I've found a monologue called 'Epiphany' that I want to perform in class but I'm required to read the whole play first. The title isn't listed in the anthology that I have, how do I find out what play she is from? Epiphany is a character in Eye of the Beholder. I know that with some books it's difficult to tell which monologue came from which play, so I've made an index to help: Click here! ~~~ I am working on Fiona's monologue from Eye of the Beholder. Can you describe a bit more what the play is about? Eye is about the power of perception. Each of the characters view their personal circumstances in a unique way,vastly different from what would generally be assumed about them. Lila, for example, is assumed to be simply a hooker. In her eyes, however, she is doing God's work. She views herself as a holy conduit and believes that each man she encounters has made a pilgrimage to her...and through her will be healed. Fiona initially appears to be a completely clueless, elitist bitch - but as she continues to speak she reveals that she is trapped by the perceived power of her own beauty, so much so that what seems simple and natural to most people is just too great a risk for her. No matter how desperately she wishes otherwise, the unknown is just too terrifying for her to take a chance. ~~~ What is Voices in the Dark about? The short answer is that it is about insomnia. It explores the reason why several character in different places from vastly different walks of life all happen to be awake at three o'clock in the morning. ~~~ Why do some of your characters curse so much? I mean, is that really necessary? Well, in short: yes. Some of my characters do curse a lot, others not at all. I don't believe in adding vulgar language for shock value, that's just pointless. It is simply that this is how some of my characters talk. They just do. It would be just as disingenuous to change the way they express themselves for fear of offending someone as it would be to add coarse language in hopes of shocking someone. The ones who curse do so simply because that is who they are. Safe curses constantly because it's her vernacular. Henla does so because she loves the way the words feel in her mouth and can be strung together in so many fun ways. Denis curses a blue streak because he is really, really angry and these are the only words that can even come close to expressing his frustration. This is why I object to those who want to 'perform a character without all the dirty language'. Changing or removing a character's words fundamentally changes who they are. Any writer will tell you that every word is there on the page for a reason. I'm not trying to sound lofty, but to me it is like music. If you start removing or rearranging the notes, the song is still there...but it is vastly different from what is was intended to be. ~~~ I am going to be playing the part of Henla from Small Mercies. Could you please give me a synopsis of her point of view? Henla begins every conversation somewhere in the middle, as if she has already been speaking for some time and you have just missed it...and as far as she is concerned,you snooze, you lose. Her age range is irrelevant; she appears ageless, so whether she is played as a twenty-five year old or a fifty year old shouldn't matter. She carries everything she owns in her bag, and although she has lived in this park for years, that fact is not readily apparent. As far as she is concerned, she is just always on her way to somewhere else.Where she is now is not her home, it is simply where she happens to be at the moment. As she says later on, she has just ‘lost her bearings’ for a bit. Henla is the philosopher of the play, but with a completely cut-to-the-chase, no bullshit approach. She is shrewd and impatient, speaks plainly and directly, and has no tolerance for self pity of lofty world views. She believes that everyone is as lost as she is but is too afraid to admit it. She believes that people couch themselves in feel-good sentiments
and complex belief systems in order to focus on the minutia of what they choose to believe,and how it differs from what others want to believe... when deep down, it all comes down to the same thing: that gnawing hole in the middle of your chest. Everyone has it, and no one knows why, and that puts us all on a level playing field. She watches for people whom she thinks pretend to know a great deal, so she can point out that none of us really knows anything. Henla has a lot going on beneath the surface that is left unsaid. She is wise, and a bit of a spitfire, but still not able to help herself. The irony of her character is that although she can see right through anyone, she is unable to see herself clearly. Or, more precisely, she chooses not to. She has disdain for others who are ruled by their fear...but, of course, she is as well.
~~~ Can you tell me more about the character from This Dream?
The woman in This Dream is in her late forties. She feels trapped by a life she never intended to have - one that includes an abusive marriage and a terribly lonely existence. She began her adult life with great promise - an intelligent woman full of dreams and so much potential. Suddenly she looks up and realizes that twenty-five years have passed her by. One compromise led into another and another...and now she finds herself sitting in this house, looking out the window for hours on end, dreaming of the plans she'd once had. All the things she'd meant to try and explore and never did. Most shocking of all is the realization that she has somehow managed to become married to someone who brutalizes her. She just can't wrap her brain around any of it. It is impossible for her to believe that this - this sad,lonely, hopeless, person -is what has become of her. She simply cannot face the reality of her situation,or the possibility that life has passed her by. Worst of all is the knowledge that she allowed all of these things to happen to her. Her choices put her here. To face this truth is far too painful...more than she could possibly handle. So, instead, she chooses to believe that she is still twenty years old...and everything around her right now is simply a bad dream. It must be, she rationalizes, because she would never let any of this happen to herself. She just keeps telling herself that sooner or later she will wake up from this terrible dream, and then she can begin her real life. Deep down, of course she knows the truth, but is using all the energy she can muster to keep from facing it. At the end of the piece she is begging with all she's got to make it true: to make this life of hers be just a dream. She would give anything, do anything, for that to be true. But of course it isn't. ~~~ I've been studying Denis from Small Mercies. I'm trying to get a better idea of where he is coming from. Can you give me some background? My director and I disagree on whether or not he is mentally ill. I'm glad to hear that the two of you disagree! I wanted Denis' sanity to be left up to personal interpretation. I've found that personal perspective really shapes how actors see him. I can tell you that he has definitely been pushed to his limit-he's angry, frustrated, and has been forced to question his internal barometer of what is real and what is self-created. Right now he really has no idea what is going on, and it pisses him off. Whether he is sane or not -well, it's been interpreted both ways and each side has had a strong argument to back up their choice-so it's really up to you and your director to decide. If you remain at a stalemate, I suggest arm wrestling, two out of three. Unless, of course, you have the means for a steel cage match... Having said all this, do I think he is crazy? No, but I don't believe any of my characters are crazy, just...um, quirky. ~~~ What is the fastest land animal? The cheetah! (ten points if you caught the Airplane reference) ~~~ Back to Main | 
