{"id":8916,"date":"2020-12-18T15:44:43","date_gmt":"2020-12-18T15:44:43","guid":{"rendered":"https:\/\/performerstuff.com\/mgs\/?p=8916"},"modified":"2020-12-18T15:46:40","modified_gmt":"2020-12-18T15:46:40","slug":"pull-the-switch-audition-monologues-for-12-angry-jurors","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/pull-the-switch-audition-monologues-for-12-angry-jurors\/","title":{"rendered":"“Pull the Switch!”: Audition Monologues for 12 Angry Jurors"},"content":{"rendered":"

“Pull the Switch!”<\/em>: Audition Monologues for\u00a012 Angry Jurors<\/em><\/h3>\n \"\"<\/a><\/span>

Written by\u00a0Amanda Grace<\/p>\n

December 18, 2020<\/p>\n<\/font>

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The greatest honor of being an actor comes when one can\u00a0use their talents to bring justice to another, and Reginald Rose and Sherman L. Sergel’s 1955 script allows companies to do so quite literally. Though unnamed, each of the titular jurors\u00a0plays a distinct role in\u00a0an enduringly relevant debate\u00a0between guilt and innocence; channel their individual characters with this offering of monologue cuts.<\/p>\n

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Auditioning for\u00a0Juror #1<\/strong><\/h4>\n
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From The Chasm Between Us\u00a0<\/i>by Debbie Lamedman<\/strong><\/p>\n

Serving as Foreman of the Jury, Juror #1 reveres the rule of law, and strives to maintain an ethically unbiased deliberation room.\u00a0Tap into\u00a01’s\u00a0didactic reserve with this piece from another unnamed persona, narrating the socio-psychological mechanics of prejudice to a rapt audience.<\/p>\n

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

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Auditioning for\u00a0Juror #2<\/strong><\/h4>\n
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From\u00a0Rise<\/em>\u00a0by Crystal Skillman<\/i><\/strong><\/p>\n

Juror #2 is the meekest of the group, easily swayed as the\u00a0majority swifts. Showcase the nuance\u00a0behind\u00a0the\u00a0easily-moved with this speech from Joy, whose ambivalence to her current situation stems from a series of tragedies and hardships.<\/p>\n

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

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Auditioning for Juror #3<\/strong><\/h4>\n
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From Local Heroes\u00a0<\/i>by Rodney Rogers<\/strong><\/p>\n

The primary antagonist of the play, Juror #3 is prejudiced to the point that his personally misgivings overstep the boundaries of reasonable suspicion. #3’s aggression is mirrored in Rogers’ script by The Combatant, who viscerally explains their intent to defeat their opponent “[b]y any means necessary.”<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #4<\/strong><\/h4>\n
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From Nine Point Eight Meters per Second per Second<\/em>\u00a0<\/i>by <\/strong>Pete Barry<\/strong><\/span><\/p>\n

Juror #4’s morality is somewhat obscured by their pocketbook, which also lends itself to a rather grandiose sense of self. In a slightly more comedic bent on financially-aided egoism, here, Balthazar Kent makes a series of phone calls to his “people” after being ejected from a plane. It takes some serious departure from reality to attempt control in free fall, but #4’s got it in spades.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #5<\/strong><\/h4>\n
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From Milk Like Sugar\u00a0<\/i>by Kirsten Greenidge<\/strong>
\n<\/span><\/p>\n

#5’s life is fueled by fear, fostered by poverty and the lack of privilege. Ingrown fright can make you want to crawl out of your skin\u2014something Greenidge’s Keera can attest to. In this monologue, Keera lets slip her bottled-up belief that she deserves something much better than the life she was given.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #6<\/strong><\/h4>\n
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From For Beginners: or, How Not to Kill a Plant<\/i> by Lindsay Adams<\/strong>
\n<\/span><\/p>\n

Ignorance\u00a0is the breeding ground for hate, and Juror #6 is canonically\u00a0the least thoughtful of the jury. However, simplicity of thought can also be a source of clear values; challenge the cleverness binary with this speech\u00a0given by Paul, whose goals begin and end at\u00a0the simple things in life.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #7<\/strong><\/h4>\n
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From The\u00a0Waiting Room\u00a0<\/i>by <\/strong>Noah Bennett<\/strong>
\n<\/span><\/p>\n

Juror #7 speaks for the sake of being heard, sometimes at the cost of others’ voices. Give the panel an ironic earful with this monologue delivered by a Judge\u00a0who very wordily muses on his past convictions as he awaits his impending death.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #8<\/strong><\/h4>\n
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From Proximity\u00a0<\/i>by Kerri Kochanski\u00a0<\/strong>
\n<\/span><\/p>\n

The defendant’s saving grace, Juror #8 freely bestows the benefit of the doubt where others find doing so an impossibility. #8’s spirit finds echoes in\u00a0Margaret, who reacts to a stranger’s intolerance with a wealth of perspective and composure.\u00a0\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #9<\/strong><\/h4>\n
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From Eighty-Two\u00a0<\/i>by\u00a0Evan Guilford-Blake<\/strong>
\n<\/span><\/p>\n

Juror #9’s age has resigned them to\u00a0The Way Things Are\u2014much like in the case of Ben McGinty, a 78-year-old who finds he can’t put up much of a fight when he learns his son and daughter-in-law think it’s time he move in with them.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #10<\/strong><\/h4>\n
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From White Suits in Summer<\/em>\u00a0<\/i>by <\/strong>Rosary O’Neill<\/strong><\/span><\/p>\n

If you’re looking to release some hot-headed, acerbic energy, Juror #10 is your\u00a0best bet. Dig up your meanest sneer with the help of Susanne, a\u00a0troubled artist in the middle of accosting her boyfriend’s new wife.\u00a0<\/span><\/p>\n

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

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Auditioning for\u00a0Juror #11<\/strong><\/h4>\n
\"\"<\/span><\/div>

From\u00a0The RTS Monologue Collection\u00a0<\/i>by Angela Cerrito<\/strong><\/p>\n

A refugee accustomed to living on the margins, Juror #11 tends to bow to the pressure of those with greater\u00a0societal currency. #11 walks into the deliberation room feeling\u00a0powerless, just as Sabrina does,\u00a0fighting to hold her own\u00a0through an unsolicited,\u00a0abusive\u00a0encounter in a diner.<\/p>\n

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

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Auditioning for\u00a0Juror #12<\/strong><\/h4>\n
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From Typewriter Girls\u00a0<\/i>by Alexis Clements<\/strong>
\n<\/span><\/p>\n

Brains don’t make up for a lack of class, as proven by Juror #12. Case-in-Point-II is Fowler, who spends this monologue explaining away his business failures and impending sentencing by reminding his son of his friends in high places.<\/p>\n

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

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Amanda Grace\u00a0is an\u00a0actor, writer, composer, improvisor and director whose work has graced stages from\u00a0 Central Florida to the Edinburgh Festival Fringe.\u00a0She is based in London, where she is studying to\u00a0obtain her M.F.A. in Actor & Performer Training at Rose Bruford College. Amanda holds an honours B.A. in Theatre Studies and a B.A. in Psychology, as well as a certificate in Shakespearean Performance from the Royal Academy of Dramatic Art.\u00a0Her original albums can\u00a0be streamed at\u00a0amandagrace.bandcamp.com<\/a>.<\/em><\/strong><\/h5>\n\n","protected":false},"excerpt":{"rendered":" [...]","protected":false},"author":2,"featured_media":8938,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[801,757,259,301,453],"tags":[1058,6,238,541,239,454,308,304,21,344,138,128],"_links":{"self":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/8916"}],"collection":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/comments?post=8916"}],"version-history":[{"count":0,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/8916\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media\/8938"}],"wp:attachment":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media?parent=8916"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/categories?post=8916"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/tags?post=8916"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}