‘Oleanna’ (Carol): “Why do you hate me?”
“Why do you hate me? Because you think me wrong? No. Because I have, you think, power over you.”
20's
‘In the Next Room’ (Catherine Givings)
“Do you want more children, Elizabeth? That is a tactless question, you don’t need to answer, forgive me, sometimes I say whatever is in my head.”
‘Red’ (Ken): “Bores you?!”
Rothko works feverishly with his young assistant, Ken, in his studio on the Bowery
‘Spike Heels’ (Georgie): “I understand you all right”
A contemporary comedy of manners which explores sexual harassment, misplaced amour, and the possibility of a four sided love triangle.
‘Spike Heels’ (Georgie): “Yeah, right, he ‘gave’ me the damn job”
A contemporary comedy of manners which explores sexual harassment, misplaced amour, and the possibility of a four sided love triangle.
‘Laughing Wild’ (Woman and the Tuna Fish)
The woman tells a story of hitting a guy in the supermarket while shopping for tuna fish
‘Laughing Wild’ (Man and the Supermarket story)
The Man talks about getting hit in a supermarket by a woman
‘Fat Pig’ (Tom): “I guess I do care what my peers feel about me”
Tom finally breaks down and confesses everything to Helen
‘Fat Pig’ (Carter): “All I’m saying is this…”
Carter tries to convince Tom that he’s only young once
‘Spike Heels’ (Georgie): “Shame on your for thinking you’re better than the rest of us”
A dramatic monologue for women from Theresa Rebeck’s play, Spike Heels.
‘Key Exchange’ (Lisa)
Lisa is a photographer who has suggested her boyfriend that they exchange apartment keys. Now, she’s realizing that may have been a mistake.
‘A Doll’s House’ (Nora): “You neither think nor talk like the man I could bind myself to”
A dramatic monologue for women from Ibsen’s classic play, A Doll’s House.
‘A Raisin in the Sun’ (Beneatha): “That was the most marvelous thing in the world”
20-year old Beneatha is currently going to college and some of her personal beliefs and views have distanced her from conservative family. She dreams of being a doctor and struggles to determine her identity as a well-educated black woman.
‘The Columnist’ (Halberstam): “We did it! It’s all our fault!”
A bar in Saigon. Halberstam carries a sheet of teletype paper as he talks to Stewart.
‘The Lisbon Traviata’ (Mike)
MIKE: I’m tired. Stephen. I’m tired of saying I’m sorry all the time. I’m tired of tiptoeing through my life because it might interfere with yours. I’m tired of being told what opera to like, what book to read, what movies to go to, I’m tired of being your father,
‘A Chorus Line’ (Paul)
So I took a deep breath and started down the stairs and just as I passed my mother I heard her say : “Oh, my God.”