Monologues for Men Vol 2 by Gary Garrison, Michael Wright - Heinemann Publishing
Monologues for Men Vol 2

Monologues for Men Vol 2

By Gary Garrison, Edited by Michael Wright

For this second volume, Garrison and Wright have assembled a collection of reflections by men about what it means to be a male these days, particularly in the wake of September 11, 2001, and how they are putting their thoughts and feelings into theatrical expression. Representing an international community of playwrights, these monologues will satisfy any actor looking for new, original theatre pieces for auditions or acting classes. What's more, the material is accessible, thought provoking, and fun to perform.

Each monologue raises a set of questions that is theatrically illustrated through ...

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For this second volume, Garrison and Wright have assembled a collection of reflections by men about what it means to be a male these days, particularly in the wake of September 11, 2001, and how they are putting their thoughts and feelings into theatrical expression. Representing an international community of playwrights, these monologues will satisfy any actor looking for new, original theatre pieces for auditions or acting classes. What's more, the material is accessible, thought provoking, and fun to perform.

Each monologue raises a set of questions that is theatrically illustrated through character construction, linear and non-linear structure, and simple storytelling:

  • What is life like for men in this new age?
  • Why and when are men moved to speak? To whom? And for what reason?
  • How has men's awareness of the world changed after the horror of September 11th?

Each writer answers these questions in a thematically or dramaturgically unique way. Those writers whose monologues relate to the terrorist attacks remind us of the power of the single voice to say no, be heard, or instigate change. Other writers use a sort of "page architecture" that creates a distinctive sense of phrasing for actors to use as they will. Together the monologues give actors the opportunity to educate, question, inspire, or entertain. Playwrights, too, will benefit from the variety of writing styles, genres, ideas, and theatrical constructions they can explore.

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Contents

Introduction: A Sort of Monologue
The Ache
The Paper Bag, Aaron Coates
Longing, Dean Corrin
Jonathon and Stuart, Anton Dudley
The Night We Met, Jeffery Elwell
She’s Material, Bob Ford
Shakespeare in Hollywood, Ken Ludwig
Male Pattern, Todd McCullough
Interview with a Pharmacist, Ari Roth
sweet dream, Haresh Sharma
The Pain of Passion, Mats Hellerstedt–Thorin
Grand People, Michael Yergin
The World We Knew Under Seige
Dreaming Angel, Paul Austin
Whalespeak, Aaron Cabell
Darren, Chris Dunkley
The Exhibit, Ben Ellis
Prenatal Paralysis, David Frank
Barry, the Human Sponge, Graham Gordy
Just Do It, Adrian Page
Look Before You Leap, Moshe Kasher
Rashid’s Rant, Brad Rothbart
1BR, Walk–In Kitchen, Gary SunShine
Re–Mirroring
Monologue for a Rhino, Errol Bray
is this it?, Mattias Brunn
The Actor, Chong Tze Chien
Gone, Joel Murray
Drug Rep, Matthew Nader
Double, Brian Nelson
A Joke on the New Guy, Dan Nielson
Booker–T Is Back in Town, Dan Stroeh
Fam–ug–ily
Competence, Barton Bishop
A Bone Close to My Brain, Dan Dietz
Take a Load Off, Gary Garrison
Drinking with Dad, Robert Henry
Family Man, Paul Lambrakis
The Eulogy, Greg Romero
Men of His Generation, Eugene Stickland
Last Farewell, Michel Wallerstein
Sleeping, Son, Michael Wright
The Man Dance
How to Quit Properly, Nate Eppler
Lunch, Jason T. Garrett
In the Arboretum, Jon Haller
’Lac, Vishakan Jeyakumar
Down for the Count, Kipp Koenig
The Crafty Baboon, Carlos Murillo
Panthers, Police, and Baby Mamas, Malcolm Pelles
Scrap, Arzhang Pezhman
Vinnie G, Richard Stockton Rand
Protection, John Walch
Wichita, Willenbrink
Biographies
Performance Rights