Context

Malvolio is head-servant to Olivia, a noble-woman who lives in Illyria alongside a number of other colourful characters. Notably in this instance Maria, another of Olivia’s servants, Fabian, another servant, Sir Toby Belch, another ‘noble’-man in Illyria and Sir Andrew Aguecheek his best friend and all around buffoon. Throughout the play Malvolio has been a thorn in their sides and so these four decide to hatch a plan to get their revenge and humiliate him. Knowing that Malvolio is secretly in love with Olivia, they forge a letter in her handwriting professing her ‘love’ for him and leave it for him to find. They hide and wait for him to find it. When he happens upon the letter this is what he says…

Original Text

[Sees letter.]

What employment have we here?

FABIAN
Now is the woodcock near the gin.
SIR TOBY
O peace, and the spirit of humours intimate
reading aloud to him.

MALVOLIO
By my life, this is my lady’s hand. These be her very c’s, her u’s and her t’s, and thus makes she her great P’s. It is in contempt of question her hand.

SIR ANDREW
Her c’s, her u’s and her t’s. Why that?

MALVOLIO
[Reads.]

To the unknown beloved, this, and my good wishes. Her very phrases! By your leave, wax. Soft – and the impressure her Lucrece, with which she uses to seal. ’Tis my lady. To whom should this be? [Opens letter. ]

FABIAN
This wins him, liver and all.

MALVOLIO
[Reads.]

Jove knows I love,
But who?
Lips, do not move,
No man must know.
‘No man must know.’ What follows? The numbers altered. ‘No man must know.’ If this should be thee, Malvolio?

SIR TOBY
Marry, hang thee, brock!

MALVOLIO
[Reads.]
I may command where I adore,
But silence, like a Lucrece knife,
With bloodless stroke my heart doth gore.
M.O.A.I. doth sway my life.

FABIAN
A fustian riddle.
SIR TOBY
Excellent wench, say I.

MALVOLIO
[Reads.]
M.O.A.I. doth sway my life. Nay, but first let me see, let me see, let me see.

FABIAN
What dish o’poison has she dressed him!
SIR TOBY
And with what wing the staniel checks at it!

MALVOLIO
[Reads.]
I may command where I adore. Why,
she may command me. I serve her, she is my lady.
Why, this is evident to any formal capacity. There is
no obstruction in this. And the end – what should
that alphabetical position portend? If I could make
that resemble something in me! Softly – [reading] M.O.A.I.

SIR TOBY
O ay , make up that! He is now at a cold scent.
FABIAN
Sowter will cry upon’t for all this, though it be as
rank as a fox.

MALVOLIO
‘M.’ Malvolio. ‘M’ – why, that begins my name!

FABIAN
Did not I say he would work it out? The cur is excellent at faults.

MALVOLIO
‘M.’ But then there is no consonancy in the sequel. That suffers under probation: ‘A’ should follow, but ‘O’ does.

FABIAN
And ‘O’ shall end, I hope.
SIR TOBY
Ay, or I’ll cudgel him and make him cry ‘O!’

MALVOLIO
And then ‘I’ comes behind.

FABIAN
Ay , an you had any eye behind you, you might
see more detraction at your heels than fortunes before
you.

MALVOLIO
[Reads.]
M.O.A.I. This simulation is not as the former. And yet to crush this a little it would bow to me, for every one of these letters are in my name. Soft, here follows prose.

[Reads.]

If this fall into thy hand, revolve. In my stars I am above thee, but be not afraid of greatness. Some are
born great, some achieve greatness and some have greatness thrust upon them . Thy fates open their hands: let thy bloodand spirit embrace them, and, to inure thyself to what thou art like to be, cast thy humble slough and appear
fresh. Be opposite with a kinsman, surly with servants. Let thy tongue tang arguments of state; put thyself into the trick of singularity . She thus advises thee that sighs for thee. Remember who commended thy yellow stockings and
wished to see thee ever cross-gartered – I say remember. Goto, thou art made if thou desir’st to be so; if not, let me see thee a steward still, the fellow of servants and not worthy to touch Fortune’s fingers. Farewell. She that would alterservices with thee, The Fortunate Unhappy.

Daylight and champaign discovers not more. This is open. I will be proud, I will read politic authors, I will baffle Sir Toby, I will wash off gross acquaintance, I will be point-device the very man. I do not now fool myself to let imagination jade me; for every reason excites to this, that my lady loves me. She did commend my yellow stockings of late, she did praise my leg being cross-gartered, and in this she manifests herself to my love and with a kind of injunction drives me to these habits of her liking. I thank my stars, I am happy. I will be strange, stout, in yellow stockings and cross-gartered even with the swiftness of putting on. Jove and my stars be praised! Here is yet a postscript.

[Reads.]
Thou canst not choose but know who I am. If thou entertain’st my love, let it appear in thy smiling – thy smiles
become thee well. Therefore in my presence still smile, dear, my sweet, I prithee.

Jove, I thank thee. I will smile, I will do everything that thou wilt have me.

Exit.

Unfamiliar Language

Employment: Work, action
Wax: Wax seal used to seal a letter
Soft: Wait a minute, hold on
Gore: Bleed
Sway: Guides, moves, commands
Portend: Mean
Revolve: Consider
Slough: Public persona
Point–Device: Precisely, exactly, perfectly
Jove: God

Modern Translation

MALVOLIO’S TEXT ONLY

What do we have here?
I swear on my life this is Olivia’s handwriting.
These are her C’s, her U’s, and her T’s and here she’s written one of her amazing P’s.
It is without a doubt her handwriting.
‘To my beloved who doesn’t know of my love, this and my best wishes.’
Those are things she says often! Excuse me for breaking your wax seal. But wait! This is her seal! This is definitely a letter from Olivia but who is it for?

[Reads]
“God knows I love.
But who?
I cannot say it.
No one can know.”
‘No one can know’?
But wait, the poetry has changed rhythm.
‘No one can know’
What if she’s talking about me?

[Reads]
“I may commande the person I love,
But silence like a sharp knife,
Cut’s my heart open and leaves a bloodless wound,
M.O.A.I rules my life”

‘M.O.A.I rules my life’, No, but first, let’s see, let’s see, let’s see.

‘I may command the one I love’, she may command me, I am her servant. That’s easy to figure out for anyone. There’s no doubt about that. But what do those letters at the end mean? If only I could figure out a way to match them to me. Wait! M.O.A.I!

M. But then the next letter is wrong. It should be ‘A’ first but it goes to ‘O’.

And then ‘I’ comes at the end.

M.O.A.I. The secret of this isn’t like the other one but at a stretch, I can make it work, because all of those letters are in my name. Wait a minute there’s more prose.

[Reads]
“If this should make its way to you, think about it well. By my birth I am of a higher class than you, but don’t be afraid of greatness. Some are born great, some achieve greatness and some have greatness thrust upon them. Your fate is welcoming you with open arms. Let your body and spirit accept it. And to prepare yourself for the high life, cast off your servant’s appearance and appear new and fresh. Be rude to friends and mean to servants. Speak loudly and often about politics and make a habit of being unique and weird. The woman who sighs out of love for you says you should do this. Remember who it was that complimented your yellow stocking and asked you to always be cross gartered. Remember her, I say. Go now. You are now a gentleman should you choose to be, and if not, stay a servant, and a friend of other servants and unworthy of greatness. Farewell, signed: the one who would be your servant. The fortunate but sad.”

The sun in an open field couldn’t be clearer than this. This is undeniable. I will be proud, I will study politics, I will get back at Sir Toby, I will cast off my lowly friends, and I’ll be the perfect man! I know for certain now that I can’t be making this up. My lady Olivia is in love with me! She praised my yellow stockings a lot lately, and she complimented me being cross-gartered and in doing so has proven her love for me. I thank my lucky stars. I am happy! I will be proud, yellow stocking wearing and cross gartered as soon as I can. God and the stars be praised! Wait, there’s a postscript.

[Reads]
“You surely must know who I am. If you love me too, let it show in your smile, you have such a lovely smile. So when you see me, smile my sweet, I beg you.”

Thank you God! I will smile! I’ll do anything she asks!

Notes on Performance

So the first thing to keep in mind is character. Malvolio is characterised by his innate inability to take a joke. The more seriously the actor takes this scene, the funnier it becomes to the audience. So don’t play for laughs. Play off the fact that the cold hearted Malvolio thinks someone might be in love with him.

Secondly, and this will come as a no-brainer to some, but try not to just actually read the letter. Learn all of the text. Yes you should be playing it as you’re reading it for the first time but you should also know the text in the letter like you’d know any other monologue. Once you’ve mastered the text, you can manipulate it.

Lastly, you should work to physicalise this piece. It’s not the most interesting piece in the world if we’re just sitting and watching someone read a letter. Use your body to tell the story as well as your words.

For more Male Shakespeare Monologues

The post Malvolio Monologue (Act 2, Scene 5) appeared first on StageMilk.

Context

Richard III is the final part of a long and winding story of civil war, blood, destruction and death known as The War of the Roses. The two houses of York (of which Richard and Elizabeth are a part), and Lancaster (of which Queen Margaret is a part) have fought each other for control of the English throne for years. With it ultimately going to the house of York, meaning King Edward the IV and his bestest little bro Richard had won. Throughout this particular play Richard has been working to usurp the throne from his brother Edward and subsequently his wife Queen Elizabeth, and at this point in the play he has succeeded and is now King Richard the III.

Now, Queen Margaret was the wife of King Henry the VI who lost the throne to the Yorks and is now dead. On top of that, she has been through years and years of strife, troubles, wars and loss, and when we find her in Act 4, Scene 4 of Richard the III she has lost everything, including partly, her mind.

Queen Margaret has just left the palace after learning of the death of Richard’s two young nephews, who he has had assassinated in order to secure the crown. She tells the audience that she’s going to go to France to make sure her enemies all die gruesome deaths. Just then Queen Elizabeth and The Duchess of York, Richard’s mother, enter. They lament the death of the two young boys and Margaret rubs salt into the wound, saying in more eloquent words than mine that this was an eye for an eye and that she has lost loved ones too. The Duchess emplors her to feel some compassion for her but Margaret doesn’t let up. She tells them that this is all Richard’s fault. Queen Elizabeth says she remembers when Margaret cursed her before… and Margaret remembers too…

Original Text

I called thee then vain flourish of my fortune;
I called thee then, poor shadow, painted queen,
The presentation of but what I was,
The flattering index of a direful pageant,
One heaved a-high , to be hurled down below,
A mother only mocked with two fair babes,
A dream of what thou wast, a garish flag
To be the aim of every dangerous shot,
A sign of dignity, a breath, a bubble,
A queen in jest, only to fill the scene.
Where is thy husband now? Where be thy brothers?
Where be thy two sons? Wherein dost thou joy?
Who sues, and kneels, and says, ‘God save the Queen’?
Where be the bending peers that flattered thee?
Where be the thronging troops that followed thee?
Decline all this, and see what now thou art:
For happy wife, a most distressed widow;
For joyful mother, one that wails the name;
For one being sued to , one that humbly sues;
For queen, a very caitiff crowned with care;
For she that scorned at me, now scorned of me;
For she being feared of all, now fearing one;
For she commanding all, obeyed of none.
Thus hath the course of justice whirled about
And left thee but a very prey to time,
Having no more but thought of what thou wast
To torture thee the more, being what thou art.
Thou didst usurp my place, and dost thou not
Usurp the just proportion of my sorrow?
Now thy proud neck bears half my burdened yoke,
From which, even here I slip my wearied head
And leave the burden of it all on thee.
Farewell, York’s wife, and queen of sad mischance.
These English woes shall make me smile in France.

Unfamiliar Language

Flourish: Imitation
Painted: Fake
Direful: Ominous/Bad
Garish: Tacky
Jest: Jokingly
Sues: Requests
Thronging: Large densely packed
Caitiff: Wretch/Downtrodden person
Yoke: A tool used with animals to pull a load
Mischance: Misfortune
Woes: Troubles

Modern Translation

I called you back then a self important imitation of a queen.
I called you back then; poor forgery, false queen.
Just a presentation of what I was fully.
The exciting contents page to a horrific tragedy,
Someone lifted up high just to be tossed into the pits of hell.
A mother who was given two beautiful children as some kind of sick joke only to lose them.
Just a dreamer, a tacky flag to be shot at.
You were just a sign of dignity, a breath and a bubble,
Only a joke queen to keep the throne warm.
Where is your husband now?
Where are your brothers?
Where are your two sons?
Where is your happiness now?
Where are the crowds that bowed to you and said ‘God save the queen’?
Where are the favour asking friends that flattered you?
Where are the masses of soldiers that followed you?
Get rid of all of this and see what you are?
Instead of a happy wife you’re a grieving widow.
Instead of a joyful mother, you’re one that cries out the names of her children.
Instead of being a queen you’re just a wretch with a crown fears.
Instead of the one giving favours, you’re the one that asks for them.
The person who scorned me is now being scorned by me.
Someone who was feared by all is afraid of just one person.
Someone who commanded all now commands no one.
The course of justice has left you as nothing but prey and all you have now is memories which torture you even more now that you know what you’ve become.
You did take my throne and now rightly so you are taking my sorrow.
Now your proud neck holds half my torture device, which now I will slip my tired head from and leave it all to you.
Goodbye York’s wife and queen of sad misfortunes.
These English troubles will make me smile in France

Notes on Performance

This is an incredible speech for working on inner life in that Margaret is one of Shakespeare’s longest running characters. We get to see Margaret go from young hopeful courtier all the way through to now as a hardened, mentally unstable and vicious ex-queen. Take into account just how much she has been through as you paint these words and ideas with colour.

Next big focus of this speech should be antithesis.

Meaning: Antithesis – a rhetorical or literary device in which an opposition or contrast of ideas is expressed.

In regards to acting what I mean is the understanding that your character is two opposing points to paint their picture. For example; in this speech Margaret says things like ‘For happy wife, a most distressed widow;’. This is a pretty glaring example of Shakespearean antithesis. The only more glaring one being ‘to be or not to be’. Hunt for the antithesis in this speech and use it to drive you through

Lastly, attack your target directly. Don’t get lost in a maelstrom of vague anger and Jove forbid do not play ‘madness’ please. Stay in the moment, stay in the character, and affect your scene partner.

For more Female Shakespeare Monologues

The post Queen Margaret Monologue (Act 4, Scene 4) appeared first on StageMilk.

Context

King Lear of Britain has decided to pack it in as King as he is growing older and wants to have less responsibility and so he calls his three daughters, Goneril the oldest, Regan the middle child, and his favourite Cordelia, the youngest, to come see him.

He’s decided that he will divide his realms amongst the three daughters depending on who loves him most. Goneril speaks first telling him how fabulous he is and how much she loves him. After she’s finished speaking Lear immediately bequeaths her, her share of the kingdom. Next is Regan who does much the same and is also immediately bequeathed her share of the Kingdom. Lastly is Cordelia who not wanting to flatter her Father more so than is truthful says that she does love him deeply and refuses to guild her speech too much saying that she reserves some love for her future husband. Lear flies into a rage and disinherits and disowns Cordelia and says he’s off to live equally between Goneril and Regans homes for the rest of his days.

After this when Regan and Goneril meet they divulge just how they only lied to get their inheritance and that secretly they think Lear is just a dithering old fool.

Not long after this Lear makes his way to Goneril’s home where he treats her staff with contempt and rudeness. When Goneril catches wind of this she has this to say.

Original Text

GONERIL
By day and night he wrongs me. Every hour
He flashes into one gross crime or other
That sets us all at odds. I’ll not endure it.
His knights grow riotous and himself upbraids us
On every trifle. When he returns from hunting,
I will not speak with him; say I am sick.
If you come slack of former services
You shall do well; the fault of it I’ll answer.

[Horns within]

OSWALD
He’s coming, madam, I hear him.

GONERIL
Put on what weary negligence you please,
You and your fellows; I’d have it come to question.
If he distaste it, let him to my sister,
Whose mind and mine I know in that are one,
Not to be overruled. Idle old man,
That still would manage those authorities
That he hath given away. Now by my life
Old fools are babes again and must be used
With checks as flatteries, when they are seen abused.
Remember what I have said.

OSWALD
Very well, madam.

GONERIL
And let his knights have colder looks among you,
What grows of it no matter; advise your fellows so.
I would breed from hence occasions, and I shall,
That I may speak. I’ll write straight to my sister
To hold my very course. Go, prepare for dinner.

Unfamiliar Language

Upbraid: Criticise
Trifle: Problem
Weary: Tired
Distaste: Dislike
Check: Discipline
Course: Plan

Modern Translation (Monologue Only)

Night and day he does the wrong thing! Every hour he breaks some law that pits us all against each other. I’m not putting up with it anymore! His knights are growing rebellious and restless and he is criticising us for every little problem. When he comes back from hunting I’m not going to speak to him. Tell him I’m sick. And if you slack off on your courtly duties you’ll be doing what’s right and I can take the blame for it.

[Horns Within]

Be as neglectful of your duties as you want. I’ll make it so he comes to question me about it.
If he doesn’t like it he can go live with Regan. Who I know is on the same page as me and that won’t be changed. He’s an inanimate old man who seems to think he can still command the powers that he gave away! I swear old people are just babies who need discipline instead of flattery when they’ve been giving bad advice. Remember what I told you.

And don’t be nice to his knights either, no matter what, and tell your colleagues to do the same. I want this to cause more problems so that I can tell him off. I’ll write to Regan and tell her to do the same. Go and get ready for dinner.

Notes on Performance

This is a great monologue if you’re wanting to explore some villainous themes. Think about the kind of character that would be so chiding of their parent even after they had been inherited a part of a Kingdom. Lear is not without his faults but for Goneril to firstly lie to his face about how much she loves him and then chide him like this in her home speaks to us about what kind of a person she is so lean into that.

Another thing to think about is that this is a plotting speech so play with the idea of discovering these ideas in real time. Don’t just blast through the monologue as if she knew exactly what she was going to say the second she walked on stage but find the thoughts and let them fly.

For more Female Shakespeare Monologues

The post Goneril Monologue (Act 1, Scene 3) appeared first on StageMilk.

Context

Quick caveat! Often forgotten in this monologue is that there is dialogue happening on the page unbeknownst to Lady M but we’re going to look at this scene as though it were a monologue because it might as well be.

So, in short, Lady M has been going through it and her mental health is reflecting that fact. Let’s go right back now.

So Lady M and Macbeth before the play has even begun have lost a child. They try to move on from that and Macbeth, her husband, goes off and does his job vanquishing foes on the battlefield for Scotland.

Upon his return he runs into some weird sisters or as we will refer to them, witches. They tell him that one day he’s going to be King. Wild. He tells Lady M about this in a letter and they get real excited. When Macbeth gets passed over and only gets a promotion to Thane of Cawdor they’re both disappointed, obviously.

So Lady M convinces him to speed up the process a little by killing the King! Easy right? No!
She convinces him to do it. Macbeth does the deed and becomes King, and this sets them off on a bloody and secretive tirade costing a number of lives of both men, women and children.

And so we find ourselves at Act 5, Scene 1. Lady Macbeth’s mental health has degraded so much that she is sleepwalking and talking to herself. With the guilt of all of those slaughters and the figurative and literal blood on her hands she sleepwalks remembering the things she’s done and saying this out loud.

Original Text

LADY
Yet here’s a spot.

DOCTOR
Hark, she speaks. I will set down what comes
from her, to satisfy my remembrance the more
strongly.

LADY
Out, damned spot: out, I say. One; two. Why
then ’tis time to do’t. Hell is murky. Fie, my lord,
fie, a soldier and afeared? What need we fear? Who
knows it when none can call our power to account?
Yet who would have thought the old man to have
had so much blood in him?

DOCTOR
Do you mark that?

LADY
The Thane of Fife had a wife. Where is she now?
What, will these hands ne’er be clean? No more
o’that, my lord, no more o’that. You mar all with
this starting.

DOCTOR
Go to, go to. You have known what you should
not.
GENTLEWOMAN
She has spoke what she should not, I
am sure of that. Heaven knows what she has known.

LADY
Here’s the smell of the blood still. All the
perfumes of Arabia will not sweeten this little hand.
Oh, oh, oh.

DOCTOR
What a sigh is there. The heart is sorelycharged.
GENTLEWOMAN
I would not have such a heart in my
bosom, for the dignity of the whole body.
DOCTOR
Well, well, well.
GENTLEWOMAN
Pray God it be, sir.
DOCTOR
This disease is beyond my practice: yet I have
known those which have walked in their sleep, who
have died holily in their beds.

LADY
Wash your hands, put on your nightgown, look
not so pale. I tell you yet again, Banquo’s buried; he
cannot come out on’s grave.

DOCTOR
Even so?

LADY
To bed, to bed: there’s knocking at the gate. Come,
come, come, come, give me your hand. What’s done,
cannot be undone. To bed, to bed, to bed.

Unfamiliar Language

Afeared: Afraid
Mar: Ruin

Modern Translation (Monologue Only)

There’s a spot

Come off you damned spot! Come off, I said! One ring, two rings. Well then it must be time to do it. Hell is a murky place! Come on, my love, come on! You’re a soldier and you’re afraid? Why should we be afraid that someone will find us out when no one can challenge our power? Still, who would have thought old Duncan would bleed so much?

The Thane of Fife also had a wife. What happened to her? What will these hands never be clean? Stop that my love, stop that. You’re going to ruin everything by showing so much fear.

I can still smell the blood. All the perfume in Arabia couldn’t stop my hand from smelling.
Oh! Oh! Oh!

Wash your hands and put on your robe, don’t look so sick with fear. I’ll say it again, Banquo is buried in the ground and he isn’t going to come out of his grave!

Go to bed, go to bed. I can hear knocking at the gate. Come, come, come come hold my hand. We can’t undo what we’ve done. Go to bed, go to bed, go to bed.

Notes on Performance

So as you can see from the original text there is some other dialogue happening pertaining to what the doctor and nurse are seeing but Lady Macbeth being asleep and mentally unwell is completely oblivious to that. So this can be and often is played as a monologue, or a soliloquy if you will.

Now onto the actual acting. It should be noted that Lady Macbeth’s mental health degrades so much throughout the play that it is alluded to but never confirmed that she commits suicide not long after this scene takes place. This should give you an idea of just how poorly she is.

Another huge thing I’d like to bring your attention to in this monologue is that these thoughts are not linear. Some are memories, some are pure catastrophizing. The actor is tasked with jumping from image to image, memory to memory, and thought to thought quickly. So keep moving and lean into the fact that it doesn’t really make sense. Move quickly, follow the text and the pacing will take care of itself.

For More Female Shakespeare Monologues

The post Lady Macbeth Monologue (Act 5, Scene 1) appeared first on StageMilk.

Context

Meet Imogen, the sole surviving child of King Cymebline of Britain. Before the play begins, Imogen has married her boo, Posthumus. Cymbeline catches wind of this and swiftly banishes him to Italy. They are both pretty upset about this, and rightly so.

Cymbeline wants her to marry someone of royal blood, and so his wife, the Queen comes up with a dastardly plan for Clotten, her bastard child, to woo Imogen, marry her, kill her and Cymbeline and take the throne for herself?

Clotten makes unwanted advances on Imogen who rightfully protests them furiously, and hides herself away from him in her chamber.

Meanwhile in Italy Posthumus meets with his friend Iachamo, and he and Iachamo make a bet that Iachamo can seduce Imogen and sleep with her. If Iachamo is right he gets Posthumus’ wedding bracelet and if he isn’t he has to fight Posthumus in a duel and pay for the privilege of certain death! Sounds like a fair trade to me.

So Iachomo goes back to Britain and hides away in Imogen’s chamber waiting for her to fall asleep. Once she does, he steals her bracelet, takes notes of the mole on her breast and flees back to Italy with his “proof”.

Posthumus is furious to find this out and sets out to enact his revenge, get ready for this, on Imogen, not Posthumus but Imogen. Seems fair. Anyway he writes two letters. One to Imogen telling her to meet him in Wales, and another to Pisanio, his servant, ordering him to chaperone her and kill her on the way there.

And so Pisanio tells her to disguise herself as a man and travel with him to Wales where they will meet with Posthumus. And so off they go and the next time we see them they’re well into their journey when Pisanio decides to show Imogen the letter telling him to kill her. Imogen is highly disturbed by this but in an act of passion tells Pisanio to do it. Going so far as to draw his sword and hand it to him. She says this…

Original Text

Why, I must die,
And if I do not by thy hand, thou art
No servant of thy master’s. Against self-slaughter
There is a prohibition so divine
That cravens my weak hand. Come, here’s my heart.
Something’s afore’t. Soft, soft, we’ll no defence,
Obedient as the scabbard. What is here?

She pulls letters from her bodice

The scriptures of the loyal Leonatus,
All turned to heresy? Away, away,

She throws the letters away

Corrupters of my faith, you shall no more
Be stomachers to my heart. Thus may poor fools
Believe false teachers. Though those that are betrayed
Do feel the treason sharply, yet the traitor
Stands in worse case of woe. And thou, Posthumus,
That didst set up my disobedience ’gainst the King
My father, and makes me put into contempt the suits
Of princely fellows, shalt hereafter find
It is no act of common passage but
A strain of rareness; and I grieve myself
To think, when thou shalt be disedged by her
That now thou tirest on, how thy memory
Will then be panged by me. Prithee dispatch,
The lamb entreats the butcher. Where’s thy knife?
Thou art too slow to do thy master’s bidding
When I desire it too.

Unfamiliar Language

Afore’t: Infront
Leonatus: An officer of Alexander the Great
Heresy: Blasphemy
Stomachers: A part of a dress that covers a corset.
Suits: Proposals/Courtings
Hereafter: From now on.
Disedged: Dumped/Left
Panged: Remember
Prithee: Please/Do this/Go on
Dispatch: Leave
Entreats: Beg/Ask

Modern Translation

Well, I have to die,
And if you don’t kill me, you are not loyal to your master.
There are such strong holy laws against suicide that my hands are being weak.
Come on then, here’s my heart. Wait there’s something in front of it. Wait, wait, I want no armor,
I’ll take a sword as willingly as a scabbard.
What’s in here?

She pulls the papers from her garment

The holy words of the loyal soldier Leonatus which were actually blasphemous?

She throws the papers away

Go away! Words that have destroyed my faith will not protect my heart any longer.
Foolish people believe lying teachers with ease. Even though those that are betrayed feel the pain of the betrayal sharply, those that commit it are even worse off.
And you, Posthumus, who made me go against my fathers wishes and look down on good men shall soon learn that no one dares to try these things for a reason; And it saddens me to think about how when you’re inevitably dumped by your new girlfriend that your memories will be flooded by me.
Go on, kill me. The lamb is begging the butcher to kill it. Where is your sword?
You’re too slow to carry out your orders even when I tell you to.

Notes on Performance

This is a fantastic monologue for those wanting to explore high stakes so lean into that. This is a larger than life situation so don’t hold back. Give it everything you’ve got.

Secondly keep in mind the idea that even though you know as the actor how this is going to play out, never allow that to sneak into your performance. There always has to be a level of surprise in any work that you do and this is a great example of that. Imogen doesn’t know if she’s going to die or not when she goes into this speech so don’t let the audience know what will happen.

And lastly, and this is the fun part, decide whether you believe that your Imogen really believes what she is saying. Does she really want Pasanio to kill her? Or is this an act of defiance to his wishes given how unjustly she’s been treated?

For more Female Shakespeare Monologues

The post Imogen Monologue (Act 3, Scene 4) appeared first on StageMilk.

Context

Meet Miranda and Prospero. Prospero used to be a big wig in Milan, Italy before he was driven out by the nobility there, including his brother Antonio. As soon as Miranda was born, in order to escape, Prospero’s friend Gonzalo gave him a bunch of sick magic books and stuck them on a boat, never to be seen again. Together they found themselves on an abandoned island. Prospero studied magic spells, made friends and enemies and raised Miranda over a span of years.

Now we find ourselves in the present day and Prospero has begun exacting his plan for revenge against those who wronged him in Milan. The King of Millan and his court, including Gonzalo, have just been to Africa for his daughter’s wedding. As they return to Milan, Prospero conjures up a great Tempest in order to fake a shipwreck and bring them to his island. Seeing the hubbub from the island, Miranda strikes up a protest…

Original Text

If by your art , my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch
But that the sea, mounting to th’ welkin’s cheek,
Dashes the fire out. O, I have suffered
With those that I saw suffer – a brave vessel
(Who had no doubt some noble creature in her)
Dashed all to pieces. O, the cry did knock
Against my very heart! Poor souls, they perished.
Had I been any god of power, I would
Have sunk the sea within the earth or ere
It should the good ship so have swallowed and
The fraughting souls within her.

Unfamiliar Language

Art: Magic
Roar: Storm
Allay: Calm
Pitch: Tar
Welkin’s Cheek: Heavens Face
Ere: Earlier
Fraughting: Afraid

Modern Translation

If you have used your magic powers, my dear Father, to make the sea so dangerous, please use them to calm it down.
The sky is so black that it looks like tar would rain down, but the waves are going so high, all the way to heaven, that they could cool the boiling tar down.
Oh I feel the pain of those that I see suffering!
A great ship, (no doubt with loving souls on board), wrecked and destroyed!
Oh their cries hurt my heart! Those poor people have all died!
If I were a God with any power at all I would have made the sea go beneath the earth before it could swallow that ship and all the souls aboard.

Notes on Performance

This is a very straightforward monologue that requires a great deal of empathy and emotional access. The given circumstances are clear. Miranda see’s a ship with creatures on board being sunk in the distance and puts two and two together. She begs her father, the only person she knows who could do this, to make it stop. Keep the circumstances clear and you’re golden.

Next think about the type of person Miranda is based on this alone. Miranda has never seen another human being other than her father and doesn’t know anything about the world outside of her island. This is our first contact with Miranda and it shows us just how loving, empathetic and innocent she is. So keep that in mind when looking at character.

Lastly, the best thing you can do to bring this alive is to work from a place of want and need. Miranda feels deeply for all living creatures and because of that she begs Prospero to stop. Keep that in mind and chase that objective.

For more Female Shakespeare Monologues

The post Miranda Monologue (Act 1, Scene 2) appeared first on StageMilk.

Context

The play begins with a party hosted by the titular character of the play, Timon, with a guest list comprising of most of the plays main characters. At the party Timon gives away vast amounts of money and possessions to various guests. Not long after the party Flavius, Timons servant, tells Timon how upset he is that he would be so irresponsible with his wealth to give it away to people who aren’t true friends. Timon seems to be unaware of this for some reason and so when he’s enlightened, takes his anger out on Flavius.

It’s not long after that creditors come to Timons estate to repossess his remaining assets. Timon cannot pay and so sends his servants, including Flavius out into Athens to ask his ‘friends’ for help. The servants are rudely turned down, and when they return to Timon, he tells them about the revenge he will enact at his next party.

Cut to: the party. This time at the party when the guests are expecting more wealth to be strewn amongst them they are met with plates of rocks and bowls of lukewarm water. Timon flies into a rage smashing bowls and dowsing his guests in the water vowing to run away and discard society all together.

In the next scene the servants meet wondering where Timon has gone. The servants all leave Flavius alone. And Flavius has a plan…

Original Text

O, the fierce wretchedness that glory brings us!
Who would not wish to be from wealth exempt,
Since riches point to misery and contempt?
Who would be so mocked with glory, or to live
But in a dream of friendship –
To have his pomp and all what state compounds
But only painted, like his varnished friends?
Poor honest lord, brought low by his own heart,
Undone by goodness! Strange unusual blood
When man’s worst sin is he does too much good.
Who then dares to be half so kind again?
For bounty that makes gods do still mar men.
My dearest lord, blessed to be most accursed,
Rich only to be wretched, thy great fortunes
Are made thy chief afflictions. Alas, kind lord,
He’s flung in rage from this ungrateful seat
Of monstrous friends;
Nor has he with him to supply his life,
Or that which can command it.
I’ll follow and inquire him out.
I’ll ever serve his mind with my best will:
Whilst I have gold, I’ll be his steward still.

Unfamiliar Language

Wretchedness: Sadness
Pomp: Luxury
Mar: Ruin
Accursed: Cursed
Afflictions: Weaknesses
Alas: Oh

Modern Translation

Oh the horrible sadness that greatness can bring!
Who wouldn’t want to not be rich if all riches give you is misery and hate!
Who would want to be so famous or have so many fake friends-
To live in luxury and have everything you ever wanted if it was as false as his so-called friends?
Poor, decent man, given nothing but misery for having a good heart!
It must be a strange curse when a man’s greatest sin is that he is too kind.
Who would dare to be even half as kind ever again?
The riches that are made for gods can just ruin ordinary men.
My dear master, you were blessed only to be cursed later,
You were rich only to be miserable,
Your great wealth is your greatest curse. Oh my kind master!
He’s gone into a rage because of the actions of his monstrous friends,
And he doesn’t have any money or a way to get any to live on.
I’ll follow him and inquire about his whereabouts.
I’ll serve his mind for as long as I can manage.
So long as I have gold I’ll always be his servant.

Notes on Performance

Firstly, this is a soliloquy and given that the nature of the last two lines being less cerebral and more directed my best bet is that this is a ‘let’s have a chat audience’ type soliloquy. So play with that! Connect with your audience as though they were your scene partner.

The second thing I want to bring up is that there’s a lot of character that goes into this piece. Think about what this servant is willing to do to help his master. This character is loyal, brave and tenacious. So use those traits in your characterisation.

And off the back of that, think about the relationship Flavius must have with Timon if he’s willing to do so much for him. This is a dangerous journey he’s about to embark on which indicates how much he must care for him.

For more Male Shakespeare Monologues

The post Flavius Monologue (Act 4, Scene 2) appeared first on StageMilk.

This is one of Shakespeare’s best history plays and we highly recommend reading and learning more about this incredible play.

Synopsis

So the artist formerly known as Henry Bollingbroke, now more commonly referred to as King Henry the IV or “Your Majesty”, has recently usurped King Richard the II and is having a pretty not so chill time as the new King of England. Now this new King thinks that a lot of his troubles could be solved by beginning a new crusade to the Holy Land, otherwise known as a Holy War. However, there are troubles at not one, but two of England’s two total borders which renders this idea ‘not so good’ given they’d have to leave the country, leaving the Kingdom vulnerable. He is also not too popular at the moment with the Percy family who helped him to the throne and Edmund Mortimer (The Earl of March), the guy who was supposed to be King, according to the last King.

He is also at odds with his son and heir apparent, Prince Hal, who’s been making himself look rather silly by constantly getting drunk with his mates, including but not limited to Sir John Falstaff. Falstaff is Hal’s closest friend and companion. And it’s not too clear who’s the worse influence on who at this stage.

So there’s three main crews you need to wrap your head around. The King and his Court, who we’ve met. Then there is the Percy family, which includes a whole bunch of folks, but the ones we’re gonna focus on are Harry Percy or ‘Hotspur’, his Father, the ‘Earl of Northumberland’, and their leader, Hotspurs Uncle, Thomas Percy the ‘Earl of Worcester’. To make things easier lets just call that group ‘The Rebels’ And last but certainly not least, that rag tag bunch of drunks at the pub, Prince Hal, Falstaff and their merry band of friends who are really at the centre of this play.

At the beginning of the play, The King is angry with Hotspur for refusing him the prisoners taken in a recent battle against Scotland. Hotspur tries to negotiate but is shot down by the King, and as Michael Jordan would say: he took that personally. They decide to side against the King and join forces with the Welsh and the Scots.

Meanwhile, Prince Hal and chums are playing pranks on old Falstaff by disguising themselves and robbing them after they’ve robbed someone. You know, as friends do. It does end happily though when upon hearing Falstaff’s tall tales about it later, Hal returns the stolen money to him. Very soon after, Hal speaks directly to us to tell us of his plan. He says soon his days of hooliganism will come to a close and he will become a respectable member of the society and in doing so, after his years of wild misbehaviour, the respect he’ll earn will be even greater from the court and his people alike.
And that certainly happens sooner rather than later. When the Kingdom learns of Hotspurs insurrection, Hal takes charge to defeat Hotspur and his rebel army. And Falstaff isn’t off the hook either. Hal puts him in charge of a battalion of foot soldiers and away we go to the Battle of Shrewsbury.

Now this battle is pretty important, because if Hotspur wins, then their cause is bolstered and they will gain ground and may ultimately win this war. Lucky for Hal his troops outnumber Hotspurs. But what Hotspur lacks in numbers, he makes up for in a whole lot of ‘having nothing to lose’.

Meanwhile in the lead up to this face, we see Hotspur, who has not been a particularly honourable commanding officer, by stealing wages and other tomfoolery, fake his own death, in a last ditch bid to survive.

Anyway, meanwhile back at wherever Hal and Hotspur happen to be, they face off. They both fight well but ultimately Hotspur is bettered by Hal, and is killed.

Suddenly Falstaff revives himself from the dead! Seeing that he is alone, he stabs Hotspur in the leg and claims the credit for defeating him. Hal knows better than that but allows Falstaff to take the credit, as good friends do. Having done this Falstaff claims that he wants to get his act together and to live a good clean life as a nobleman should do.

And so the play comes to a close with the rebels stifled but ultimately not defeated. King Henry has his rival Thomas Percy executed. But Hal, being more honourable than people ever knew, releases his prisoners of war. They have won the battle, but not the war, and the next exciting chapter begins in Henry IV Part 2.

Characters of Henry IV Part 1

The King’s Party

King Henry IV – King of England.
Henry, Prince of Wales (nicknamed “Prince Hal” or “Harry”) – eldest son of Henry IV
John of Lancaster – represented in the play as the King’s second son, although he was actually the third
Ralph Neville, Earl of Westmorland
Sir Walter Blount (“Blunt”)

Eastcheap (The Pub Crew)

Sir John Falstaff – a knight who befriends Prince Hal
Ned Poins
Bardolph
Peto
Mistress Quickly – hostess of the Boar’s Head Tavern
Francis – tapster
Vintner – tavern keeper
Gadshill
Two Carriers (Mugs and Tom)
Ostler

The Rebels

Henry Percy, Earl of Northumberland
Thomas Percy, Earl of Worcester – Northumberland’s brother
Harry Percy (nicknamed “Hotspur”) – Northumberland’s son
Edmund Mortimer – Hotspur’s brother-in-law and Glendower’s son-in-law
Owen Glendower – leader of the Welsh rebels
Archibald, Earl of Douglas – leader of the Scottish rebels
Sir Richard Vernon, 8th Baron of Shipbrook
Richard le Scrope (“Scroop”), Archbishop of York
Sir Michael – a friend to the Archbishop of York
Lady Percy (“Kate”, though her real name was Elizabeth) – Hotspur’s wife and Mortimer’s sister
Lady Mortimer (Catrin) – Glendower’s daughter and Mortimer’s wife

Other Characters

Chamberlain
Sheriff
Travellers
Servant to Hotspur
Lords, Officers, Drawers, Messengers, and Attendants

Only Mentioned

Robin Ostler, deceased character who preceded the current Ostler, concerned with the price of oats
Gilliams, courier sent by Hotspur

Best Henry IV Part 1 Monologues

• Prince Hal, Act 1, Scene 2, Line 64, “I know you all, and will a while uphold the unyolked humour of your idleness”
• Falstaff Act 2, Scene 4, Line 162, “Peace, good pint-pot, peace, good tickle-brain”
• Lady Hotspur, Act 2, Scene 3, Line 35, “O my good lord, why are you thus alone?”
• Hotspur, Act 1, Scene 3, Line 28, “My liege I did deny no prisoners”

Notes on Performance

Keep in mind the long history that has led up to the start of this play, luckily in this one there’s only one prequel in Richard II. If you can read that you won’t be sorry.

Do your best to understand all the ins and out, ups and downs of all of these relationships. There’s a lot to remember, but be rock solid in the relationships of your character.

Always respect the text, not just in Shakespeare but in any work you do. The writer puts in as much energy and love as any other creative, so we should always do our best to make their text shine. Even Shakespeare. If you are excited to learn more about Shakespeare improve your skills in this area definitely check out  performing Shakespeare.

The post Henry IV Part 1 appeared first on StageMilk.

An Off-Broadway Theatre is a theatre within the ‘Broadway Box’ of New York City with a seating capacity of between 100 and 499.

What Is Broadway?

In order to understand what Off-Broadway is, we must first understand what Broadway is. Broadway, in its literal sense, is a street in Manhattan NY. But over the years the term ‘Broadway’ has become synonymous with the theatre district of New York City.

Though the district is named after the street, the majority of Broadway theatre’s only exist within the ‘Broadway Box’ and not on Broadway itself. The Broadway box is the area extending from 40th Street north to 54th Street and from Sixth Avenue west to Eighth Avenue, including Times Square and West 42nd Street. In fact, only three of Broadway’s theatres are on the Broadway: The Broadway Theatre, The Palace Theatre, and the Winter Garden Theatre. For a theatre to be legally considered a Broadway theatre, it must seat more than 499 patrons.

For more New York Acting Resources

How Did Off-Broadway Start?

Back in the day, any theatre within the Broadway Box was considered a Broadway theatre. The Off-Broadway movement started in the 1950’s as a reaction to the growing commercialism of Broadway theatres themselves. Later down the line, the definition came into place that any theatre with a seating capacity between 100-499 would be legally and contractually considered an ‘Off-Broadway’ theatre. This benefited theatre owners and producers, as it meant they could pay cast and creatives less than those on “Broadway” contracts. That was until 1974 when Actors Equity organised a one day strike over these wages, ultimately garnering a raise.

What Kind of Shows Are on Off-Broadway?

In a general sense, the kinds of shows you’ll find in Off-Broadway theatres are ones with less than certain commercial success. New shows, lesser known shows, and experimental shows. Anything that might not necessarily draw in a huge crowd night after night. The reason for this is that it costs less to produce a show in an Off-Broadway theatre. Therefore, it runs less of a financial risk to any investors.

Many, many shows go on to have Broadway runs after success in Off-Broadway theatres. Shows such as Dear Evan Hansen, In The Heights, Hair, Rent and Hamilton, just to name a few.

Conclusion

We don’t often think of the legal and contractual definitions of our arts precincts. But as it turns out they’re pretty particular about what is and isn’t considered an Off-Broadway, or a Broadway theatre. Well now you can say you know exactly what constitutes what an Off-Broadway theatre is.

The post What Is Off-Broadway? appeared first on StageMilk.

Getting an acting job overseas comes down to following a few steps. You need to be able to audition for roles overseas. You need to land the role. And you need to legally be allowed to both enter, and work in the country you’ve booked a job in. But how do we do that? Well let’s break it down.

How Do I Get Auditions Overseas?

Years ago the answer to this question would’ve been to move overseas. But thanks to the wonderful world of the internet, it’s entirely possible for just about anyone to audition, for just about anything, from just about anywhere in the world. So long as you have a way to film yourself, and access to the internet. 

Ideally you would have an agent or manager in the country you’re trying to work in, but if that isn’t possible for you just yet, some great alternatives are websites like BackStage and Actors Access for the USA, Mandy and Spotlight for the UK, and Casting Networks for Australia.

Do I Need Overseas Management?

The short answer is: it’s by no means necessary, but it can certainly help. As I said above there are a number of ways to submit yourself for roles yourself online. Where overseas management will help is that they have access and industry experience that isn’t available from where we sit.

How do you go about obtaining overseas management? Well in much the same way you would for any agency. By reaching out. But having some quality credits on your resúme will give you a huge leg up in obtaining meetings and eventually representation.

Read more about: How to Get An Agent.

What Visa Do I Need to Get an Acting Job Overseas?

The answer varies in as many ways as there are countries that make Film, TV and Theater, but the good news is that most Government websites will outline exactly which visas you need to work as an actor and how to obtain them.

However many people will be wondering what they need to work in the United States. The most commonly sought after Visa for actors is the O-Visa. This visa is granted to those who possess extraordinary skill in their field such as sciences, athletics or in our case arts and entertainment. Obtaining one of these you’ll need proof that you are a serious actor who is well renowned in their field. The other option is a P-Visa which is granted to actors and others alike for the period of their employment. To obtain one of these, you’ll need to book a job in the US.

How Much Does It Cost to Get an Acting Job Overseas?

The short answer is getting a job should, I repeat, should cost nothing. However there will be associated costs to do with applying for visas, travel, and accommodation. Ideally should you book a gig in a foreign country, the production will pay for everything including travel, accommodation and any per diems associated with your being away from home.

Conclusion

So now you know just how straight forward, but at the same time quite tough steps that you can take to start getting acting jobs overseas. Everyone’s journey is different and different steps and processes will vary from case to case, but hopefully now you should be a little more prepared when you’re ready to take that leap of faith.

The post How to Get an Acting Job Overseas appeared first on StageMilk.