Truly Free Original Audition Monologues for Actors: A Lady Who Wants To Remember Her 'First...'

Wednesday, July 11, 2007

A Lady Who Wants To Remember Her 'First...'

[Female monologue: Ages 19-25. This monologue has a twist. The actress should be subtle and careful in her physical motions and visual focus. These motions and focus should not betray the monologue's twist, but should indicate that, perhaps, there's something different about this woman. It gives you a chance to show subtlety. Remember as well - she is in a field, so her movements are not constrained by furniture, walls, etc.]

Remember five years ago, when we were fourteen and came to this field for a picnic, Michael? You kissed me here – your first kiss as well as mine.

I will never forget a single moment of that day. I can see this field and every tree, and rock and the beautiful stone wall at the crest of the hill…

I know you’re being kind by coming here with me again. But – I didn’t really ask you here for a picnic.

See -- Michael – I know we will never be ‘lovers’ but I do know we’re best friends and I know we have love for each other.

And you’ve always been a kind and gentle person - oh God - I know I'm blushing -- but, when you smile? Your eyes have always made me feel prettier than I am. ...No really - believe me...I know...

But - but, lemmee finish....you're getting me off track...But I also remember in high school seeing in you the early makings of a real man – and I know that’s what you’ve become. I hear it in voice. I know it by the footfalls of your boots and the way you've held my hands.

Michael - if I live to be a hundred, I'll always be able to remember you like a photograph and your movements like a movie.

I know your slender and strong hands, I know every curve and angle to your face, your arms, your shoulders and legs -- I see your eyes, your smile, and how you laugh…. I can see you in my mind’s eye now as clearly as if we were fourteen again.

So, m' dear – here’s my request – O.K.? And please don’t say ‘no’ right away – please .... please just give it a little ‘think,' first. O.K.? ...O.K...all right then...[sighs]..

I’m -- I am asking if – right here – right now – with no strings attached – would you....would you please make love to me now? Here? Please? Be my first lover - here -- in this field - surrounded by the trees, the rocks, the grass and this place we both know so well? See....I....

[She puts a finger up to her lips in a hushing motion...]

Please... I - just let me finish...sorry...but I - oohh! I knew this would be hard and weird...but -- now I can't look at you and read your emotions anymore... and not being able to 'read' you - ohhh this is nooooottt easy...

Sorry...deeeep breattthhhh....Michael - next month it'll be two years since I went blind, and I gotta tell you - it sucks! I now learn faces crudely – by touch – as if I'm learning the outlines of a mask. It's very strange...but it's like feeling a 'death mask' that's alive. It's weird... People seem to think it's some sort of magic - like bingo! It's like - "Your blind - I bet now you just touch a face and know if someone has freckles. Don't you have extra sensory power or something?"

Well - that's a bunch of crap.

Now, when I meet a man, I have to ‘imagine’ his hands when I touch them -- I have to picture his lips when he speaks -- and then - like some crazy mental recipe - I have to mix the touch of his hands and the sound of his voice so I can guess at the spirit and soul in his eyes that I never, ever - ever will really 'see.'

But Michael – with you, if we make love - I just know it - I know I will not have to guess. I will know. I know your eyes, your hands, and your body. And I know your heart.

I can see us kissing here - in this field - I see us having our first kiss those few years ago.

And I will see you just as clearly today when you - if you - kiss me. I'll see your tongue lightly moisten your lips just before you lean to me. I'll see your glance darting - taking in my hair - I'll see your eyes - lightly dancing back and forth - taking in my eyes one at a time - I'll see you gazing briefly at my lips....

Then - I'll see you look again into my eyes. I'll see your palm as it caresses my cheek...and then you'll give that little glance you give just before you slide your hand behind my head - when you cock your head and watch your thumb caress my ear - yes--- yes - I always noticed that - and then as your hand settles gently on my back, I'll see that graceful ripple of your muscles as your arms fold ...and close.... and press us tight...

[She pauses - lost for several seconds in her reverie. Change of tone away from the intimate to the surroundings.]

I know how the branches in the trees waved four years ago - and how they're waving today. I know the very color of the leaves on the branches above us. I can see the moss on that craggy boulder by the Willow tree - and I know that the weeping strands from the Willows' branch will be that gentle touch we feel as they brush our shoulders.

Michael – you know that corny saying? -- “A woman always remembers her ‘first’?
I want you to be the first man to make love to me, Michael, please? That way – I’ll always be able to see this day with you in this beautiful and familiar field as clearly as if I had seen it with my eyes.

In my future years – if I’m lucky – when I make love with another man – well, there’s no other way to say it – I’ll make love to that man and be reading his emotions by guess and his body by Braille.

So - I would like - [she starts to speak quickly - and more quickly - not able truly to end her 'plea' - afraid of the answer to come] truly, to remember you as my first ‘lover’ on this day in this place I know so well – and I know I want it to be you - a man who I truly.......

[She is suddenly stopped by Michael's unseen hands that are cupping her cheeks. Her head tips up. She places her palms over his hands and caresses the backs of his hands with her fingers.]

Thank you, Michael......thank you...

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Audition Tips

Some actors develop the character from the 'inside' to the 'outside.' But in preparing for an audition, prepare from the ground up. Use thought and care in picking your footwear. People wearing sneakers walk with a rolling bounce. They also tend to 'rock' on their feet while standing 'still.' Boots will give you more of a solid stance and their weight will change the fluidity of the movement of your legs as well as slightly lengthening your stride. They give men a more rugged presence and women an outdoor country girl appearance. Half heels for women and wingtips for men will keep the feet planted and avoid the bouncing and lightness associated with younger folks and less mature characters. Study the effects that different styles of footwear have on your posture, movement and stage presence. Match them to the character for which you are auditioning. Willy Loman never wore Nikes. Biff Loman never wore wingtips. Videotape yourself walking, standing, turning, and bending with every type of footwear you can lay your toes on. You'll be surprised how the feel and structure of different footwear styles effects your carriage and movement and helps you make that all important first impression you want to make on a director. Almost without exception - your footwear will be the most important initial choice you can make to improve your audition. ~ J. A.

Tip # 2: Memorize Pefectly And Go 100 MPH

Learn your audition pieces with letter perfect memorization. If you edit them, then learn them perfectly as edited. Have someone check you for EVERY single word. Do it over and over until you can say it perfectly - and I mean PERFECTLY - every time. THEN speak it as fast as is humanly possible. And again, have someone check your every word. When you can say it over and over again at 100 miles per hour - blindfolded - THEN you will find you have the freedom to say it at any pace you want and you will be totally confident and your performance will improve immensely. The reasons for doing this are many, but here's the primary one: When you are first memorizing a script or monologue, the tendency is for you to 'substitute' words here and there that are synonyms for the words you've replaced. It sounds o.k., but, subconsciously, your mind is aware that you have performed a substitution. When audition time or performance night arrives, your adrenalin will be pumping. Your nerves will kick in. At that point - with a little self-doubt coursing through your brain - you will hesitate when you come to the word that you have substituted. Something in your head will tell you that something's not quite right. And don't listen to any touchy-feely crap about 'over' memorizing! Perfect memorization does NOT kill spontaneity - contrary to what some clowns may tell you. On the contrary - perfect memorization gives you the confidence to pause - to let your character show him or herself 'thinking' and 'feeling' because you KNOW that the next words are absolutely there - at the tip of your tongue - available to you like a carpenter's tools arranged in his box - to be used with speed, leisure, and with any emotion you choose. I acted for several years before a director at the New Ehrlich Theater at the Boston Center for the Performing Arts made us all memorize our parts until they were 'letter' perfect. The boost to the entire cast's confidence - and in particularly my confidence - was palpable. We knew we could trust each other 100% and that gave us far greater freedom to bring realistic timing, pauses, reactions, and subtle shadings to our respective roles. Make absolutely sure that the person who rehearses you notes every single error you make and make that person correct you until you're driving that script like a Maserati at Le Mans.

Tip #3 - If You Don't Know Where To 'Place' Your Eyes - Your Hands and Feet May Grow Wings

A friend of mine - whom I'll call Tom - [whose real name was Albert, but I want to protect his anonymity] was a great 'techie' - a true artist with light design. Like most of us in theatre - he wanted to act. When I directed 'Death of a Salesman,' one of the minor characters had a heart attack [on-stage, opening night] and had to be replaced for the next night.
Tom volunteered. Tom was a great guy and a real trooper. However, when talking with anyone [friends, colleagues, women with whom he wanted a meaningless relationship] his hands were always flapping around and he was always rocking back and forth on his feet. Tom's problem wasn't his feet. It wasn't his hands. It was a problem with his eyes. He rarely looked anyone in the eyes when talking to him or her. I 'ordered' him to do all his lines while looking me in the eyes.
Immediately his hands became still - his rocking stopped - and his character became far more real. I have seen this phenomenon over and over. And, just as some actors MUST look another actor in the eyes to relax their random bodily movements and gestures - when an actor auditions, he or she should pick a person or focal point on which to keep his eyes. A 'thoughtful' or 'pensive' glance away is o.k. But, even if you have to pick an exit sign in the back of the room, pick something on which to focus. BEWARE: As a general rule, avoid focusing on the director or casting director. They may want to make notes and some find it 'disconcerting' to find themselves suddenly a 'part' of your audition scene. If you are a person whose gestures regularly are found in mid-flight around your face - and whose stance resembles that of a sailor trying to gain his balance - rehearse while focusing on the eyes of a friend. Have a third-person observer watch the scene. If the observer sees your hands flailing or your feet 'staggering,' have the observer call out 'eye contact -- eye contact' to remind you. The observer will not need actually to see your eyes - he will be able to tell the moment you start dancing the Tarantella instead of just plain talking to the fellow actor standing before you. ~ J. A.

Truly Free Original Audition Monologues for Actors