10 Monologues About LGBTQ+ Identifying Characters

Written by Tiffany Wilkie

June 2, 2020

Looking for a monologue from an LGBTQ+ identifying character? We’re here to help. Below we’ve listed ten monologues from our collection that feature LGBTQ+ characters dealing with falling in love, relationships, memory, and personal discovery.

A monologue from Ost und West by David-Matthew Barnes

(Male, Young Adults 20’s, Dramatic)

Shortly after the start of the Gulf War, a young American traveler is being questioned at an embassy before he’s allowed to board a plane back to the United States because of a brief relationship he had with a man from East Germany.

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A monologue from First Love by Scott Walker

(Male, Adult, Dramatic)

Henry, a fourteen year old boy. The year is 1958. Henry recounts an instance when, as a teen, he felt isolated emotionally as a gay youth. When he spied another boy on the street, a sudden connection helped him feel not so alone anymore.

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A monologue from A Knee That Can Bend by Emma Goidel

(Female, Young Adult, Dramatic)

Néné recounts her first queer experience for Kate. She was attracted to another woman, but this girl, Aminata Béye was not queer herself. They were together for a period of time until Aminata’s brother called her out, and screamed at her for attempting to make his sister a lesbian like her. Néné unceremoniously ended the relationship out of shame. She never meant to make trouble for Aminata.

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A monologue from Know Your Role by Brandi Owensby

(Male, Young Adults 20’s, College 18-22, High School 14-18, Dramatic)

Trey’s father came out as transgender in Trey’s childhood. He sat the whole family down, telling them he could no longer live a lie, and needed to live his life as a woman to feel happiness. The family did not take it well, and after his parent’s divorce, Trey bullied his own father because he did not have his own strength to stand up for him. It wasn’t until it was too late that Trey finally realized just how strong and brave his dad had truly been in his life, accepting himself for who he was, even in the face of adversity.

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A monologue from The Pride by Alexi Kaye Campbell

(Male, Adults 30-40’s, Dramatic)

Oliver has employed the services of a male prostitute who is dressed in Nazi uniform. However, Oliver soon goes off the idea of having sex with the man, and they sit and talk instead. Oliver confesses that he is sad about his boyfriend leaving him. Philip then arrives back at the flat unexpectedly and is shocked to see the stranger. He had thought Oliver would be out and had come to pick up the last of his things. The man leaves, and Oliver tries unsuccessfully to pretend that he had met him at a fancy-dress party. Oliver tells Philip that he loves him and does not want him to leave. But Philip is depressed by Oliver’s need to have sex with other men. Oliver tries to explain to Philip that having sex with strangers takes the form of an addiction and that he cannot help it. As he tries to justify his actions, he is reminded of a conversation he overheard when he was a teenage boy.

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A monologue from Unknown by Alexis Clements

(Female, 50+, Dramatic)

Sydney describes dealing with her partner’s passing, and the trip she took to spread her ashes in Wyoming.

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A monologue from Raggedy And  by David Valdes Greenwood

(Transgender Female, Adults 30-40’s, Dramatic)

Ben is irate that his mother, Ondi, has rescinded the offer to speak at the inauguration of the new president.  Ondi, not wanting to be known as the first transgender poet to speak, but just a poet (she would even settle for lesbian), declines to speak, knowing how she will be labeled from here on out, having worked her whole life to build her identity as a woman.  After Ben flies off the handle with this news, Ondi puts him right back in his 20-something place, explaining how difficult it was for her as a child and how she wants to keep the past in the past.  Whatever she identifies as is her business and her business only.

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A monologue from Living on the Edge by Michael Wanzie

(Male, Mature 50’s, Adults 30-40’s, Dramatic)

Frank has just finished the song, “Take Care of Your Own Shit,” imploring the audience to stop pointing fingers at the gay community and their “problems” and deal with your own issues—which are usually far greater—first.  Janine (the other character in the show) leaves stage to take a phone call from her son, which launches Frank on a tirade of “straight people;” just because it’s instinct to procreate, doesn’t mean you were born KNOWING how to parent correctly.

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A monologue from What You See Is What You Get by Laurie Allen

(Female, Young Adults 20’s, Dramatic)

Jasmine is in her early 20s and wears baggy jeans, a men’s shirt, and a ball cap turned backwards.  Jasmine and her mother do not get along.  She has never sought her mother’s approval for being a lesbian, all she cares is that “I’m free to be myself.”  Jasmine will never fit into the cookie cutter mold her mother envisioned for her, but despite their differences, they truly do love each other.

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Tiffany Wilkie is the Director of Marketing and Theatricals for PerformerStuff.com. 
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