‘Crimes of the Heart’ (Babe)
“After I shot Zackery, I put the gun down on the piano bench, and then I went out into the kitchen and made up a pitcher of lemonade.”
Plays
‘Proof’ (Catherine)
“I lived with him. I spent my life with him. I fed him. Talked to him. Tried to listen when he talked.”
‘Are You Ready?’ (Woman)
“I’m the food critic for the Times, and I’ve been anxious for some time now to get my claws into the throat of that pompous evil weasel of a restaurateur…”
‘Oleanna’ (Carol): “The issue here is not what I ‘feel.'”
“The issue here is not what I “feel.” It is not my “feelings,” but the feelings of women. And men.”
‘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.”
‘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.”
‘In the Next Room’ (Elizabeth): “My mother told me to pray”
“When I first met her all I could think was: she is alive and Henry is not.”
‘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.
‘Spike Heels’ (Lydia): “At first, I admired Andrew’s interest in your welfare”
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
‘Fences’ (Rose): “I been standing with you!”
A dramatic monologue for women from the classic play, Fences, by August Wilson.
