Monologues

Short monologues are a useful way to show your range and approach to a character in a short amount of time. In just a few minutes, they allow actors to work through different emotions, situations, and voices, making them a strong choice for auditions, class work, or personal practice.

This collection of short monologues includes pieces across a range of genres and experience levels. They are manageable in length and designed to give actors space to explore the work, make clear choices, and engage with the material without needing a long piece.

“Goodbye Charles” by Gabriel Davis

It’s Terrible Being Nice

CYNTHIA

Don’t do it! Don’t open that little box one more crack! Don’t ask me to marry you. Don’t say another word. Before I met you, I used to be a raging jerk. Those people I introduced as my friends. They’re not my friends. They’re scared of me. But since being with you, I’ve begun to feel warm inside. Fuzzy. I have urges to donate to charities. To help out in soup kitchens. To hug people.

You’re making me NICE! And if you open that box and ask me to marry you and I nicely say yes, I’ll be nice for life. The planet already has millions of nice people. It doesn’t need me. I’m begging you. I’m getting down on a knee. Will you please, please not marry me?

“Second Look” by Joseph Arnone

Cher’s monologue

In this monologue, Cher speaks with a friend about aging, visibility, and self doubt. The language is direct and conversational, making it accessible while still offering emotional specificity.

CHER

It hasn’t happened for quite some time. I was thinking about this all day and it must have been years since I’ve ever felt that feeling. You know? When a man looks at you, looks away and then takes that second look. It’s the second look that validates something for me as a woman.

I’m not trying to say that I need a man to salivate over me or anything like that. It’s only that I haven’t gotten that second look in quite awhile and I’m beginning to feel a bit inadequate.

Even on a lousy looking day I used to catch a second look. Nowadays I’m lucky I even get a first look.

Hmm. Can I ask you something? Have my looks changed? Am I not as attractive as I used to be? Wait. Don’t answer me. Don’t answer my question. It’s all just too much, really.

(She stands abruptly and grabs her drink.)

I’m alright. I just don’t know. I’m not looking for comfort or consolation. I just want to know if I still appeal to men. Is that so wrong? Not in an intellectual way, but in an attractive way. That would be nice. To know if I can still turn a man on. If, in fact, a man is actually still interested in me that way.

That’s all…

“Behind the Eight Ball” by Joseph Arnone

Helena’s monologue

Helena speaks to her friend about pressure, comparison, and feeling left behind. The structure is simple, but the emotional stakes remain high.

HELENA

Everything is easy for you, Sally. I don’t have parents like yours. I can’t stand my mother and my father always has no more than two nickels to rub together.

I always feel like I’m behind the eight ball, trying to keep up with you and all the others and I’m on my own. Working my stupid job, going to school, in debt. It’s all on me and some days I feel buried alive.

Some days I literally don’t want to open my eyes in the morning. I’m like a zombie. I’m turned on but being dragged in every direction and I can’t stop. Not for one second. Because as soon as I stop it will all come crashing down on me.

I’ve always been trying to keep up and I’m losing. Everyone is getting too far ahead of me and I can barely see you up ahead. Any minute now I won’t, and I’ll be alone. Completely alone.

“You’re a Good Man, Charlie Brown” by John Gordon, Clark Gesner, and Andrew Lippa

Lucy’s monologue

Lucy explains Charlie Brown’s so called “failure face” to her brother Linus. The piece is short, specific, and relies on confidence and timing.

LUCY

Now Linus, I want you to take a good look at Charlie Brown’s face. Would you please hold still a minute, Charlie Brown. I want Linus to study your face.

Now this is what you call a failure face, Linus. Notice how it has failure written all over it. Study it carefully.

You rarely see such a good example. Notice the deep lines. The dull, vacant look in the eyes. Yes, I would say this is one of the finest examples of a failure face you’re liable to see for a long while.

“The American Dream” by Juan Ramirez Jr.

Efren’s monologue

Efren reflects on disillusionment, survival, and the meaning of life. The language is concise but philosophical.

EFREN

I don’t get sleep but when I do it’s always nightmares. I sit in a pit of an infinite amount of skulls, trying to remember their faces. I’m not scared, sad, angry or happy. Nothing makes sense and yet it doesn’t have to.

Pain is make believe. Destiny is fulfilled and life is had. I’ve left little memory in this expiring world. What’s so great about life?

Seriously. Happiness is a fleeting moment. Money is pathetic. Our passions will never change anything. Love. We abandon them and they return the favour.

God. He better not exist because I’m raging a war. And what happens when you die after you die? Maybe god’s god has something better. I’ve got to get myself a delusion.

“Better Call Saul” by Vince Gilligan, Peter Gould, and Thomas Schnauz

Howard’s monologue

Howard attempts to explain how he was manipulated and humiliated. The piece relies on logic, urgency, and control.

HOWARD

I’m not crazy and I’m not on drugs. Please come in. Somehow that son of a bitch gave me something that dilated my pupils. I don’t know what it was but it’s wearing off already.

Look. The photos were wet with something. My PI had to be in on it. He must have shown me one set and switched them later.

Three weeks ago Julie got a call from our detective agency asking to update their contact information. That wasn’t them. That was Jimmy.

I hired a con man. I got played every step of the way. I know what it sounds like, but you have to believe me.

“The Destiny of Me” by Larry Kramer

Ned’s monologue

Ned confronts institutional failure, fear, and survival in a moment of brutal honesty.

NED

What do you do when you’re dying from a disease you need not be dying from? What do you do when the only system meant to save you is run by idiots and quacks?

What do you do when your own people won’t unite to save their own lives?

What do you do when you’ve tried everything and nothing has worked and suddenly your days feel numbered and finite?

You talk yourself into believing the quack is a genius and his latest vat of voodoo is a scientific breakthrough. And you check yourself in. So here I am.

Using These Monologues

These monologues are offered as a starting point and a resource. Actors are encouraged to choose a piece that resonates with them and spend time getting to know it in a way that feels manageable and honest. Whether used for auditions, class work, or personal practice, the focus is on clarity, intention, and connection to the material.