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Monologue Blogger is a leading online publisher for the performing arts, featuring original monologues, scenes, plays and screenplays since 2006.

05/28/2026

In the dramatic monologue In the Face of the Beast, Father Lewis indirectly threatens Willa’s safety over the danger of the beast.

FATHER LEWIS: It is good to have the spirit in you. I sense that the events that have unfolded could have wounded you in some capacity. I sense that although you are of strong fiber, Willa, there is a shadow of doubt that seems to follow you. That you are walking along a fine edge that may have cracks deeper than you know.

I would be very mindful of taking long walks alone through the woods, at least, not until we locate and diminish this threat. For it is a threat, Willa. A threat so fierce, so evil, that no shotgun, no husband, and no faith can ever prevent. It exists and walks in and of itself.

It will come and go as the wind passes through the leaves of our very own cedars. It lives among us and will die among us. As it is ready.
You were lucky the other day, very lucky. Luck is a gift one must not ever take for granted. Luck can alter the mind wrongfully. It can give us power, strength, will, belief, wrongful belief in things we may not truly be capable of…

But you will be fine, so long as you know your limitations, so long as you don’t exceed your boundaries, and you don’t forget the house that welcomes you. Enter the grounds and pray, Willa. Stay out of harm’s path, and I am certain no harm will come to you.

In the dramatic monologue In the Face of the Beast, Father Lewis indirectly threatens Willa's safety over the danger of the beast.

05/23/2026

In this drama monologue from the one-act ePlay Sand Angels, Lenora rages and sulks over whether or not her life so far has been interesting.

LENORA: I’m just feeling like my best years are behind me now. Part of me thinks I didn’t do enough during my prime. I look back and I see how I moved through life and it never dawned on me that time really does run out.

Don’t get me wrong, I’m not stupid, I know we’re all gonna die, eventually, but I never considered that this is it, this is all I’m gonna be. The same day lived over with slight nuances but virtually the same. It’s like living all the variations of the same day with nothing spectacular ever happening.

You know, my whole life, I don’t imagine there’s ever been anything spectacular about it. My lifeline has always been a series of small bumps in the road with nothing higher than normal, nothing that would ever make me lose my breath for good reason, and I don’t imagine it ever will.

In this drama monologue from the one-act ePlay Sand Angels, Lenora rages and sulks over whether or not her life so far has been interesting.

05/21/2026

19 Scene Partner Scripts for Auditions shares a versatile mix of practice scripts for actors from published theatre plays.

05/19/2026

In teen drama monologue Fallen Money, Ruby tries to convince Paul to take her with him to the city where he plans to start a new life.

RUBY: You think you’re the only one, Paul? You think I don’t have my own cuts and scars? You don’t know me, and I don’t know you, but we both know we hate this place, and we have to leave or we’ll die here. I don’t fear dying; I’ll die many times if I need to, but not in this place. I need change. I need growth.

We won’t have to do this alone, and that counts. I don’t think I could do this on my own. That’s the truth; maybe you can, maybe you’re the stronger one out of us all, but we could help each other.

There are things I’m good at that you aren’t. Look at the mess you got into today; you didn’t even know how to take care of yourself. I see way ahead, not just what’s right in front of us. I see beyond that.

We have a plan, and we’ll work on it. We’ll execute it, find the money, make the money, and then let’s see what the hell happens. Because what’s the alternative for us anyway?

In teen drama monologue Fallen Money, Ruby tries to convince Paul to take her with him to the city where he plans to start a new life.

05/18/2026

In drama monologue Moment’s Notice, Barbra vents to her assistant Kenneth about how she isn’t prepared to perform on stage.

BARBRA: One thing leads into the next. I was putting on my blouse for the opening scene. No one was here to help me mind you, and sure enough, a tear right at the elbow as I pulled it on. And Margie took an entire hour to sew it and return it to me, twenty minutes before I’m expected to go on. And I am supposed to get into character in twenty minutes? All they do is fuss with me, pulling my hair here and there, and I’m sick of it. None of them have any kind of self-awareness or just the sheer awareness of time!

I entered the theater three hours early today to prepare, and still, not a second to myself, I’m surrounded by a thousand questions and distractions, and not a second to think!

I don’t wish to sound pretentious, Kenneth, I don’t, but you know I just can’t stand it anymore! I have a way of working, I work fast, I do, I’ve had no choice but to learn how to work fast, but with all this hovering, doing things we simply don’t need to do, it throws me off and, and…No, I simply can’t go on. I’m too worked up, I’m aggravated, I could shoot someone, and I’VE TRIED to concentrate, do all the meditational bullsh’t I’ve worked so hard to master, and I’m not there Kenneth. Look at me, I’m not even close.

And you expect me to go on full of joy, as the playwright states, “Carol is floating on air.” How can I possibly float, when I am evidently sinking? (beat) No, no, there is no way! I won’t go on. Cancel. Cancel. Cancel this disaster before it’ll ruin the entire run! I’m warning you, It will. We will be a laughing stock tonight. Is that what you want?

In drama monologue Moment’s Notice, Barbra vents to her assistant Kenneth about how she isn’t prepared to perform on stage.

05/15/2026

Don’t Leave Me Without Muffin is a play that deals with addiction, love and misunderstanding between a mother, daughter and rag doll.

GINGER: I’m not drunk, Mom. I’m awake, wide awake. I see things very clearly. I see what you did to me growing up and how you left me to fend for myself. You don’t remember, do you? All those times I had no choice but to walk into town and search through garbage containers and dumpsters behind McDonalds, just so I could eat.

If I never did that I would have starved to death, just like Louie. Well, he didn’t starve, he died cause he was too young to take it…right?

This whole life, I am done! I am done thinking that one day it can change. The only real change that will ever happen is if I make the change myself and I am LEAVING!

No more bumping into random men in our kitchen during the middle of the night. No more sleazy smells from all the booze and drugs you’ve been doing. No more waiting for a smile, a look, something, anything that tells me you see me.

You never cared about me. You selfish, waste of life, you only cared about me if it served you well in some way. Whenever I’m no use to you, I disappear from your mind.

And now I’ve disappeared for good. You can keep your life. I want no part of it.

Don't Leave Me Without Muffin is a play that deals with addiction, love and misunderstanding between a mother, daughter and rag doll.

05/12/2026

In the play script In the Wake of Smoke, Daphne releases a barrage of feeling to Morrison about how she needs to taste more life.

DAPHNE: Where are the days of us breaking things, throwing things, grabbing each other, bashing it all against the wall, against the regime?! I hate this place! It makes me sweat. Don’t you get it? It feels good to RELEASE this feeling of dread. To feel, to tear at another’s skin, and to damage them! I want to HOLLER!

Daphne holds her fists up into the air.

And CRUSH down on the Earth! This room. This dreadful SPACE. Suffocation. Weariness. Drought. We are in a drought, that’s it, a drought from lack of feeding ourselves the nutrition of existence. We have become polished! Look at ourselves, “Oh pass me the fk’g tea, dear…Oh be careful dear, careful you don’t fall down those fk’g stairs, now, dear”…methodical, economical, mindless sh’t! Not what we were. Get it? Now we’re formal and caged, we need the dust we were born into. We have etiquette and we have wealth, all that one desires, but we need the slums back, baby. You’re desperate for it! Desperate for the smell of ground, trains, poison, and smoke!! To rip out the guts of LIFE and BREATHE, BREATHE, BREATHE!!

In the play script In the Wake of Smoke, Daphne releases a barrage of feeling to Morrison about how she needs to taste more life.

05/09/2026

In the drama monologue Land of the Forgotten, George shares his personal truth with a stranger named Kim who he has met in Central Park.

GEORGE: Don’t feel bad for me, believe me, I don’t deserve anyone’s sympathy. I’m aware of the wrongs I’ve done. The problem is figuring out how to undo them and sooner or later you realize the damage is done, like a tornado smashing up a house, most of the pieces remain but things have turned into something else…

You can try to pick up the pieces, you can try to mend things, make something new but it’s never the same, it’s always weaker than it was previously, and so after a good while everyone gets tired of rebuilding the same old house and you admit to yourself that it’s not worth the effort, you’re better off walking away, with the hopes of finding something more concrete, but you don’t, you never do, you can’t because of what everything meant to you, so you’re sort of stuck in this bubble, bubble of the mind, that you aren’t strong enough to pop and thankfully you can’t, cause God only knows what more of a mess you’d make of things, so there it is…

In the drama monologue Land of the Forgotten, George shares his personal truth with a stranger named Kim who he has met in Central Park.

05/08/2026

In drama monologue Petals From a Rose, Clifford explains to the woman he loves why they were not meant to be together.

CLIFFORD: My mind, Margaret. It is not well. Something happened to me on that day. Something came over my mind. I suddenly believed myself to be unworthy of you, of our love, of our future. Destruction lured me, pain lured me, rather than the idea of happiness and love. I watched you pace back and forth several times, along the platform.

I watched you fret as my heart bled, until eventually you left.

After watching you leave the platform, I fell unconscious and woke up in a hospital, where I proceeded to cause havoc, the most violent kind and was admitted to an asylum, against my will, where I remained for quite some time.

I still do not know why this madness chose me, why it took hold of me, and why it held me prisoner, away from you. I—I thought about you each day; I longed for you. Time—so much time was given to me and used up to put myself back together.

I have suffered to regain whatever mental faculties were possible, but I am not a well man, a stable man, I battle this disease with no one to cure me but myself. I learn. I travel. I think. I imagine. I write. I improve. I function. I am functional. You’re looking at me, I’m looking at you. I can coexist with those around us, so long as I concentrate. So long as I force myself to the task…otherwise…I am here on business, yes, but I have calculated my way to see you, to have this moment with you, to admit to you that I did wrong by you, for something that—this force that, takes me away from you…and I believe still haunts you, as it does me—I have come to shatter it once and for all. I am not what you believed me to be, Margaret…

The memory of me must be replaced by the truth of me. My truth….the inescapable love that I had and will always have for you…to set you free of my ghost. To know that, to know that…we did exist.

In drama monologue Petals From a Rose, Clifford explains to the woman he loves why they were not meant to be together.

05/06/2026

This is a serio-comedic monologue from the one-act play Pizza from Carlos. Corky plops herself on a couch and talks about her problems.

The odd thing about it all is that Moe and Saul have never seen this woman in their entire lives.

CORKY: What’s the matter with you two a**holes? You know I hate the heat. Brought you morons some pizza from Carlos. Eat, eat, eat.

[Saul and Moe look at one another. Moe goes to the pizza box and takes out a slice. Saul eventually does the same.]

I don’t have patience. If there is one thing I wish I could change about myself, it’s patience. I’ve gotten better at it, over the years, I’ve improved. I’ve learned how to let the steam out, before I blow…but I can do better, I should do better, I HAVE TO DO BETTER!!!

Buttons get pushed, my heart starts beating, grinding my teeth or humming, I hum, I hum frustrated tunes to myself in order to release all this pent up steam…I’ll breathe, take deep breaths but ultimately, I’m a failure…I lose my battle against myself and I’m a woman who has strong will power, believe me…it’s the one thing though, that one freaking thing I constantly fight against…myself.

There’s guilt, anger, violence. Can’t tell you how many times I’ve punched something, whether it’s a bookcase or a door, a wall, a person. Yeah. (holds up her index finger) My index finger always blows up, gets swollen. All from a previous injury I got way back when. Another bitch, another story.

The aftermath is always the same; I feel like a piece of sh’t, a real low life, cause I failed. I failed to keep it together.

There’s that image I have that burns in my brain. It will be with me forever. The look I was given…her eyes…there is nothing worse than that look she gave me…nothing worse…

[Corky cries.]

[Corky downs the rest of her beer.]

Grab me another Paris Blu.

[Saul gets up and grabs the beer, handing it to Corky who downs half the bottle.]

To think, I love this woman, actually love her more than anything in this world…why is it so hard to control our emotions? (beat) I’m asking you guys…why?

This is a serio-comedic monologue from the one-act play Pizza from Carlos. Corky plops herself on a couch and talks about her problems.

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