never for one moment since has at that place been any light that's stronger than this–kitchen– candle…"

15. "Fie, fie, unknit that threat'ning unkind brow…" Katherine from 'The Taming Of The Shrew'

Shakespeare's one-act (later adapted into musical form via 'Osculation Me, Kate') likewise brings drama to the tabular array. If it's an eloquent monologue comprised of sometime English yous're looking for, put your twist on Katherine's "Fie, fie, unknit that threat'ning unkind forehead…"

Monologue Length: Upwards to 2:fifteen

"Fie, fie, unknit that threat'ning unkind brow
And sprint not scornful glances from those eyes
To wound thy lord, thy male monarch, thy governor.
It blots thy beauty as frosts do seize with teeth the meads,
Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable.
A woman moved is like a fountain troubled,
Muddy, ill-seeming, thick, bereft of beauty,
And while it is and then, none then dry or thirsty
Will deign to sip or affect i drop of information technology.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; ane that cares for thee
And for thy maintenance; commits his trunk
To painful labor both past body of water and land,
To watch the night in storms, the day in cold,
Whilst thou li'st warm at home, secure and rubber;
And craves no other tribute at thy hands
But love, off-white looks, and truthful obedience–
Besides little payment for so corking a debt."

[Total Monologue Hither ]

16. "A reserved lover, it is said, always makes a suspicious husband." – Kate Hardcastle from 'She Stoops To Conquer'

Conquer this traditional dramatic monologue at your next audition. Information technology's spoken past Kate Hardcastle (as well known as "Miss Hardcastle), the story'south heroine who yearns for true love.

Monologue Length: 1:45 – 2:00

" A reserved lover, it is said, always makes a suspicious hubby. […] He must have more striking features to catch me, I promise y'all. Nevertheless, if he exist and then young, and then handsome, then everything as you mention, I believe he'll practice still. I recall I'll have him. […] Well, if he refuses, instead of breaking my eye at his indifference, I'll merely break my glass for its flattery, fix my cap to some newer fashion, and await out for some less difficult admirer. […] Lud, this news of papa'south puts me all in a palpitate. Young, handsome; these he put terminal; but I put them foremost. Sensible, proficient-natured; I like all that. But then reserved, and sheepish, that's much against him. Yet can't he be cured of his timidity, by being taught to be proud of his wife? Yes, and tin't I–But I vow I'm disposing of the husband, earlier I accept secured the lover."

17. "Oh, my sins…." – Lyuba Ranevsky from 'The Ruby Orchard'

In Chekhov'south symbolic drama, the office of Lyuba encompasses a richly circuitous adult female who continually attempts to run from her troubles in search of a happier life.

Monologue Length: 1:10 – one:25

"Oh, my sins…. I've ever scattered coin nearly without property myself in, like a madwoman, and I married a homo who made goose egg but debts. My husband died of champagne—he drank terribly—and to my misfortune, I vicious in love with another homo and went off with him, and just at that fourth dimension—it was my outset punishment, a accident that hit me right on the head—here, in the river… my male child was drowned, and I went away, quite away, never to return, never to see this river again…I shut my eyes and ran without thinking, just he ran after me… without pity, without respect. I bought a villa near Mentone because he fell ill at that place, and for three years I knew no rest either by 24-hour interval or night; the sick man wore me out, and my soul dried upwardly. And last year, when they had sold the villa to pay my debts, I went away to Paris, and there he robbed me of all I had and threw me over and went off with another woman. I tried to poison myself…. Information technology was so silly, so shameful…. And suddenly I longed to be back in Russia, my own land, with my little daughter…. [Wipes her tears] Lord, Lord be merciful to me, forgive me my sins! Punish me no more than! [Takes a telegram out of her pocket] I had this to-day from Paris…. He begs my forgiveness, he implores me to return…. [Tears it upwards] Don't I hear music? [Listens.]"

Have a keen dramatic monologue to share with other thespians? Comment beneath…

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Source: https://theatrenerds.com/17-dramatic-monologues-for-women/