For actors, the best company around is the company you keep on stage. You may think of plays as having a cast of thousands (or at least a handful!), but you know what they say: Two’s company. Let’s get into why you should consider putting on a two-person play and explore some of the best two-handers out there.
Why would someone want to act in (or produce) a two-person play?
- It’s impressive. It’s a major cliche: You work really hard putting on a show, and all anybody wants to know is how you memorized all those lines. But if you really want to hear that, consider doing a show in which you’re responsible for saying 50% of the words. Now they’ll really be talking. In all seriousness, acting in a two-person play is a major undertaking, but it can be deeply rewarding to pull off.
- It’s an opportunity for a deep character study. The beauty of a two-character play is just that: It has only two characters. That means the play’s entire runtime is dedicated to exploring the dynamic between only two people, allowing for a richness and depth that’s hard to come by in more crowded works.
- It’s cost-effective. Here’s the one nobody wants to talk about, but it’s true: If you have only two actors, you have to pay only two actors (and maybe an understudy or two). But rather than see that as a bleak statement on the state of the industry, consider that two-person plays are great options for fledgling theater companies that may have small budgets. They’re more affordable and more easily managed than something with a cast of hundreds, and they can generally be performed in tiny theaters or black-boxes.
Two-Person Scenes for Acting Practice1. “The Zoo Story” (1959), by Edward Albee
Taking place entirely on a bench in Central Park, the play follows a chance encounter between everyman Peter and an odd man named Jerry, who won’t stop agitatedly talking about the zoo. What begins as just an odd encounter eventually turns violent, with Jerry purposely running into a knife he’s given to Peter. Odd on the surface, it’s a timely commentary on societal norms, civilization versus wilderness, and what it means to be human.
Apart from being a great feature for two male actors, “The Zoo Story” has a lot going for it. It’s written by master playwright Edward Albee; it’s absurd and dark in a way that may have been shocking in its time, but would be readily accepted by audiences today; and its approximately hour-long runtime keeps it manageable for actors and audiences alike.
For those who like “A Zoo Story” but are looking for a little bit more, you’re in luck! Albee wrote a prequel play, “Homelife,” that is often performed in tandem with “A Zoo Story” as “At Home at the Zoo,” although it does feature a third character.
2. “Frankie and Johnny in the Clair de Lune” (1987), by Terrence McNally
“Frankie and Johnny in the Clair de Lune” follows the titular coworkers during the aftermath of a spontaneous hookup. (Well, mostly the aftermath. The play famously begins with the two in the process of having sex.) Johnny, a hopeless romantic, is certain that the two are destined to be together, while Frankie is less sure, in no small part due to her own insecurities. As the unlikely pair spend more time together, they begin to consider the possibility that this is more than just a one-night stand.
Besides the incredible writing, one unique thing the play offers is that the characters are both explicitly middle-aged. Although middle-aged characters aren’t hard to come by, the context feels subversively juvenile. The two are unsure, insecure lovers rather than the confident, settled adults we’re used to seeing on stage. Despite its romantic tone, “Frankie and Johnny” is at times quite funny, allowing both parties to show the full depths of their range.
3. “Love Letters” (1988), by A. R. Gurney
“Love Letters” is about, well, exactly that. Two friends exchange letters over the course of their lives, and although they aren’t explicitly lovers, we come to realize that they had an incredibly deep and meaningful relationship—romantic or not.
The play was a finalist for the Pulitzer Prize for Drama in 1990 and has endured for many reasons: It’s charming, sentimental, and a great opportunity for a tour de force performance, as two actors portray the same characters over the span of 50 years. It’s also incredibly easy to produce, since it generally needs no blocking, set changes, or even costumes. As mentioned in an author’s note quoted on the licensing page, it doesn’t even need to be memorized.
4. “Venus in Fur,” by David Ives (2010)
About a director mounting a theatrical adaptation of the novel “Venus in Furs,” the play of (nearly) the same name is clever and multilayered. When a difficult actress comes to audition for the lead role, the director reluctantly agrees to see her. Before too long, the situation in the audition room mimics that of the play, with the actress becoming the more powerful person in the room.
Biting, sexy, and clever, the play is a great option if you’re looking to captivate audiences with a more recent two-hander with two compelling characters. Nina Arianda won the Tony award for her portrayal of Vanda in the 2011 Broadway production, and it’s easy to see why—the character is an especially great feature for any quirky, powerhouse actress.
5. “Gruesome Playground Injuries” (2012), by Rajiv Joseph
This dark comedy follows Doug and Kayleen from their first encounter in the elementary school nurse’s office through a 30-year-long tumultuous on-again-off-again relationship. Over the course of the play, they are repeatedly thrust together, never without various wounds—both physical and mental.
Much like “Love Letters,” “Gruesome Playground Injuries” is especially intriguing because it follows two characters over the course of many years. But this option has the stylistic edge, comparatively scrappier and funnier.
6. “I and You” (2013), by Lauren Gunderson
Stuck at home with an unnamed serious illness, 17-year-old Caroline’s afternoon is turned upside down when her classmate Anthony bursts into her bedroom and demands that she help on their American lit project. What follows is a quippy play that features teenage ramblings, the poetic musings of Walt Whitman, and an absolutely jaw-dropping twist that we won’t spoil here.
A two-hander is a massive undertaking for actors of any age, so the fact that the weight of “I and You” rests on two teenage characters can make it difficult to produce. But if two teens are up for the challenge, the results can be incredibly rewarding—for both the actors and the audience.