Electrify Your Audition With These 10 Monologues for Teen Girls

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A good monologue is one you can imbue with emotion and that garners audience interest. It should resonate with the actor, create a narrative, and stand out.

• It resonates: The quality of the monologue is less important than what it inspires in the actor performing it. That’s why it’s important that actors choose pieces of writing that resonate deeply with them as individuals. For example, a teenager who has recently experienced heartbreak might feel more drawn to a monologue depicting romantic distress than a comedic one.
• It creates a narrative: That said, a good rule to follow when choosing audition monologues is to pick something that can largely stand on its own. This means that there is a natural narrative arc to the monologue itself that exists separately from the play as a whole. The monologue should feel like it is its own little story, with a beginning, middle, and end. It shouldn’t require a lot of complex expository setup for its meaning to be understood.
• It stands out: One way to ensure that the monologue stands on its own is to choose monologues from well-known plays. The drawback there, however, is that it may be something that the auditors have already heard dozens of times. Another way to do this is to choose monologues whose own inherent arcs require no explanation at all.
• It’s not too much: Finally, a monologue for teen girls should allow them to emote without going into overacting or corny territory. This usually means it’s age-appropriate and depicts common struggles and situations faced by those fitting the teen girl demographic.

The following monologues are compelling, well-crafted pieces that fulfill these elements and, therefore, are especially suitable for teen girls. 

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1. “Tar Beach” by Tammy Ryan

This gorgeous memory play is full of monologue options for teen girls. It opens with a particularly strong one from Reenie, a true heartbreaker of a character. In the monologue that opens the play, Reenie paints a gorgeous picture of where she is. This provides a great opportunity for a young performer to showcase their ability to bring descriptive speech to life. The monologue transitions spatially from the back of a closet, up an escape ladder, and onto the titular tar beach of her rooftop during a sticky hot summer. A strong performance can evoke the heat, the scratch of the coats, and the smell of the distant sea breeze.

REENIE
Pretend this is a dream. This is a dream you’re having about me. About a girl you don’t know. It’s okay—you don’t have to understand everything right now. This is only the beginning. It’s the only way I can tell this story.

(Beat)

It is July 12, 1977. It’s hot and I’m sitting in my mother’s closet where she stores all of her things. Winter clothes are jam packed in here. And boxes and boxes of stuff. Memories. Photographs, drawings and homemade cards, like the little soap fish my sister made in Brownies. My parents’ wedding pictures, all of our baby pictures, every school picture since kindergarten, the red construction paper Valentine’s Day hearts on white doilies. Stuff like that you save forever. There is a ladder in here, too, if, we want to get out. 

(She stands suddenly.)

Like if there was a fire, we could escape onto the roof. We could jump roof to roof to roof until we got to safety—or Atlantic Avenue—whichever came first. Except—there’s not always enough warning, before things catch on fire.

(She pushes her way through the closet.)

Reaching through her scratchy coats and polyester pants suits I find the ladder. Yank it open, then climb hand over hand pulling myself up out of quicksand to get to the top, then both hands flat against the ceiling PUSH as HARD as I CAN to OPEN it—

(SOUND of a trap door lifting as THE LIGHT from the closet shines straight up into the night sky. She walks to the edge and takes a deep breath.)

Down there, it’s like you’re trapped on the A train, in the tunnel, under the river, packed with people and it’s a hundred and fifty degrees with no air. My Father doesn’t believe in air conditioning. Okay, he believes in air conditioner. And it’s in their bedroom, where it’s so loud you can hear it, but they’re the only ones who can feel it.

(WE HEAR the sound of the elevated TRAIN rumble past, distant SIRENS, a couple SHOUTING at each other, and then distant WAVES crashing softly onshore.)

Up here, I can breathe even though it’s like a hundred degrees out and so humid we might as well be under water.... Sometimes if I concentrate, I can smell salt from the ocean… if there’s a breeze.

(She looks up as the SOUND of an AIRPLANE flying overhead.)

There were never any stars in the sky. Okay: Star. Sometimes there’s one. But no,
that’s an airplane…

(She follows the plane, looking out over the neighborhood.)

...if I could fly… I’d be gone.

2. “Romeo and Juliet,” Act 3, Scene 2, by William Shakespeare

“Romeo and Juliet” is often the go-to monologue source for teen actors, especially the classic “Oh, Romeo, Romeo, wherefore art thou, Romeo?” speech. To set yourself apart from the crowd, take a look at Act 3, Scene 2, when Romeo and Juliet are already married and she waits for him to return to her under cover of night. In this monologue, you can play with the fact that most audience members know that, by this point, Romeo has slain Juliet’s kinsmen. The monologue takes place moments before she finds out this news. This creates an interesting undertone of tension throughout the piece that otherwise is delivered with the giddy anticipation of a young girl talking about her first crush. Juliet is happy but nervous and eager—and perhaps a little embarrassed. The speech’s many layers make it a fantastic audition piece.

JULIET
Gallop apace, you fiery-footed steeds,
Towards Phoebus’ lodging: such a wagoner
As Phaethon would whip you to the west,
And bring in cloudy night immediately.
Spread thy close curtain, love-performing night,
That runaway’s eyes may wink and Romeo
Leap to these arms, untalk’d of and unseen.
Lovers can see to do their amorous rites
By their own beauties; or, if love be blind,
It best agrees with night. Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play’d for a pair of stainless maidenhoods:
Hood my unmann'd blood, bating in my cheeks,
With thy black mantle; till strange love, grown bold,
Think true love acted simple modesty.
Come, night; come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven’s back.
Come, gentle night, come, loving, black-brow’d night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess’d it, and, though I am sold,
Not yet enjoy’d: so tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them. O, here comes my nurse,
And she brings news; and every tongue that speaks
But Romeo’s name speaks heavenly eloquence.

3. “Our Town” by Thornton Wilder

This Pulitzer Prize–winning play, written in 1938, is a metatheatrical piece that tells the story of Grover’s Corners, a fictional American town. It depicts the everyday lives of the town’s residents over the course of several years. Emily’s monologue toward the end of the play is delivered—spoilers!—after she has already died, and she is allowed to visit her town and childhood home one final time. It is laced with bittersweet nostalgia and grapples with the impossibly fast passage of time. Although delivered by a young girl, the monologue is weighted by wisdom that she has far too soon.

EMILY  
That’s the town I knew as a little girl. And, look, there’s the old white fence that used to be around our house. Oh, I’d forgotten that! I used to love it so!... Oh! How young mama looks! I didn’t know Mama was ever that young.... Why did they ever have to get old? Mama, I’m here. I’m grown up.... Oh, Mama, just look at me one minute as though you really saw me. Mama, fourteen years have gone by. I’m dead. You’re a grandmother, Mama. I married George Gibbs, Mama. Wally’s dead, too. Mama, his appendix burst on a camping trip to North Conway. We felt just terrible about it—don’t you remember? But, just for a moment now we’re all together. Mama, just for a moment we’re happy. Let’s look at one another. (Pause).... I can’t. I can’t go on. It goes so fast. We don’t have time to look at one another. I didn’t realize. So, all that was going on, and we never noticed. Take me back—up the hill—to my grave. But first: Wait! One more look. Goodbye, world. Goodbye, Grover’s Corners…Mama and Papa. Goodbye to clocks ticking, and Mama’s sunflowers. And food and coffee. And new-ironed dresses and hot baths, and sleeping and waking up. Oh, earth, you’re too wonderful for anybody to realize you.

4. “The Most Massive Woman Wins” by Madeleine George

While not expressly written for teenagers, the four women in this one-act play go through various ages and states as they discuss body image. In this monologue, Rennie, a 17-year-old girl in a liposuction clinic waiting room, talks about her experiences with an eating disorder, encouraged by her mother’s desire for physical perfection. It offers a real opportunity for vulnerability in the right hands, and while it starts out as a sweet-sounding story from childhood, it slowly turns into something much darker.

RENNIE
The first picture of me is at my first birthday party. In this one I am screaming with laughter and holding my hands up to show the camera that I am covered with chocolate cake. My face is smeared with it, it is all over the front of my pretty pink dress. Apparently I was quite verbally advanced, and my parents were showing me  off  when  my  Uncle  Jake  said,  “Oh  yeah?  How  smart  is  she?” “She’s a genius,” says my mother, “she understands everything. Try it. She’ll do anything you say.” So… “Rennie,” says my Uncle Jake, “smush that chocolate cake all over your face, sweetheart. Will you do that for me?” And I did it, of course, because I was just that smart and I ruined my dress and they took a picture of me humiliating myself when I was twelve months old.

(Flashbulb pops.)

This  one  is  my  mother’s  favorite.  It’s  of  her  and  me  on  one  of  our mother-daughter  days,  we’re  on  the  steps  of  the  Met  looking very close and what you don’t see is Mother boring her knuckles into the small of my back saying, “Straighten up, sweetheart, it lengthens your neck. Now glow, come on, glow. We want this one to glow.” For  a while  there  is  an  absence  of  photos—when  tummies  are  no longer little-girl cute. Mother  hides  me  at  family  gatherings  and  I seem  always  to  end  up  behind  pieces  of  furniture.  So  we  have  no extant record of the long years of wanting, of wanting and wanting and being denied. Reaching for bread and peanut butter and having SlimFast thrust into my twelve-year-old fist. Mother says, “No, I am putting my foot down.” She is putting her foot down, I see, and I see that to want and demand things is bad. And when I finally want nothing, nothing at all, when I finally want so little I can barely get up in the morning, my head feels like a ten ton brick on my shoulders, my knees buckle walking from class to class, when I want so little the gentlest sounds scrape my ears and my skin is sore and my hair falls out, finally my mother pulls me out from behind the chaise lounge and says, “This is my daughter Rennie! This is my wonderful, beautiful daughter.” Out comes the camera!

5. “Pretty Theft” by Adam Szymkowicz

There are several promising monologues in this play, but the one that stands out most is Allegra’s monologue. Here, she dwells on her grief and tells her mother that she is leaving—and that she won’t think of her for a long time. Allegra is proud yet sad as she calls out her mother for not being the kind of parent she needed. Conflicts between mothers and daughters are often strong starting places for dramatic monologues for teenage girls, and this one’s sense of finality creates great impact.

ALLEGRA
I know you’re probably mad at me for leaving before the funeral, but I just can’t do it. My whole body itches and it won’t stop until I get in a car and can’t see this house or this town or this state from the rearview window.

This way is better. This way I’ll come back from my trip and go straight to school and you won’t have to look at me or think about me. You can tell people you have a daughter but you won’t have to talk to me on the phone or see me on the couch. I’ll be a no-maintenance daughter just like you always wanted.

I’m going to go now. I know someday you’ll want to talk to me again. Maybe after I graduate and get a job and get married and buy a house and have my own daughter. Then you can talk to her and be her favorite and then we can pretend you were a really great mother. She won’t know and I don’t have to tell her.

But now I’m going to get on the road and push you out of my mind and I probably won’t think of you until I get to the grand canyon or some other fairly good canyon and maybe I’ll cry in front of the mammoth orange hole in the ground or maybe I’ll smile because it’s so beautiful and I’m free and windswept.

But first I’m going to get into Suzy’s mom’s car and we’ll drive till there’s just drops left in the tank and as we cross the border into Massachusetts, we’ll roll into the first gas station where I’ll get some Ding Dongs and some orange soda and I’ll bite into the first one sitting on the hood, watching the car slurp up gas. Then I’ll get in the driver’s seat and put my foot on the accelerator until I can’t keep my eyes open anymore. So I pull over and we both close our eyes and sleep until we’re awoken at three am by separate but equally terrible nightmares.

Related

How to Choose a One-Minute Monologue for Your Next Audition

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6. “Make It Known” by Elisabeth Giffin Speckman

Many contemporary playwrights write monologues by themselves, outside the context of a greater narrative. “Make It Known” is one such example. In this monologue, Sally, a high school student, uncovers a conspiracy when she is assigned an unknown playwright for a drama class project. Fun and incisive, this monologue is about a bit of a feminist awakening, when Sally discovers how few women are a part of the contemporary theatrical canon. 

SALLY
Get a load of this. In my drama class, we’re supposed to be doing these presentations on, like, famous playwrights and actors and directors and designers and so on and so forth. Famous people in theater. It’s pretty exciting, cuz I like to talk and be in front of people—hence why I’m in drama—so I’m happy anytime we get to do a presentation. I also really like to make slideshows, it’s kind of a hobby of mine. So anyway, we get to class and it’s the day we get to draw our person out of the hat—literally, my teacher has this dumb hat and makes each of us stick our hand in it and pull out a slip of paper with a name on it. Pretty cliche, right? So it’s my turn and I do. I stick my hand in. I wave it around a bit, you know, trying to stir things up, hoping that one of the more exciting names of the bunch finds its way into my fingers. And I draw out my hand, little slip and all. And I look at the name. Elizabeth Wong. Eliza-who? I’m like… who is that? I have no idea, literally, I have never heard of her. So of course, the first thing I do is ask my teacher if we’re allowed to trade. She just looks at me like this.

(She demonstrates.)

Like, she doesn’t even answer. Great. Wonderful teaching! So then, I’m like, whatever, and I turn to my friend Justine to see who she got. And she got someone named Aline Frankau Bernstein. So, needless to say, she’s in the same boat as me. And pretty soon we realize, like, everyone in the class, all 15 of us, got assigned someone that none of us have ever heard of. None of us. Like, what the heck? I thought research projects were supposed to be on famous people, like you know, people who were excelling in their fields and whatnot. Hence why they’re famous. Not nobodies. So, I say that, I raise my hand, and my teacher gives this deep sigh like she’s about to drown or something, but I don’t care, I say what’s on my mind. I say, “I thought we were supposed to get assigned someone famous?” And my teacher, she just gives me this look. Like this.

(She demonstrates.)

And then she says, “I look forward to hearing your presentations next week.” And then the bell rings. So, I’m like… confused to say the least. How am I supposed to do a good presentation on someone NO ONE has heard of? Is she dead? Alive? I have no clue. Like, am I supposed to Facebook stalk this lady? Does she even have a Wikipedia?

(She pulls out her phone and begins searching.)

Ok, well… it turns out, she does. But there are like, no pictures. Ok, well, Google has some.

(She continues to scroll her phone, becoming more and more engrossed.)

Ok, so… turns out Elizabeth Wong has won, like, a bunch of awards. Like a crazy amount. And she’s written a ton of plays. Like, this one she wrote was the first one to be written about the Tiananmen Square Massacre in the whole country. And, oh gosh, this one is called “Dating and Mating in Modern Times.” AND it’s a monologue show written for women. This sounds amazing.

(She continues her research.)

Whoa, whoa, hold up. She worked for Disney?! I’m obsessed with all things Disney! ABC’s “All American Girl.” I watched that show! You know, the one with Margaret Cho? God, why haven’t I heard of her? If she’s gotten so many awards, how come I haven’t heard of any of these plays before? And she writes essays! And… wait, she’s a director, too? And like, she IS still alive. So not only has she won all of these awards and written all of these plays, which, I might add, sound pretty badass, but like, she’s not done yet? What is wrong with us? Why aren’t we reading her plays? Why didn’t I know about her?

(She puts her phone down.)

Is it because she’s a woman? Because she’s Asian? That can’t be… I mean, I don’t want to think that’s the reason. That, like, because she’s not a dead white man we aren’t reading her work.

(She continues to read her phone, shakes her head, and starts texting people.)

So I start talking to my classmates.

(She checks her phone, reading text responses. They may even be coming in as
she shakes her head. She is really getting riled up now.)

All of the names in the hat, it turns out, were women. And a lot of them, most of them, were races other than white. And more than half of them? Still alive. Still working today. And the ones who aren’t still alive, like, invented or totally revolutionized their craft. And yet… none of us had ever heard of them.

Why? I want to know why. So, the next time I’m in drama class, I don’t even wait, I just march right up to my teacher and I say it. No, I demand it. Why aren’t any of these 15 women famous? And my teacher gives me this look. Like this.

(She demonstrates.)

Like this was the point all along, like she knew and she tricked us. But that, that just gets me more riled up. How many other teachers know this? How many generations of teachers have known this? How many have allowed us to be ignorant of the incredible ways women are changing the world? Like, this is drama class, this is an elective, can you imagine if we applied this conspiracy to every subject? Math? Science?

(At this point, she may roll out a projector and begin a slideshow. If that is not feasible, perhaps a giant whiteboard with names and photos attached or poster and easel.)

ALL of the names. All of them were women. And all of them were—are—incredible. And that’s when it hits me. It’s up to us. We have to make them known. They’re already doing all they can, and doing an awesome job at it, I might add. We’re the lazy ones, the ignorant ones. Like how many times do I have to be assigned Shakespeare to get that he was a good playwright and important? He’s dead. His work isn’t going anywhere. But someone like Elizabeth Wong? She is very alive and her WORK is very alive and it’s happening now. It needs to be happening now, everywhere. We talk about Shakespeare and, I don’t know, Eugene O’Neill, and we foam at the mouth over these incredible works and we talk about what must it have been like to have been there opening night of “Hamlet” or some shit, and it’s like, we literally COULD be there for the opening night of the play that our great-great-great-grandchildren will be taught. That is, if they get taught it. Because it seems like these plays, these artists, these women, should be famous and yet…

(She becomes deadly serious.)

We should all know their names. We need to be teaching them. We need to be reading them in school, producing them, studying them. Celebrating them. And maybe I get little worked up about things, I admit. I get a little loud. But we need to be loud about this. We need to say it, no demand it. We need to make it known. For these women. For all of us, here, in this room. And for the future. And we can start right now.

(She pulls out her phone, dials.)

Hey, I’m glad I caught you. Have you ever heard of Elizabeth Wong?

7. “Seven Minutes to Heaven” by Alisha Gaddis

In this all-too-familiar story, a teen girl is playing Spin the Bottle—and it lands on her crush. This monologue is about Zanny trying to calm her nerves before a round of Seven Minutes in Heaven. Zanny is a hilarious character, so there is a lot of opportunity in this monologue to showcase your sense of humor and comedic timing.

ZANNY
Wow. I have never really been in Emma’s dad’s office before. There is a lot of wood paneling, huh? Is that a stuffed pheasant? Gross. What is his job anyway?... I don’t even know.

(Awkward beat.)

So… you come here much? Just kidding. I know you don’t—I mean, unless you do. Which is totally cool, too.

(Awkward beat.)

This game is kinda ridiculous. You know? I mean—7 Minutes in Heaven? That is so retro. Who even does this anymore? I mean—I have Tinder on my phone. One swipe and it is like seven minutes in heaven every seven seconds. Right? I mean—lame-o.

But this is Emma’s party and she totally thought it would be adorbs fun. Gotta do what the party girl wants! Is that Jägermeister? Gross. I mean—not gross that you are drinking—that’s totally cool.... I’m not like judging you, but it totally tastes gross. It’s a manly drink, but you are manly, so I guess that makes sense. It tastes like licorice—I tried it at Scott’s pool party and yuck—it reminds me of the time my friends and I were on the Gravitron at the fair and the carnie who was running it got arrested for operating heavy machinery while being wasted and they cuffed him and took him away and NO ONE remembered to turn off the Gravitron and we were spinning and spinning and Hannah flipped out and was crying and some guy who was totally like twenty-five barfed on everything and his vomit flew in the air and started spinning and landed on everyone! It was disgusting and we couldn’t move and the ride kept going and it smelled like Red Vines. Exactly like Jäger. Traumatizing.

Sure, I’ll have a sip…

(Beat.)

I knew you were going to be here tonight. I mean—not in a creepy stalker way, but Gavin told Gabby that you guys were getting a ride together and Gabby was so excited about Gavin that she told all us girls and asked if she could borrow my acid-washed Jeggings—so I knew that you were going to be here. But don’t tell Gavin what I said about Gabby. And since you and me are in the same chemistry dissection group—it’s like—wow—we are seeing each other a lot.

Chemistry right?!? GROSS. But chemistry is totally important, too…

(Awkward silence.)

So—when you were spinning that bottle and it landed on me, what did you think? I mean—don’t answer that. OH god! Why did I say that? How many minutes do we have left?

(Beat.)

Sure, I will have another sip. I kinda like it a little bit more.

(Beat.)

(Laughing.) Our hands totally bumped… sorry. I don’t mind, though—if you don’t. I mean—I knew you were going to be here so I hoped the bottle would land on me. But I know you are on-again, off-again with Reagan, but she was totally hooking up with Armen last week and I hope someone told you because you deserve better. And I am not saying I am better—but I would totally never hook up with Armen.

Gross—right?!?

(Beat.)

You want me to take a drink and then swallow it and then you want to taste it on my lips? Ha-ha-ha! Gross… right?

Oh—you are serious. Okay. Wow. Ummm. Our time is almost up.

But you know I am learning to love the taste of licorice I guess, and I am really glad the bottle landed on me, and I for one don’t care that you are failing math.

Here—hand me the bottle…

(There is a knock on the door. Reacts to knock.)

HOLD ON!!! THIS IS ALMOST MY TIME IN HEAVEN!!! MAKE IT EIGHT MINUTES FOR CHRISTSAKES—COME BACK WHEN I SAY SO. THE BOTTLE LANDED ON ME!!!

(Beat.)

So, where were we—I just love playing games.

8. “No Place Like Home” by Keisha Cosand

Mandy has spent considerable time over the last few years telling her parents how much she hates them and how the absolute instant she becomes an adult, she’s moving out to live life on her own terms. But in this monologue, she’s just turned 18 and is experiencing some second thoughts. This is a great monologue to explore a rocky transition from childhood into adulthood.

MANDY
Mom, Dad, remember how I said I hate you, and I’m out of here the second I turn eighteen. About that… first, I would like to apologize. I don’t really HATE you. You’ll be pleased to know that I’ve been giving this A LOT of thought.

As much as I would LOVE to move out and have my own apartment, and as great as it would be to decorate it super cool with IKEA everything, and have parties… invite all the guys you don’t approve of and won’t let me go out with… I mean just because Donny has tattoo sleeves and his tongue is pierced doesn’t make him a bad guy. 

(MANDY pauses and lets out a happy sigh.) 

I could sleep-in forever and have a freezer full of ice cream. No one would yell at me when I don’t make my bed, and I could come and go any time of the day or night. It really would be heaven. I wouldn’t have to worry about leaving dishes in the sink, or you guys waiting up for me at midnight, in the La-Z-Boy, in the dark… seriously, I thought I was going to have a heart attack when you swiveled around and beamed that flashlight in my face! You have to agree, you guys are a little extreme.

But like I said, I’ve been thinking… and doing some math. Don’t give me that look, Dad, I can add (on my phone). Apartments are totally expensive! A decent place in a neighborhood with a moderately low crime rate is $1,200 a month! Then food will run about $200, if I never eat out, and gas is like $150. Where am I going to get that kind of money? That doesn’t even include clothes, makeup, hair, and just forget about my nails! Yes, I know, I’m supposed to work, but I looked into that. The only jobs I’m qualified for pay like $8 an hour. Do you know it would take me almost twenty hours of hard labor to buy a pair of jeans?! Yes, Mom, I know your jeans don’t cost that much, and no offense, but I wouldn’t be caught dead in jeans from the Gap.

So… I think you will be excited to know that I am not moving out. I am going to stay here with you guys after all! Isn’t this great? Um, I am hoping that you will be open to a few compromises, though. Now that I’m an adult, I think we should ditch the curfew. Oh, and I think you will agree that it’s time to increase my allowance. Honestly, I think this is best for all of us. You guys get to keep your little girl… FOREVER! YAY! Group hug?

9. “Twelfth Night,” Act 2, Scene 2, by William Shakespeare

“Twelfth Night” tells the story of Viola, a young woman who washes ashore after a shipwreck. Thinking her twin brother has died, she presents herself to the Duke dressed as a boy to protect her virtue. The hijinks continue as she quickly falls in love with him—but the lady Olivia falls in love with her. Just before this monologue, Olivia gives her a ring. This speech is an excellent choice because it offers a wide range of emotions for an actor to portray. At the beginning of the monologue, Viola is confused, but she begins to untie the “knot” as it dawns on her that Olivia is in love with her. 

VIOLA
I left no ring with her: what means this lady?
Fortune forbid my outside have not charm’d her!
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord’s ring! why, he sent her none.
I am the man: if it be so, as ’tis,
Poor lady, she were better love a dream.
Disguise, I see, thou art a wickedness,
Wherein the pregnant enemy does much.
How easy is it for the proper-false
In women’s waxen hearts to set their forms!
Alas, our frailty is the cause, not we!
For such as we are made of, such we be.
How will this fadge? my master loves her dearly;
And I, poor monster, fond as much on him;
And she, mistaken, seems to dote on me.
What will become of this? As I am man,
My state is desperate for my master’s love;
As I am woman,—now alas the day!—
What thriftless sighs shall poor Olivia breathe!
O time! thou must untangle this, not I;
It is too hard a knot for me to untie!

10. “comment below” by Emmy Kuperschmid

This play is a dark comedy about isolation in the modern age. It can be incredibly lonely to be a teenager, which teen girl actors can use to great effect. In this monologue, Kitty is both upbeat and funny before digging into the reality of her loneliness. The wonderful thing about this speech is that there are a lot of verbal stops and starts, and it’s a wonderful chance for an actor to fill in details.

KITTY
hiiii friends!
It’s Kitty.
Thank you all for watching my first video!
I didn’t expect so many people to see it! But I’m so grateful to all of you for watching!
And everyone who asked me to check out their channels or follow them, I did! I feel like everyone is so good and talented wow thank you for taking the time to watch my videos and talk with me!!
SO, people have been asking LOTS of questions in the comments, so i decided now would be a good time to ANSWER some of your questions! let’s see....
first one, from moonchild3:
kitty, how do you do your makeup?
actually, i don’t wear very much makeup! I take good care of my skin by drinking lots of water and eating healthy and making sure I go to bed on time every night.
Two: Haloween_oreos writes: “I’m so glad you started making these videos!” Ahh me too! “Where are you from?”
I feel like this is the kind of thing I shouldn’t answer? For now all I’ll say is...I’m from planet earth. You’ve probably never heard of my new town anyway. From your channel it looks like you’ve been all sorts of cool places though so you never know! That would be funny.
Third:
a lot of people have been asking about my aesthetic! Well, the way I feel is that—that’s something I have total control over. Like, I can’t control what homework I get,
or where I live,
or if people like me,
or if...
or my...
or my.....
...but I CAN control what I surround myself with. (to an extent, you know)
So I try to surround myself with things that make me happy. So I guess that’s my aesthetic? Things that make me happy?
I’m glad they make you happy too!

(A beat. She sits in her loneliness.)

Because, you know,
I can’t control who I am in real life but—
I can control who I am on the internet.
I can
I can control who I am—
The internet isn’t tied to a place or a time,
The internet can’t move or leave or be made to leave, I can have friends on the internet, I—

(Beat.)

I’ll cut this part out.

LightField Studios/Shutterstock

The most important thing you can do to nail your audition is to adequately prepare.

• Choose the right monologue for the part: Learn as much as you can about what you’re auditioning for: Is it a comedy? Drama? Dark comedy? Musical? Will you be required to sing and dance? How many monologues do they want you to prepare, and how long should each monologue be? You don’t want to walk into an audition for a romantic comedy and deliver Juliet’s final monologue before she kills herself.
• Read the play: If you are able to get the full text of whatever you’re auditioning for, read that. You also need to read the full text of the play your monologue is from. This will give you a deeper understanding of the piece, which will elevate your performance by allowing you to incorporate nuance.
• Memorize your lines: This one should be obvious, but plenty of people walk into auditions with a printout of their monologue in hand—which is definitely considered a faux pas. You are not expected to memorize sides, but if you receive them a few days in advance, it can make you stand out if you memorize those as well. 
• Have a deep textual understanding: This is particularly true for Shakespeare or any monologues in verse, but it’s vital to know what every word means. Bust out the dictionary and read online resources about the piece you’re learning so you are crystal clear about its meaning—text, subtext, and all.