{"id":5698,"date":"2018-05-21T19:01:46","date_gmt":"2018-05-21T19:01:46","guid":{"rendered":"https:\/\/performerstuff.com\/mgs\/?p=5698"},"modified":"2020-01-13T19:00:26","modified_gmt":"2020-01-13T19:00:26","slug":"i-danced-with-the-devil-audition-monologues-for-the-crucible","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/i-danced-with-the-devil-audition-monologues-for-the-crucible\/","title":{"rendered":"“I Danced With the Devil!” Audition Monologues for The Crucible"},"content":{"rendered":"

“I Danced With the Devil!” Audition Monologues for The Crucible<\/em><\/h3>\n \"\"<\/a><\/span>

Written by\u00a0Ashleigh Gardner<\/p>\n

May 21, 2018<\/p>\n<\/font>

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If you\u2019ve got an audition coming up for Arthur Miller’s drama, The Crucible<\/em>, check out these perfect audition monologues from our collection!<\/p>\n

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Auditioning for Abigail<\/strong><\/h4>\n
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From Antillia or The Equestrian <\/i><\/strong>by Ricardo Soltero-Brown<\/strong>
\n<\/span>Danielle’s apartment. Danielle is trying to sell her horse, Antillia, to SARAH. Sarah has come to Danielle\u2019s apartment to negotiate the sale of the horse, but after Sarah asks what happens to the horse if she does not buy her, Danielle begins to insinuate her own history into the conversation. This is a topic Sarah is not concerned about, and she makes it very clear that she wants to hear absolutely nothing about Danielle\u2019s past, even after Danielle has attempted to force her own story into the conversation multiple times. Sarah has had enough. It is irrelevant to the matter at hand.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From The Telling Trilogy <\/i><\/strong>by Crystal Skillman<\/strong>
\n<\/span>This monologue is from \u201cThe Telling,\u201d the first short play in The Telling Trilogy. The Daverns Inn is up for sale, and it must be sold. In the basement of the inn, a small sealed box sits in the center of the room. Vic, the sister who has come back, has returned by request of her sister, TY. Ty and Vic told stories to each other when they were small girls; they also had a penchant for setting traps for each other. In this monologue, Ty tells Vic about a dream Ty had, and Vic tries not to listen because the image is much, much too real. In the dream, Ty tries to get Vic to go down to the basement, a place they were never supposed to go. But when Ty runs down the stairs first, she tumbles down the staircase and finds herself immobile in a pool of her own blood.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Mary Warren and The Village Girls<\/strong><\/h4>\n
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From The Ninth Train <\/i>by <\/strong>Jane Jeffries and Jim Jeffries<\/strong>
\n<\/span>Sixteen-year-old Eva quietly tells her older sister, Analise, about a time when she went to the bakery and first met Merek, the baker\u2019s son. She had tried to get a refund for a day-old roll, and, when he wouldn\u2019t allow it, she threw it at him and hit him in the face. When she went back another day to buy bread, he had a complimentary note hidden in the bottom of the bag. That is how their friendship began.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From Milk Like Sugar <\/i>by Kirsten Greenidge
\n<\/strong>Talisha has her homework done by a girl named Keera at school. After seeing how she is treated, Annie proceeds to befriend her and have her over. Keera reveals she carries a radio with her at all times to help her in musical worship. Out of curiosity, Annie takes up a religious interest through the help of her new friend. Keera eventually tells her the outlook she has on herself and religion.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Tituba<\/strong><\/h4>\n
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From The Snare <\/i>by <\/strong>Samantha Beach<\/strong>
\n<\/span>Ruth is in the fort she has made in the living room. She is talking to the wild bobcat that has starting living in the family\u2019s front yard. The Devil has been controlling Ruth and she is struggling with breaking away from his grasp, but at the same time she doesn\u2019t know exactly why she should want to.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From Silueta <\/i>by\u00a0<\/strong>Diana Burbano<\/strong>
\n<\/span>Ana Mendieta has been invited back to Cuba for the first time since her family was pushed out by Castro. She tells her boyfriend Carl what she expects to see there. In part one she talks about her father.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for John Proctor<\/strong><\/h4>\n
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From The Memory Tax <\/i><\/strong>by Chad Eschman<\/strong>
\n<\/span>Jason confronts his father, who abandoned him and his mother when he was just a baby. He\u2019s come to ask for money so that he and his pregnant girlfriend can try for a fresh start in the ravaged, post-apocalyptic America that his father helped create.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From A Dog\u2019s Life <\/i>by Diane Grant
\n<\/strong>George is the director of a small theatre with a small troupe of actors who specialize in classical theatre and Shakespeare. After a rehearsal, George is left alone with Hildy, the stage manager. He\u2019s been dreaming of directing his troupe at a larger theatre, one that can sustain his dreams of becoming famous and producing large-scale, successful productions. He also dreams of acclaim. He is wistful, and his words indicate deep dissatisfaction with his present situation rather though he is incredibly passionate about his art<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Elizabeth Proctor<\/strong><\/h4>\n
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From Fallbeil <\/i>by <\/strong>Liz Maestri<\/strong>
\n<\/span>Fritz and Sophie were once friends, but during the war, Fritz joined the Nazi army and Sophie, the resistance. Here, Fritz is questioning Sophie about her involvement with the White Rose\u2014she has helped throughout the war by writing leaflets to encourage the rise against the Nazi occupation. All Fritz had wanted was for her to lay low, play along so as to not get hurt, whether she agreed to what was happening or not. Now, Sophie explains that she could not have stayed silent, knowing the terror that was happening all around. She knows the country is lost no matter who wins the war.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From Bront<\/i>\u00eb<\/i> by <\/strong>Polly Teale<\/strong>
\n<\/span>This monologue occurs shortly after the death of Anne’s brother, Branwell. The play depicts incidents both real and imaginary in the lives of the Bront\u00eb sisters and their brother Branwell. It moves backward and forwards in time and is intermixed with characters from the Bront\u00ebs\u2019 novels. At this point in the play, Charlotte is enjoying much literary success following the publication of Jane Eyre. Anne and Charlotte travel to London, but on their return, their brother Branwell dies. A short time later, while Anne is sorting through Branwell\u2019s clothes, Charlotte, who is trying to write, complains of the pressure she feels to deliver a second and further outstanding piece of work. The speech is made up of Anne\u2019s response to this and then supplemented by a passage she has a few lines later in which she questions their need to write at all.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Reverend Parris or Reverend Hale<\/strong><\/h4>\n
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From Magic Trick <\/i><\/strong>by Mariah MacCarthy<\/strong>
\n<\/span>Eric is helping his ex-girlfriend, Bana, move into her new apartment. She has moved twice in two months and begins to cry when she thinks of how many people she has left in her life. First her brother, then Eric, then Clara. In this monologue, Eric comforts her.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From Bully Dance <\/i>by <\/strong>David Valdes Greenwood<\/strong>
\n<\/span>Nola was on the bus with Travis when he was trying to skip town after his shooting spree. \u00a0While getting seated, Nola and her son, Justin, are chatting with a Southern Teacher who tells them the story of Travis\u2019 shooting, not knowing that the killer is sitting right next to them. \u00a0In this monologue, the Southern Teacher describes the judgment and fear that is portrayed in the news of Travis. What deep seeded issue did he have that made him travel to Maine to act this out? \u00a0Clearly, he\u2019s a vigilante out of his mind.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Ann Putnam, Rebecca Nurse, and Sarah Good<\/strong><\/h4>\n
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From B\u00e2tard<\/i> by <\/strong>Robert Carhuayo<\/strong>
\n<\/span>Beatrice is the right-hand woman of Eve, the leader of the Women in the Society of Choice. In this scene, Beatrice speaks to both P001 and the audience of the Picking Ceremony in one final chance to sway P001\u2019s choice of gender. She does her best to highlight all the aspects of female culture, both past and present, emphasizing the power that women hold in the Society of the Choice. Let it be known that this monologue is purposefully stereotypical, in order to highlight the absurdity of embracing stereotypes as aspects of your personality and culture. Considering this, Beatrice is best played as a hyper-stereotype, where she becomes so much of a clear-cut stereotype that is comedically ridiculous.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From The Cabin <\/i>by <\/strong>Ricardo Soltero-Brown<\/strong>
\n<\/span>Karen and Jack stand in the living room of a cabin. It is snowing heavily outside, a blizzard. Carl is dying in the next room, Dan has just dropped dead and is lying in another room, and Hana has just walked out the front door into the storm with a gun. Neither Karen nor Jack is sure that they\u2019ll get out of this alive, yet Jack insists that there is a future for him and Karen. He tells Karen that she once told him she wanted children. She denies ever having said this. He insists. Her rebuttal is here. She is fed up with him insisting that they\u2019ll make it out of this, and even if they do, she doesn\u2019t want to bring children into the world if she isn\u2019t ready and if it means they must live with life\u2019s horrors.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Thomas Putnam, Ezekiel Cheever, George Herrick, John Willard, Giles Corey, Marshal Herrick, and Francis Nurse<\/strong><\/h4>\n
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From <\/span>The Wolf Counsel <\/span><\/i>by <\/span>Ricardo Soltero-Brown
\n<\/span>Doug has just revealed to his wife, Kellen, that he cheated on her with another woman ten years prior. An argument ensues. Doug, surprised that Kellen hasn\u2019t asked him to stay with her even after his admission of guilt, is dumbfounded. His response is half pleading, half bewilderment.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From Romance <\/i>by <\/strong>Barbara Lhota<\/strong>
\n<\/span>Miriam, a Medieval Literature professor meets Mick, a mail guy in a closed chapel in Boston on Christmas Eve in the middle of the night. Miriam has left her sex-less marriage because she believes her husband is no longer attracted to her and Mick has just been dumped by his fiancee. These two wounded opposites bump heads and philosophize about God and the writers of Bazooka bubble gum fortunes and finally manage to comfort each other. Mick, sitting in the chapel, explains to Miriam about how he was jilted at the altar today<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

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Auditioning for Hathorne or Danforth<\/strong><\/h4>\n
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From Penelope <\/i>by <\/strong>Phanesia Pharel<\/strong>
\n<\/span>Penelope, a sixteen-year-old orphaned black girl and aspiring acrobat, is now the class president of circus school and has been tasked by the other minority students to approach the Ringleader, head of the school, to discuss potential improvements. \u00a0He bemoans the effort it would take to get the \u201cdonkeys and elephants\u201d on board with the changes. While he is initially infuriated after learning that Penelope dating his son, he now sees the benefit of the \u201ctrend\u201d that is interracial dating will have for his son in the future.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n

From The Telling Trilogy <\/i>by Crystal Skillman
\n<\/strong>This monologue is from \u201cThe Telling,\u201d the first short play in <\/span>The Telling Trilogy<\/span><\/i>. Price, a professional ghost hunter, pees in the bathroom while delivering his manifesto of discovery through danger. He states that to do your job as a ghost hunter correctly, you must understand your prey and be vigilant. No messing around, no laziness, no ignorance. Pure, unadulterated precision. To set the scene: light bursts forth from the bathroom. The white tiles gleam. Price talks to himself in the mirror. \u00a0He is confident and does not hold back.<\/span><\/p>\n

Get the\u00a0Monologue Here<\/a><\/p>\n
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