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When Claudia visits Honour to tell her that she regrets her actions and ask for her forgiveness, Honour responds. Like you.Īfter finally accepting the loss of her husband Honour is beginning to explore her life without George. But I still feel – I need – I need… I wish – I – wish I was more – like you. And since I’ve gotten older I don’t feel – I feel as if all that – all the – Everything that saved me has fallen from me and you know, I’m not a child any more. Maybe you’re right and it was – not so simple as it looked, but they gave such a strong sense of – love for each other and inside that – I felt – I felt loved. Lying in bed and feeling that they were there: outside the room in all their – their warmth, their – a kind of charm to them. Because I’m old now and I shouldn’t remember that any more. Some darkness growing, something – organic, alive – and the only thing that kept me – kept me – here – was the picture of Honour and George. But it – was a -sort of – I used to see it in my head as a jungle. What does a child who has everything suffer from? Who could name it? I can’t. As if I was choking on – As if life was coming down on me and I couldn’t see my way through it. That everything is – There’s no way through it – I – used to feel that way when I – was very small. And where there were words there is now just – just this feeling of – of impossibility. The things I’ve said confidently and they – they fall to pieces. Some nights I lie awake and go over the things I’ve said. Whereas I’m – I’m so – I can never quite say what I’m – Even to myself, I’m so inarticulate. In this monologue she confesses to Claudia (her father’s mistress) that she wishes she had Claudia’s confidence and strength. She has been rocked by George’s affair and feels the safety and stability she has grown up with because of her parents’ relationship ebbing away. Sophie is Honour and George’s twenty-four year old daughter. George Spencer has been the authoritative – the single most res – George Spencer has been the incisive voice of – The intellectual establishment has long acknowledged – For twenty – no- for – Love him or hate him – George Spencer, the fearlessly articulate – Fuck! Look, this is awful – so, so – I loathe people who talk about themselves in the third person! Bestowed with the odd literary gong – pretentiously casual – Why not just say it? Recipient of awards too numerous to – No – No – All right.

Award-winning – is that awful? It’s probably unprofessional not to mention the awards. An adventurer into the heartland of a nation’s cultural – An adventurer into the cultural heartland of a nation’s – It’s all a little too pith helmet. Always ready to plumb the depths of social and political change, he has – he has – convincingly merged an intellectual prowess with literary – no with a literary, no – with a distinctive literary style. George: First and foremost, a communicator. In this monologue he struggles to summarise his ‘life in a couple of paragraphs’ during an interview with Claudia, a young, beautiful journalist. George is described as being ‘an attractive, youthful man around sixty’. When George leaves her for a woman not much older than their daughter, Honour must adapt to a new life by herself and work out who she is now that she is no longer a wife. Honour has sacrificed her writing career for her husband of 32 years George, an acclaimed journalist. This play is about Honour, a poet, wife and mother who is about sixty (but can be played as in her forties or fifties). * Please refrain from presenting monologues from the following plays as these have been used quite often by prospective students in auditions during the past year: any play by Christopher Durang, Night Luster (Harrington), Laramie Project (Kaufman), Catholic School Girls (Kurtti), Oleanna (Mamet), The Woolgatherer (Mastrosimone), Lone Star (McClure), Laundry & Bourbon (McClure), Star-Spangled Girl (Simon), Days & Nights of BeeBee Fenstermaker (Snyder), and Nuts (Topor).Here are a few shorter monologues for your consumption from Joanna Murray-Smith’s Honour. At the bottom is a list of monologues to avoid.*

If you need assistance in finding a monologue, please consult the lists of suggested monologues below. Please do not prepare monologues that are caricature, extremely broad comedy, require an accent, or that are not from a play or film. Choose a monologue that you connect with personally and that best demonstrates your acting abilities. Students auditioning for the BFA in Acting, BFA in Musical Theatre, or the BA in Theatre Performance must audition with one 2-minute contemporary monologue (written after 1945).Īudition material must be selected from published plays please do not audition with original material.