WAAPA Monologues Female 2015 Commencement

Telephone: 134 ECU (134 328) Web: www.ecu.edu.
au/waapa

Edith Cowan University
Western Australian
Academy of
Performing Arts
AUDITION PIECES FOR WOMEN
2015 INTAKE

You do not have to prepare a different monologue for each of the following disciplines if applying
for more than one, you may use the same monologue more than once.

BACHELOR OF ARTS (ACTING) COURSE

You must prepare two pieces from this section: one Shakespearean or Jacobean piece; and one
contemporary piece.

MUSIC THEATRE COURSES
BACHELOR & CERTIFICATE IV

You must prepare any one piece from this selection in addition to the two songs.

BACHELOR OF PERFORMING ARTS (PERFORMANCE MAKING)

You can prepare one piece from this selection.

Telephone: 134 ECU (134 328) Web: www.ecu.edu.au/waapa

Western Australian
Academy of
Performing Arts
LOVE
by Patricia Cornelius

Tanya
The moment I saw you, I reckon, that very second, that's when, I knew it then, I just knew it, I felt
it, I knew the feeling straight away though I never felt it before, I knew it as if it was a
secondskin, as if something had crawled up and bit me, like something had fallen off a building
site and hit me, I knew, I loved you.

I saw the bitches smelling you, their eyes slits, tongues circling their lips, mouths filling with spit,
and I growled at them, I really did, I growled, could've bared me teeth, probably did, because I
was that sure that none of them were going to have you, you were all mine and I growled at
them, to let them know, back off or I'll let rip. Their hackles rose and I had to square up to them
a bit but they scampered off, tails between their legs, they did.

Fell for you then and there. You were wasted and looked like shit, in the clink for a six-month
stint, your hair all lank, you had a split lip, you had amazing tits, you were like some bird, yeah a
bird, with your wings tangled and I thought, Jesus Christ, you are for me and I'm for you, no
doubt, no fucking doubt, I'm going to look after you, nobody but nobody is going to hurt you,
not without having to contend with me first, nobody is going to lay a hand on you, never.

You must have felt it. You couldn't have not. It was hot. Wasn't it? I went up to you, knew I had
to get to you fast before anyone else got to you but I couldn't run though I really wanted to but
I couldn't run because you wouldn't have wanted me if I'd run, like someone desperate for you. I
had to saunter up to you, sure like, and interested, but just so and I said to you . . . you are the
most beautiful woman in the world.

And I had you.


Western Australian
Academy of
Performing Arts
A DELICATE BALANCE
by Edward Albee

Claire
Warn me when she's coming; I'll act drunk. Pretend you're very sick, Tobias, like you were with the stomach
business, but pretend you feel your insides are all green, and stink, and mixed up, and your eyes hurt and you're
half deaf and your brain keeps turning off, and you've got peripheral neuritis and you can hardly walk and you hate.
You hate with the same green stinking sickness you feel your bowels have turned into . . . yourself, and everybody.
Hate, and, oh, God!

You want love, l-o-v-e, so badlycomfort and snuggling is what you really mean, of coursebut you hate.

And you noticewith a sort of detachment that amuses you, you thinkthat you're more like an animal every day .
. . you snarl, and grab for things, and hide things and forget where you hid them like not-very-bright dogs, and you
wash less, prefer to be washed, and once or twice you've actually soiled your bed and laid in it because you can't
get up . . . pretend all that. No, you don't like that, Tobias?

Pretend all that. So the guy you're spending your bottles with starts you going to the old A.A. And, you sit there at
the alkie club and watch the . . . better onesnot recovered, for once an alkie, always, and you'd better remember
it, or you're gone the first time you pass a saloonyou watch the better ones get up and tell their stories.

So, one night, one month, sometime, Id had one martinias a Test to see if I couldwhich, given my . . . stunning
self-discipline, had become three, and I felt . . . rather daring and nicely detached and a little bigger than life and
not snarling yet.

So I marched, more or less straight, straight up to the front of the room, hall, and faced my peers. And I looked
them overall of them, trying so hard, grit and guilt and failing and trying again and loss . . . and I had a
moment'ssweepingpity and disgust, and I almost cried, but I didn'tlike sister like sister, by Godand I heard
myself say, in my little girlvoiceand there were a lot of different me's by then I am a alcoholic." (Little girl
voice.) "My name is Claire, and I am a alcoholic.

My name is Claire, and I am a . . . alcoholic. Now, I was supposed to go on, you know, say how bad I was, and
didnt want to be, and How It Happened, and What I Wanted to Happen, and Would They Help Me Help Myself . . .
but I stood there for a . . . ten seconds maybe, and then I curtsied; I made my little-girl curtsy, and on my little-girl
feet I padded back to my chair.

Western Australian
Academy of
Performing Arts
BLACK MEDEA
by Wesley Enoch

Medea
I am not frightened of you. I have faced everything I fear and defeated it. You think you are a
match for me? The day has finally come. . . and today. . . I will vanquish you. Today. . . Jason and
I will no longer run. And you will feel the sharpened edge of a mothers love and a wifes loyalty.

I can feel you, I can hear you coming. I am ready for you. Hear me. . . I am ready for you.

Come out and face me. Face me!

This is not a fit place for our final battle. But here you have chosen and here it must be. Were it
up to me I would choose the open desert where you could not hide amongst those scared
strangers clutching to the coast like cowering children.

I have not sacrificed everything to fail now. I have dreams.

Who am I to have such dreams? Who am I to go against even you?

I am a daughter of this Land, I have the knowledge of my people. I have the power of my clan, I
have the strength of my marriage, I have the love of my husband, I have the weapons of my
wits. I am Medea.

So come now and face me.

There is a blood debt to pay and not a drop of mine shall fall upon the thirsty earth.


Western Australian
Academy of
Performing Arts
SKYLIGHT
By Daniel Hare

Kyra
Female'? That's a very odd choice of word.

You see I'm afraid I think this is typical. It's something that's happened . . . it's only happened of late. That
people should need to ask why I'm helping these children. I'm helping them because they need to be
helped.

Everyone makes merry, discussing motive. Of course she does this. She works in the East End. She only
does it because she's unhappy. She does it because of a lack in herself. She doesn't have a man. If she
had a man, she wouldn't need to do it. Do you think she's a dyke? She must be fucked up, she must be
an Amazon, she must be a weirdo to choose to work where she does . . . Well I say, what the hell does it
matter why I'm doing it? Why anyone goes out and helps? The reason is hardly of primary importance. If
I didn't do it, it wouldn't get done.

I'm tired of these sophistries. I'm tired of these right-wing fuckers. They wouldn't lift a finger themselves.
They work contentedly in offices and banks. Yet now they sit pontificating in parliament, in papers,
impugning our motives, questioning our judgements. And why? Because they themselves need to feel
better by putting down everyone whose work is so much harder than theirs. You only have to say the
words 'social worker . . . 'probation officer' . . . 'counsellor' . . . for everyone in this country to sneer. Do
you know what social workers do? Every day? They try and clear out society's drains. They clear out the
rubbish. They do what no one else is doing, what no one else is willing to do. And for that, oh Christ, do
we thank them? No, we take our own rotten consciences, wipe them all over the social worker's face, and
say 'if. . . FUCK! 'if I did the job, then of course if I did it . . . oh no, excuse me, I wouldn't do it like that .
. . Well I say: 'OK, then, fucking do it, journalist. Politician, talk to the addicts. Hold families together. Stop
the kids from stealing in the streets. Deal with couples who beat each other up. You fucking try it, why
not? Since you're so full of advice. Sure, come and join us. This work is one big casino. By all means.
Anyone can play. But there's only one rule. You can't play for nothing. You have to buy some chips to sit
at the table. And if you won't pay with your own time . . . with your own effort . . . then Im sorry. Fuck
off!


Western Australian
Academy of
Performing Arts
ROOM TO MOVE
by Hannie Rayson

Peggy
It's so lovely having someone here, sharing the house. You can't imagine. For two whole days
I've had a sense of calm. I haven't felt that since George died.

Most of the time I felt as though I were skating across a surface of desperation. I told myself,
never look down and never cry. One tear is enough to slip on.

I know they say that's not good for you. That tears are a part of grief. But I couldn't go on like
that. Not like those first six months. You can fall so deeply into despair, and every time you have
to crawl to your knees and haul yourself out. Your family can call and soothe from the sidelines,
but there is never a strong firm hand to pull you up. You have to do that yourself. And after a
while you begin to understand that falling is futile. That there is no sweetness in that despair.

So, all that's left is to keep moving. And sooner or later the ground feels firmer underfoot. Mind
you, there's little that's sweet or soft in that journey. Until you come to a moment like today.
Then it takes you by surprise.


Western Australian
Academy of
Performing Arts
WASTWATER
By Simon Stephens

Lisa
He asked me if that was enough money and I said no. And he said, 'Well. There is a way, if you
want, that I could help you make a bit more money.' I asked him how and he said, 'Well, I find
you very attractive.' I was like, right, sonny Jim, where are we going with this one and he was
like, 'Have you thought about doing any acting?' I said no, and he said, 'Well. I'd like to make a
film with you, would you like that?' Well. I'm thinking, OK. I've never actually made a film before
so that's quite exciting and I said, 'What kind of film is it?' And he looked at me. Like. He did a
funny little cheeky grin and he said, 'It's a porno.' He asked me how I felt about that. I asked him
what it would involve doing and he said, 'Well, what do you think?' And, you know me. You
know what I'm like. So I decided to say OK. But I draw the line. There are some things I won't do.
I said, 'I won't do anal and I won't do animals and I won't do children, is that OK?' And he said
that yes, it was OK. And so we did, actually. You know? I really liked him and I still do. I still really
like him. I don't see him anymore but if I saw him I wouldnt have anything to say against him. I
know that sounds a bit odd but I do think at heart hes a good person. He was always very
clean and he was always very concerned that I didnt get, you know, properly hurt. We go to
this hotel and its a hotel near Stansted Airport. In Essex. And theres me and him and his friend
Jason. And the thing about Jason is that they obviously cast him carefully because he is nice
and he is handsome and I was sitting in this car on the way to the hotel thinking you know. I
dont mind, frankly. I dont mind. With him. Thats OK. So were sat there. And his friend
Michelle, whos lovely. Shes a bit younger than I am. And a bit thick. But shes nice. And he says,
So you have to pretend that youve come home and youve found Jason fucking Michelle and
Michelle is your daughter and what happens is you really. You like it. Yes? And you decide to
join in. Which is fine, isnt it, because in real life Michelle isnt actually my daughter, is she?
Were just, you know, pretending. And its a bit stupid because we have to cram the idea that
this hotel room is my home into the story and it doesnt completely work. But you know? Id
never had sex with a woman and that was. We got quite giggly. It did make me feel old. And
Jason was very gentle and even though it got a bit blokey at times it was fine. It was clean. They
paid me 500 every time I made a film. Which for me at the time was quite a lot of money. After
a while you get a bit immune to it. You assimilate it, I think is the word.


Western Australian
Academy of
Performing Arts
WASTWATER
By Simon Stephens

Sian
When I was twelve I drowned a dog. At the back of the house where my first foster parents
lived. Just south-east of Stoke. They had a house with a huge field and a lake behind it. Well, I
say a huge field. It was more like a very big unusually attractive recreational ground. And I say
lake, it was more like, what? A pond? My first foster father had a brother called Clive who lived
in Swansea. He was a fucking rat-hole. He used to come and visit us. He had this dog. I say dog.
It was more of a bundle of shit than a dog. He used to threaten me with it. He fell asleep. I took
the dog for a walk. Hit it over the back of its skull with a brick that my first foster father kept in
the garage because one day he was hoping to build his own extension. Stunned it. It became
comically weary. Wobbled about a bit. I dragged it by its lead to the pond. Dragged it in. Held
its head under the water. It didn't react for a long time. And then it did. Its legs got all tense. It
thrashed about.

I had a heck of a time explaining why my skirt was wet. I can tell you that for nothing.

How long have you been going grey for?

It didn't just happen when Alain rang, did it? Or did it? I bet it did, didn't it?

I like your watch. Where did you get that from?


Western Australian
Academy of
Performing Arts
ALLS WELL THAT ENDS WELL
by William Shakespeare
Act I, sc. 1

Helena
Our remedies oft in ourselves do lie
Which we ascribe to heaven: the fated sky
Gives us free scope; only doth backward pull
Our slow designs when we ourselves are dull.
What power is it which mounts my love so high;
That makes me see, and cannot feed mine eye?
The mightiest space in fortune nature brings
To join like likes, and kiss like native things.
Impossible be strange attempts to those
That weigh their pains in sense, and do suppose
What hath been cannot be: who ever strove
To show her merit, that did miss her love?
The king's disease, --my project may deceive me,
But my intents are fix'd and will not leave me.


Western Australian
Academy of
Performing Arts
A MIDSUMMER NIGHTS DREAM
Act II. sc.1

Titania
Set your heart at rest:
The fairy land buys not the child of me.
His mother was a votaress of my order:
And, in the spiced Indian air, by night,
Full often hath she gossip'd by my side,
And sat with me on Neptune's yellow sands,
Marking the embarked traders on the flood,
When we have laugh'd to see the sails conceive
And grow big-bellied with the wanton wind;
Which she, with pretty and with swimming gait
Following,--her womb then rich with my young squire,--
Would imitate, and sail upon the land,
To fetch me trifles, and return again,
As from a voyage, rich with merchandise.
But she, being mortal, of that boy did die;
And for her sake do I rear up her boy,
And for her sake I will not part with him.


Western Australian
Academy of
Performing Arts
AS YOU LIKE IT
Act III, sc. 5

Phebe
I would not be thy executioner:
I fly thee, for I would not injure thee.
Thou tell'st me there is murder in mine eye:
'Tis pretty, sure, and very probable,
That eyes, that are the frail.st and softest things,
Who shut their coward gates on atomies,
Should be call'd tyrants, butchers, murderers!
Now I do frown on thee with all my heart;
And, if mine eyes can wound, now let them kill thee;
Now counterfeit to swound; why now fall down;
Or, if thou canst not, O! for shame, for shame,
Lie not, to say mine eyes are murderers.
Now show the wound mine eye hath made in thee;
Scratch thee but with a pin, and there remains
Some scar of it; lean but upon a rush,
The cicatrice and capable impressure
Thy palm some moment keeps; but now mine eyes,
Which I have darted at thee, hurt thee not,
Nor, I am sure, there is no force in eyes
That can do hurt.


Western Australian
Academy of
Performing Arts
ROMEO AND JULIET
Act II, sc. 2

Juliet
Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.

Western Australian
Academy of
Performing Arts
THE MERCHANT OF VENICE
Act III, sc. 2

Portia
I pray you, tarry: pause a day or two
Before you hazard; for, in choosing wrong,
I lose your company: therefore forbear awhile.
There's something tells me, but it is not love,
I would not lose you; and you know yourself,
Hate counsels not in such a quality.
But lest you should not understand me well,--
And yet a maiden hath no tongue but thought,--
I would detain you here some month or two
Before you venture for me. I could teach you
How to choose right, but I am then forsworn;
So will I never be: so may you miss me;
But if you do, you'll make me wish a sin,
That I had been forsworn. Beshrew your eyes,
They have o'erlook'd me and divided me;
One half of me is yours, the other half yours,
Mine own, I would say; but if mine, then yours,
And so all yours. O, these naughty times
Put bars between the owners and their rights!
And so, though yours, not yours. Prove it so,
Let fortune go to hell for it, not I.
I speak too long; but 'tis to peize the time,
To eke it and to draw it out in length,
To stay you from election.


Western Australian
Academy of
Performing Arts
THE TWO GENTLEMEN OF VERONA
Act IV, sc. 4

Julia
How many women would do such a message?
Alas, poor Proteus! thou hast entertain'd
A fox to be the shepherd of thy lambs.
Alas, poor fool! why do I pity him
That with his very heart despiseth me?
Because he loves her, he despiseth me;
Because I love him I must pity him.
This ring I gave him when he parted from me,
To bind him to remember my good will;
And now am I, unhappy messenger,
To plead for that which I would not obtain,
To carry that which I would have refused,
To praise his faith which I would have dispraised.
I am my master's true-confirmed love;
But cannot be true servant to my master,
Unless I prove false traitor to myself.
Yet will I woo for him, but yet so coldly
As, heaven it knows, I would not have him speed.


Western Australian
Academy of
Performing Arts
KING LEAR
Act I, sc. 4

Goneril
This admiration, sir, is much o' th' savour
Of other your new pranks. I do beseech you
To understand my purposes aright.
As you are old and reverend, you should be wise.
Here do you keep a hundred knights and squires;
Men so disorder'd, so debosh'd, and bold
That this our court, infected with their manners,
Shows like a riotous inn. Epicurism and lust
Make it more like a tavern or a brothel
Than a grac'd palace. The shame itself doth speak
For instant remedy. Be then desir'd
By her that else will take the thing she begs
A little to disquantity your train,
And the remainder that shall still depend
To be such men as may besort your age,
Which know themselves, and you.


Western Australian
Academy of
Performing Arts
RICHARD III
Act I, sc. 2

Lady Anne
Set down, set down your honourable load,
If honour may be shrouded in a hearse,
Whilst I awhile obsequiously lament
The untimely fall of virtuous Lancaster.
Poor key-cold figure of a holy king!
Pale ashes of the house of Lancaster!
Thou bloodless remnant of that royal blood!
Be it lawful that I invocate thy ghost,
To hear the lamentations of Poor Anne,
Wife to thy Edward, to thy slaughter'd son,
Stabb'd by the selfsame hand that made these wounds!
Lo, in these windows that let forth thy life,
I pour the helpless balm of my poor eyes.
Cursed be the hand that made these fatal holes!
Cursed be the heart that had the heart to do it!
Cursed the blood that let this blood from hence!
More direful hap betide that hated wretch,
That makes us wretched by the death of thee,
Than I can wish to adders, spiders, toads,
Or any creeping venom'd thing that lives!
If ever he have child, abortive be it,
Prodigious, and untimely brought to light,
Whose ugly and unnatural aspect
May fright the hopeful mother at the view;
And that be heir to his unhappiness!
If ever he have wife, let her he made
A miserable by the death of him
As I am made by my poor lord and thee!
Come, now towards Chertsey with your holy load,
Taken from Paul's to be interred there;
And still, as you are weary of the weight,
Rest you, whiles I lament King Henry's corse.

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