A collection of original monologues, exploring the issues around suicide from multiple viewpoints. Grouped into four sections, for use individually (for class, performance, auditions, etc.) or as a complete production.

All actors and acting teachers need The Ultimate Scene and Monologue Sourcebook, the invaluable guide to finding just the right piece for every audition. The unique format of the book is ideal for acting teachers who want their students to understand each monologue in context. This remarkable book describes the characters, action, and mood for more than 1,000 scenes in over 300 plays. Using these guidelines, the actor can quickly pinpoint the perfect monologue, then find the text in the Samuel French or Dramatist Play Service edition of the play. Newly revised and expanded, the book includes the author’s own assessment of each monologue.

The love lives of two cyclists are contrasted as one fights to save his marriage while the other avoids commitment. Background music. 9 scenes, 2 men, 1 woman, 1 exterior.

Preparing for an audition and unsure of what you want to do?The Ultimate Scene and Monologue Sourcebookis the book you've been waiting for. Unlike “scene books” that reprint 50 to 75 monologues excerpted from plays but don't include any background information, this annotated guide tells you what you really need to know about audition material from more than 300 contemporary plays. Here is how the book works. Suppose that you're looking for a dramatic male/female scene. When you scan “Part One: Play Synopses and Analyses,” you come across an entry forThe Middle of the Nightby Paddy Chayefsky. This is what you see: The Middle of the Night by Paddy Chayefsky (Samuel French) Synopsis: A kindly 53-year-old widower falls in love with a 23-year-old woman who is unhappily married to a musician. No one in their circle of acquaintances approves of this union, but their love is true. Analysis: Excellent human drama, frequently touching. Actors who play the widower need to have a good feel for New York City/Brooklyn speech patterns. This sensitivity isn't as essential for the part of the woman. All levels. Scenes/Monologues: Male Monologues (1), Female/Female Scenes (1), Male/Female Scenes (2) In addition to basic information about the play (author and publisher), the entry provides you with the story line, a critique of the play, and the number of audition-worthy monologues and scenes it contains. If the description of this particular play piques your interest, your next step is to turn to “Part Six: Male/Female Scenes” for specifics about the selection. This is what you'll see there: The Middle of the Night by Paddy Chayefsky (Samuel French) Drama: Act II, Scene 2, pp. 40-44; The Manufacturer (53) and The (23). After an unsatisfactory attempt at lovemaking, The Manufacturer feels awful that he wasn’t able to perform ually. The is very understanding. He then asks her to marry him. The actor playing The Manufacturer must have a good feel for regional New York speech patterns. This skill is less critical for the actress playing The . Start, The Manufacturer: “I’m sorry, Betty.” End, The Manufacturer: “Oh, my sweet , I love you so much you don’t know. If you change your mind tomorrow, I won’t be angry with you. I won’t lie to you, Betty. I’m afraid.” This entry tells you what type of scene this is (dramatic), where you'll find the selection (act, scene, and page numbers), the length of the scene, the names and ages of the characters, the context in which the characters are speaking, and the first and last lines of the scene. If the material seems appropriate, all you have to do is get a copy of the play and get to work. BecauseThe Ultimate Scene and Monologue Sourcebookenables you to make informed decisions about the suitability of more than 1,000 monologues and scenes-which you can find easily through the book's extensive cross indexes—you’ll gain a critical edge in the auditioning process.

(Applause Books). In this anthology, theater expert Roger Ellis culls together dramatic scenes and monologues that all deal with spiritual experience. From various religious and non-religious perspectives, the book explores various aspects of spirituality religious faith, martyrdom, death and afterlife, fate and destiny, mercy, and romantic love. The material comes from contemporary plays by some of the most gifted playwrights Arthur Miller, Tony Kushner, John Patrick Shanley, John Pielmeier, Tammy Ryan, Elie, Wiesel, Karen Sunde, and others. Perfect for high-school through college-age students, as well as for actors and general readers, this volume contains nearly 100 scenes, ranging from comic to serious, grouped in five categories: "Scenes for a Man and a Woman," "Scenes for Two Women," "Scenes for Two Men," "Monologues for Women," and "Monologues for Men." In addition to the monologues, Ellis includes notes on staging to help actors and directors bring these scenes to life. Some of the plays sourced for this anthology include The Crucible , Doubt , In the Shape of a Woman , Agnes of God , Epic Proportions , Our Lady of 121st Street , Angels in America , and Affection in Time .

Sixteen-year-old Evan Wills is an avid bird watcher who wears colorful songbird shirts to school despite the constant antagonism it brings him. Evan’s mother just wants Evan to be normal, and happy—and normal—and get along with her new boyfriend. While Evan summons the courage to talk to Jenny Monroe (whose locker is next to his), troubled bully Dylan has something darker in mind. After some stupid choices and unexpected results, Evan learns that the worst thing you can do in high school is admit you love something.

Original pre-Revolutionary vegetarian recipes, most newly translated from French, in a selection inspired by a menu prepared for a fast or "meager" day, when no meat was allowed. Includes eighteenth century preparations for onions, lentils, asparagus, peas, almonds, mushrooms, morels, beans, artichokes, cabbage, spinach and truffles, as well as sweet djshes such as apple beignets and creme brulée, and a number of stocks, sauces and doughs. Also includes an essay on "Vegetarians in Eighteenth Century France", exploring the supposed vegetarianism of figures like Voltaire and Rousseau, as well as religious communities and the more general population. An entertaining resource for historical cooks, culinary historians and vegetarians alike.

This unique anthology provides a wealth of material for actors and acting students, and a wonderful overview of the best recent plays for anyone interested in theatre. The more than 150 monologues cover a diverse range of subjects, and offer a variety of dramatic styles and moods. Each monologue is introduced with a short description of the plot, setting, and character type by the leading plauwrights of our time. Featured dramatists include: Christopher Durang, Wendy Wasserstein, Lanford Wilson, Wallace Shawn, Tina Howe, Caryl Churchill, Athol Fugard, Beth Henley, Sam Shepard, David Henry Hwang, Harry Kondoleon, John Patrick Shanley, Larry Shue, Michael Weller, David Rabe, Marsha Norman, August Wilson, Albert Innaurato, Jules Feiffer, Harold Pinter, David Hare, Jose Rivera, Tom Stoppard, John Guare, David Mamet, Charles Fuller, William Matrosimone, Robert Patrick, Miguel Pinero

Sat in a row in a call centre in an unassuming new build office on the outskirts of Oxford, Barry White, a forty nine year old slightly balding diabetic telephone counsellor, was putting in his usual eight hour shift. Little did he know that his life was going to change forever. Cultivating Mad Cow is a true story that could easily be described as a memoir, but it’s more than that, it’s a story about madness, love, desperation, tragedy and recovery. Rich with comic moments, which against the backdrop of so much despair and anguish makes it both a comical but at the same time a heart-breaking read. New to writing, Kathryn brings a unique unsanitised, voice to tell the profoundly disturbing story of a woman trying to hold it all together, working in child protection and dealing with an unknown serious mental health condition. Things start to go badly wrong when Kathryn goes off work on annual leave and she is unaware she is having a mental health episode. With her wheelie bin going missing and with the new found desire to build phallic objects in her garden and get herself arrested for outlandish and hilarious public disturbances, Kathryn is offered support in the form a telephone counsellor by the name of Barry White. As the weeks progress and with little help on the ground, Kathryn begins to form a romantic attachment to Barry and creates a world where only he and she exist. As Barry writes his case notes, she writes her book. Her increasing need to be near Barry and decreasing inhibitions lead to disaster when she sends him inappropriate material which he shares with his manager, leading to them to terminate all contact between her and Barry. Undeterred by this latest turn of events, she purchases a lighthouse made from resin, throws it in her clapped out Nova, abandons her daughter and sets off to Oxford in search of Barry. When Barry fails to show up in a church which she believed the universe had led her to, she is mortified. The truth that Barry is not telepathically connected to her and that there is no great master plan created by a higher force to bring them together, is too much to bear and she returns home sinking into a darker, more disturbing state. With Barry gone and a career in tatters, she decides to return to work with devastating consequences.