From Judi Dench to Ian McKellen to Harold Perrineau, esteemed actors throughout history have made their mark with their interpretations of the Bard’s greatest roles. For auditioning actors, finding the right Shakespeare monologue can be a daunting task; so we’ve done the work for you. Here are some of the most famous selections, along with some lesser-known picks, for your consideration.
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Erin Roth, an acting coach who specializes in the Bard, knows that finding the right piece can be tricky; here are her tips on how to find the best Shakespearean monologue for you, plus her picks for the best selections for female actors.
“Hamlet” Act III, Scene I: Ophelia
O, what a noble mind is here o’erthrown!
“This is both a beautiful monologue and an example of Shakespeare’s brilliant stagecraft. Ophelia has no one else to talk to—her brother is gone, her father is using her for political purposes, and Hamlet has just said some devastating things to her—so she talks to the audience in a soliloquy.”
“Julius Caesar” Act II, Scene I: Portia
Is Brutus sick? and is it physical
To walk unbraced and suck up the humours
Of the dank morning?
“Shakespeare writes brilliantly about marriages, and this Portia and Brutus scene is no exception. Brutus is conspiring to kill Julius Caesar, but he has not confided in his wife. Portia knows something is wrong.”
“Measure for Measure” Act II, Scene II: Isabella
Could great men thunder
As Jove himself does, Jove would ne’er be quiet…
“If you’re looking for an Isabella monologue that is less well-known, this one is fantastic…. This is the beginning of Isabella’s journey into understanding the devastating effects of the male abuse of power.”
“A Midsummer Night’s Dream” Act II, Scene I: Titania
Set your heart at rest.
The Fairyland buys not the child of me.
“Another brilliant examination of a marriage, this quarrel has severe consequences for humanity and the environment.”
“The Tempest” Act I, Scene II: Miranda
If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
“If you’re a younger actor or new to Shakespeare, Miranda is a great place to start…. [Here, she’s] just seen a ship dashed by a storm, and she suspects that her father, who has magical powers, was responsible.”
“Troilus and Cressida” Act III, Scene II: Cressida
Hard to seem won; but I was won, my lord,
With the first glance that ever—pardon me…
“If you’re looking for a comedic monologue, this is an excellent choice…. It’s a delightful and relatable journey for both actor and audience.”
Here’s Roth’s roundup of six exciting, challenging, and moving Shakespeare monologues for male actors.
“Hamlet” Act III, Scene III: Claudius
O, my offense is rank, it smells to heaven;
It hath the primal eldest curse upon’t,
A brother’s murder.
“This monologue happens after Claudius leaves [‘The Mouse Trap’ after being] brought into consciousness by watching his own crime committed onstage. Claudius’ thought process and the journey he goes on in this monologue are incredible: Can he pray? Can he be forgiven for his crime?”
“Hamlet” Act I, Scene II: Hamlet
O, that this too, too sullied flesh would melt,
Thaw, and resolve itself into a dew…
“This monologue is a beautiful example of the power that speaking holds in Shakespeare’s plays. Speaking brings Hamlet…into the understanding that something is amiss and confirms why he is feeling the way he is feeling.”
“The Merchant of Venice” Act III, Scene II: Bassanio
So may the outward shows be least themselves;
The world is still deceived with ornament.
“In this monologue, the stakes are high. If Bassanio chooses the wrong casket, he has vowed never to get married.”
“A Midsummer Night’s Dream” Act I, Scene I: Egeus
Full of vexation come I, with complaint
Against my child, my daughter Hermia.
“In this monologue, Egeus has brought his daughter, Hermia, [as well as] Lysander and Demetrius, before Theseus, the Duke of Athens. Egeus is angry with Hermia because she won’t marry Demetrius, the man he has chosen for her, instead choosing Lysander. Egeus invokes the ancient law in Athens that if Hermia doesn’t do as he wishes, he can kill her.”
“Richard III” Act I, Scene II: Richard
Was ever woman in this humour wooed?
Was ever woman in this humour won?
“In Shakespeare’s stunning portrait of a sociopathic tyrant, this monologue is a rare moment of change for Richard III. He has what he thinks is an amazing realization: Maybe he isn’t as ugly or misshapen as he thought.”
“The Winter’s Tale” Act III, Scene III: Antigonus
Come, poor babe.
I have heard, but not believed, the spirits o’ th’ dead
May walk again.
“What happens when we’re tasked with impossible, inhumane, soul-wrenching tasks by our leaders? Leontes has ordered [Antigonus] to leave a newborn baby out in the wild to die. Not only that, but he threatens to kill both Antigonus and his wife, Paulina, if Antigonus doesn’t follow his bidding. What would any of us do?”
Acting coach Denise Simon believes that “every young actor dreams of the chance to deconstruct and explore Shakespeare.” Here are her top picks.
“Henry VI, Part 1” Act V, Scene IV: Joan of Arc
First, let me tell you whom you have condemn’d:
Not me begotten of a shepherd swain,
But issued from the progeny of kings.
“Who wouldn’t want to play one of the toughest, most headstrong women in history? Joan’s simultaneous anger at the men who call her a witch gives this monologue great versatility with the tools to make creative choices…. If you’re a headstrong, independent actor who’s looking for a character to showcase that, you may be the perfect witch to play her.”
“King John” Act III, Scene I: Blanch
The sun's o'ercast with blood: fair day, adieu!
Which is the side that I must go withal?
“The strong conflict [in this speech] gives young actors the freedom to play heightened emotions, which, coupled with the complex relationship between Blanch and her husband, makes this monologue a great challenge for any girl looking to expand her acting horizons.”
“A Midsummer Night’s Dream” Act I, Scene I: Helena
How happy some o’er other some can be!
Through Athens I am thought as fair as she.
But what of that? Demetrius thinks not so.
“Always a fan favorite, here, the conniving Helena laments her inability to woo Hermia’s suitor, Demetrius. Her desire for beauty, as though confirming her appearance to match Hermia’s will make her worthy of love, is one that many teen girls can relate to—as is her lovesick despondency.”
“A Midsummer Night’s Dream” Act I, Scene I: Lysander
I am, my lord, as well derived as he,
As well possess’d; my love is more than his.
“Lysander showcases unexpected bravery in this scene, essentially standing up to the adults in the room, which is a dream that all teens share. It’s a great scene for a timid teen who wants to expand his range.”
“Romeo and Juliet”: Act I, Scene I: Romeo
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
“[Romeo] has the same confusion about life that’s indicative of being a teen. His monologues tackle themes of love, fate, and grief, and they use complex metaphors to paint a dynamic picture of what it means to grow up. This makes it an easy character for boys to understand and provides a vehicle for them to improve their craft with nuanced writing.”
“Two Gentlemen of Verona” Act II, Scene III: Launce
Nay, ’twill be this hour ere I have done weeping;
all the kind of the Launces have this very fault.
“The language in this speech is definitely a challenge, even tripping up Launce; but it’s a hilarious, self-aware piece that an actor can really have fun with. It’s a break from Shakespeare’s typical style of comedy, playing with language and poking fun at his usual use of metaphor. It really gives an actor the space to play with and become more acquainted with the Bard’s style.”
While the Bard can be a challenge for young actors, with the right material, Simon believes that kids can have “a lot of fun” with it. Here are some of her favorites.
“As You Like It” Act III, Scene V: Rosalind
And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched?
“The long string of insults flows well because of the engaging language, which will keep young girls excited and connected to the story. It’s also a great avenue for kids to express some of their unspoken frustrations, which is always a cathartic experience.”
“A Midsummer Night’s Dream” Act II, Scene II: Puck
Through the forest have I gone.
But Athenian found I none,
On whose eyes I might approve
This flower’s force in stirring love.
“What better character to get kids interested in Shakespeare than the mischievous, high-energy Puck? Puck has many great monologues in the show, [often] breaking the fourth wall to provide helpful commentary [as he carries] out King Oberon’s demands, and they can be performed by any child.”
“A Midsummer Night’s Dream” Act V, Scene I: Snug
You, ladies, you, whose gentle hearts do fear
The smallest monstrous mouse that creeps on floor,
May now perchance both quake and tremble here,
When lion rough in wildest rage doth roar.
“This is a great [introduction to] Shakespeare for very young actors. It’s short and easily understood—with some coaching—and it provides the adorable irony of a gentle child playing a fierce lion.”
“The Tempest” Act III, Scene III: Ariel
You are three men of sin, whom Destiny,
That hath to instrument this lower world
And what is in’t, the never-surfeited sea
Hath caused to belch up you.
“Another gender-neutral, mysterious character, Ariel is a spirit inhabiting Prospero’s island…. This is a great piece for young actors to explore [their] physicality, giving them the chance to [play] a spirit and [decide] how they think it would move.”
Here are some of Roth’s favorite hidden gems to consider as audition pieces.
“Henry VI, Part II” Act I, Scene III: Queen Margaret
My Lord of Suffolk, say, is this the guise,
Is this the fashion in the court of England?
“In this…intimate scene with Suffolk, [Margaret] questions him over the situation in England, where her new husband, King Henry VI, does not fully command power. Like or dislike her, you’ve got to understand her situation, invest in her perspective, and fight for it.”
“Julius Caesar” Act II, Scene I: Brutus
It must be by his death. And for my part
I know no personal cause to spurn at him,
But for the general.
“Brutus is alone, and as is always the custom in Shakespeare, speaks to the audience about why he believes Caesar must be killed.”
“Love’s Labour’s Lost” Act V, Scene II: The Princess of France
A time, methinks, too short
To make a world-without-end bargain in.
“[This] is a great monologue for an actor looking for a coming-of-age character…. This monologue is not that just of a young lady turning into a woman, but a princess turning into a queen.”
“Macbeth” Act IV, Scene III: Malcolm
Macduff, this noble passion,
Child of integrity, hath from my soul
Wiped the black scruples, reconciled my thoughts
To thy good truth and honor.
“Malcolm is often overlooked or misunderstood in this great play…. [He’s] the son of the murdered king and has a claim to the crown, yet he cannot be sure whether Macduff is there to take his life or deliver him to Macbeth.”
“The Merchant of Venice” Act IV, Scene I: Shylock
What judgment shall I dread, doing no wrong?
You have among you many a purchased slave…
“This play is complicated, and its characters are multilayered; Shylock is no exception. After being told repeatedly to have ‘Christian mercy’ throughout the scene, Shylock deftly points out that many of the Christians in the court are slave owners, and that if the duke doesn’t uphold his contract, none of Venice’s laws will have any force.”
“The Winter’s Tale” Act III, Scene II: Hermione
Since what I am to say must be but that
Which contradicts my accusation…
Or:
More than mistress of
Which comes to me in name of fault, I must not
At all acknowledge.
“You may have heard of Hermione’s other monologue, ‘Sir, spare your threats,’ and although it is a gorgeous speech, it’s performed often. If you can get away with a longer speech, ‘Since what I am to say must be but that…’ is an excellent monologue…. If you’re in need of a shorter monologue, look no further than a few lines later in the scene for ‘More than mistress of….’ ”
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