Tuesday 16 April 2024



On June 13th, 2024, An Actor’s Playhouse will host a GET BOOKED class in Lagos, Nigeria. The class is open to everyone. Whether you’re just starting out or have been in a number of productions, we all know that auditioning is almost every actor’s biggest fear. But after this class, trust me, you’ll have learned all the tips and tricks needed to ace your auditions and stay booked and busy. 

There are only 30 spots available, so reserve your spot now CLICK HERE. The top 5 participants will be selected for a talent showcase hosted by An Actor’s Playhouse on June 15th, 2024! Where they'll have the opportunity to perform for and network with some of the biggest industry professionals, from Directors to Producers, Agents, and Casting Directors! 

It’s going to be an intense yet super fun experience. So come ready to work, learn, interact, and have a great time.

Now, if you can’t attend the class or don’t get selected to perform, you can still attend the talent showcase and have the opportunity to briefly network with some of these industry professionals, listen to a fireside chat with them, and be entertained by the performances of the chosen actors. 

There are only 40 spots available for the talent showcase, so reserve your spot now CLICK HERE.

This is an event you don’t want to miss out on; we have limited spaces for both days. So, RESERVE YOUR SPOTS NOW

Tuesday 6 December 2022


Hey housemates, 

Here are some monolgues that you can perform at any audition.


From the play The One-Eyed Guru.

Age range: 20s- 50s

Rachel, an unassuming but surprisingly determined woman, has returned home at an unusually late time, where she is confronted by her husband, Jack, who has been anxiously waiting up for her. Eventually, however, it is Rachel who does the confronting, when she produces a scant of particular significance.

The actual use of a light scarf would work well here, adding a physical dynamic at various points throughout the piece, but of course it could justas easily be mimed.

(Proffering a scarf) Here, take it. It's Melanie's: (Beat) Yes, Jack, Melanie's - you do remember Melanie, don't you? You work with her every day… to say the least. Surely her name must

ring a bell or two? I know it's hers. I know it from that pungent smell of a Chanel No. 5 knock-off. That and the fact that I found the tail end of it poking out from beneath our bed. (Beat.) I've seen her wearing it often. It's obviously a favourite. Which is why I'm sure she'd be very relieved to have it returned. (Beat.) And no, this didn't make me feel any better, Jack… having you wait up into the night, wondering all the time where I was? Having you worry and fret about who I was with or what I was doing? Having nasty, insidious thoughts clawing their way into your mind as you tried like a fool to pretend to yourself that everything was all right? No, it didn't. Not really. (Beat) But perhaps… perhaps if everybody knew but you, because you were too cowardly or naive to face the obvious: perhaps if you had your friends telling you that you were being made a mockery of, perhaps if you'd had the phone slammed down on you a dozen times the moment your voice was heard on the other end; perhaps if you'd smelled cheap perfume on your husband's jacket, on his shirts, on the sheets, in the car, up your nose, always, everywhere, lined to the inside of your nostrils like some noxious chemical you couldn't escape no matter where you went, no matter what you did, then yes, yes… I might have felt better.

From the play The Treachery of Images.

Age range: 20s - 50s

In The Treachery of Images, a married couple are placed in the unthinkable position of having to come to terms with the murder of their daughter. While the wife, Christine, has withdrawn into a deadened world of suppressed rage and bitterness, her husband, Tom, has taken the unusual step of publicly announcing his forgiveness of their daughter's

killer, driving a profound wedge between them. Here Christine is found examining the nature of their relationship and whether what they thought they had together ever really existed.

In the original play, Christine is described as a woman of middle age, but in this particular monologue there's nothing in the text to prevent the age range from being broadened.

Ah, yes. that word again... : The problem is there's a you and a there's a me, but I don't believe that there is an us anymore. I sometimes wonder if there ever was. In the beginning, I suppose. But looking back…… what was it? (Beat) What was it really? I'm sure I thought it was love, but I wonder now if it was really just… a close approximation? Because it's all so new, isn't it, when you're starting out? So how are you supposed to know? How do you know what you’re feeling? How do you know if it's the real thing or… or just something close to it? How do you know the difference? I mean, you're innocent and naive and everything’s new, and... then one day you meet someone and you find yourselves attracted to each other, and you share things in common and you make each other laugh and feel special and important in ways you'd never felt before, and it's all rather like being a little drunk. And while it's all still heady and intoxicating, you find yourselves making all kinds of plans

and commitments for the future, and you're so caught up in it all that you don't even notice the buzz wearing off. It all becomes a blur of years and events, of birthdays and anniversaries, highs and lows…a lifetime. And you never stop to re-examine it...not really. Because it's done. And you're

scared to. So you don't. (Beat.) Until something like this happens.

From the play The Reptia, included in the collection Going Solo: One-Act Plays for One Actor.

Age range: 20s - 60s

Taken from the one person play The Replica, we're presented here with an abused wife who we find recounting her recent attempt at regaining some sense of order amid her ever-deteriorating surroundings. Though her manner is friendly and personable, it's also somewhat impassive, a result

of her having become inured to her unfortunate circumstances.

The first time he hit me he seemed genuinely horrified at what he'd done. He appeared, in his anguish, and much to my surprise, to actually take a step back and re-examine himself and the person he'd become. The second time, less so. The third and thereafter it became a matter of routine. (Beat.) Like anything, I suppose, the more you do it the less you think about it. Familiarity breeds contempt…and contempt becomes familiar. It's all what you get used to, isn't it? (Beat.) Before long, I found my face to be hardening almost as fast as my heart. I thought about telling someone. I thought about a lot of things. It's all I ever seemed to do - stare out at nothing in particular… wondering if it would change. (Beat) Eventually it got to the point where I’d let both myself and the house go to such an extent that even I couldn't stand it anymore. One morning, I got up and showered first thing, just like normal people did, made a little effort in my appearance - for what purpose, | was't quite sure, but I did it anyway- and began the task of reclaiming some sense of order out of the chaos that was now my habitat. With a zeal that surprised even me, I swept, dusted, cleaned, sorted, and organized. The bedroom, in particular, had become a shrine to neglect, and the piles of dirty clothes and discarded folderol seemed never-ending. Still, I persevered. Nearing the end of my task, I decided to make sense of the stack of business papers and printed emails that Karl routinely emptied from his briefcase onto the floor of his closet. As I stacked and tidied, I came upon a pornographic magazine filled with pictures of naked teenagers, all with Russian names. Dimitri, Vladimir, Igor, Kostya, Alek. I pushed the magazine back amongst the pile of papers as surreptitiously as I imagined Karl must've done on numerous occasions, and

banished the thought of it from my mind. (Beat.) I'd never seen it.


From the play Suburban Redux.

Age range : 20s - 50s

Tristram a rather shy, awkward young man with a slight stutter has just been rebuffed by the high-spirited woman he adores. What began as friendship, son developed into something far more amorous in nature on Tristram’s part, but when his confession of love is met with rejection, he attempts - with painful honesty - not only to accept her decision but to justify it. This is a monologue that will certainly speak to anyone who has ever felt less than adequate in the presence of more dazzling, vivacious company.

While the character in the original play is portrayed as a man of younger years, there is nothing here in the text to prevent an actor of any age from performing this monologue.

No, no, it's quite all right. And it isn't self pity, it it's self knowledge. I'm quite aware of who I am. And I'm quite aware that I've never had a-a particularly interesting or revealing thing to say or contribute in my entire life. And you

needn't be kind, I-I'm not in need of sympathy. Self- knowledge is a source of strength if one's able to embrace it. But the fact remains, when you get right down to it, I'm a decidedly dull individual, and it was stupid and vain of me to

imagine you could regard me as anything else. But it's who I am. I don't wish to be dull. Who would? I can imagine nothing more wonderful than to be an object of fascination in the eyes of another. But no matter how I try it's not to be - not for me, at least. (Beat) But, you see, unlike your husband, whenever I look in the mirror I'm more than capable of facing the truth - however sobering. (Beat) Oh, don't get me wrong - I-I’m not saying I don't find life interesting. I do. I find it immeasurably interesting, as I do people, and art, and music, and literature… and you. I think that must be why I love you a-and love being with you as much as I do - you fill in the bits of me that are missing. When I'm with you I feel as though I am interesting and witty and clever. And I'm sure any number of psychologists would be happy to tell me that that's vicarious a-and weak and wrong of me, but you see… it makes me so very happy. (Beat.) But with you, as with the arts, I'm simply a receptacle for someone else's abilities. I absorb them, I feed on them, they enrich me, but at the end of the day…I bring nothing to the table 

From the play One Night Only, included in the collection Going Solo: One-Act Plays for One Actor.

Age range: 20s - 60s 

Denny is a prison inmate on death row in a Southern U.S. penitentiary. On the last night of his life he decides to conduct an interview with himself while awaiting the imminent arrival of his executioner, who is in an adjoining room and visible through a semitransparent window. Here we find him recalling his initial motivation for contemplating the act of murder as well as his moral justification for choosing to act on those thoughts. 

While a Southern American accent might seem obligatory here, it most definitely isn't. There are almost 3,000 inmates on death row in the United States (at the time of writing) hailing from all parts of the country, as well as roughly 35 foreign nationals from across the globe.

You wanna know about the first time? (Beat.) The first time, the first time, yes, yes, yes... well, well, well… the first time, yes, well, I'd been thinking about it, you see - about killing someone - for quite some time. Quite some time. Years, as a

matter of fact. And then one day I just decided to do it, just because I could, and… because I wanted to know what it felt like, and because I had the ability and the intellectual curiosity, and because... well, I think it's fairly safe to assume

I was probably having a bad day: (Beat) And they said, “But you knew it was wrong, Denny.” (Beat.) But wrong? What's wrong? It's only wrong if you choose to call it wrong. Same as right. Someone decides what's called wrong and whats

called right. They just give it a name. They say that that's wrong and that's right, that's yours and that's mine. Doesn't mean they're right. It's just a choice. Look at him in there - he's about to kill me, and what's more he's being paid to do it

by the same people who say what I did was wrong. So you tell

me? And no one paid me. And I wouldn't say he looks particularly bothered about it either, would you? Look at him, shuffling around in there like he had all day. (Beat.) Hey! (Beat.) Hey! (Beat, then with ferocity.) HEY!I DON'T HAVE


From the play The Treachery of Images.

Age range: 20s - 60s

In the days and weeks following the murder of his young daughter, Tom has appeared unusually calm and detached, provoking anger and exasperation from his grief-stricken wife. Here, however, after a particularly virulent confrontation, he finally opens up and reveals to her the reason for his frequently impassive demeanor.

As mentioned previously, though a man of middle age in the source play, nothing in the text here prevents this monologue from being performed by an actor of any age.

I’m.. sure that you already know this, but.. when the human body is… injured in some way, some quite painful way… it releases endorphins into its system in order to numb itself to that which… might otherwise be unbearable. It creates its own opiate to drug itself into tolerating the intolerable. It's how it survives…or tries to. (Pause.) When the police first arrived at my office to...to inform me, consolingly but also quite... bluntly, of what had happened to Susan, I.. well, I don't know how to describe it, quite honestly. Initially I…I didn't believe them, it just didn't seem… possible. I thought there must have been some sort of mistake. I told them as much. (Beat.) They…assured me that there was no mistake… that identification had been found on her body and… that they were… well, very sorry. (beat) After they left I… it didn't so much sink in as …envelop me. Entirely. I waned to scream. Every part of my body wanted to scream. I thought I would explode. It was too much to take in, to contain. I wanted to scream so loudly that the sheer force of my voice would… make it not true. That I could stop it. (Beat) But I couldn't. I couldn't stop it. And I couldn’t

scream. (Beat) Instead, this… strange feeling swept over me. Over my mind. Over everything. It was almost physical. I felt it hit me, roll right over me. It hit so hard I thought I would faint. It was like being drunk. Too drunk. Everything was in slow motion, and I was falling… (Beat.) And then I was numb. And I think I knew why… in a way. But it didn't matter, because I couldn't control it. It all just sort of shut down… because it had to. But it was okay, you see, because it made it...because… I could breathe again. It suddenly all looked different. It was apart from me. (Placing his fist against his chest.) It wasn't in here anymore. It was somewhere else.And so was I. (Beat.) And there I've been ever since……hiding.…scared……in this…strange calm. Scared but protected……from all that would consume me...submerge me. I'm on an island, you see? And it's very small… and it's very lonely. (Beat.) And I can't get off it. Not yet. (His voice cracking with emotion.) And this is how I survive. And I know it may seem cowardly… but it's what I must do. I know there are storms and raging seas all around me, but…but here … here on my island, if I look up at the sky… it's blue and it's calm. and it's safe. And if I just keep looking up … then the rest of it… I can let go of. (Pause.) Please forgive me.

Tuesday 27 September 2022


Hey Housemates, 

Included below, is the side for the ADVANCED CLASS ONLY


- Deadline is the 15th of October 2022 

- You need to pick a partner of the opposite sex to work with (It can be someone from the advanced class). 

- To submit, upload your monologue to your YouTube channel and make it UNLISTED (not private), then send the link to us via email (actorsplayhousecast@gmail.com).

Monday 22 August 2022

August/September 2022 Monologue for INTERMEDIATES

Hey Housemates, 

Included below, is a monologue for the INTERMEDIATE CLASS ONLY


- Deadline is the 5th of September 2022 

- To submit, upload your monologue to your YouTube channel and make it UNLISTED (not private), then send the link to us via email (actorsplayhousecast@gmail.com).


Like Dreaming, Backwards is a series of monologues and scenes about the suicide of a young college student named Nell. Leah is Nell's mother. The play also includes monologues from an acquaintance, Yale, and her close friend, Natalie.


She had chronic depression, ever since she was twelve. Her father had depression, too. And her sister. And I was on antidepressants for a while, when I was her age. She was very high-functioning. She went years without any real incidents. She had control of it when she was in high school. And then, all of a sudden, things just... fell apart. She... spiraled.

I asked her to move back home, but she said no, over and over again. She was hospitalized last summer. But I really thought that she'd get past it. I thought, "It's just a matter of time before she finds the right medicine, or the right therapist... and things will go back to normal."

That day, we'd made plans to have breakfast. I called her, but she didn't answer her phone. I thought she'd turned it off and slept late, so I went to her apartment and knocked on her door. It wasn't locked. I went in, and... I found her lying on the floor in the kitchen...

Why didn't she come to me? I would have done anything for her. Anything. Didn't she know that?

Wednesday 9 September 2020

DIGGING DEEP - True Blood Ties Script

 Hey Housemates, 

This is the script for our DIGGING DEEP EXERCISE. Please refer to to my video on Instagram https://www.instagram.com/p/CE7kv2rHMX4k0scdpL_314IG0Ea5IrOTc71CfE0/  for all the details you need. 


- Deadline is the 23rd of September 2020

- GIN is the male role

- JENA is the female role

- I only want to see you on the screen. 

- Let the voice of the person reading with you be audible. 

- You can send your video submissions vie email (actorsplayhousecast@gmail.com) or upload it on your YouTube channel and make it UNLISTED (not private), then send the link to us via email (actorsplayhousecast@gmail.com).

Please find attached the script below:


Saturday 29 February 2020

DALLAS CLASS - Monologue and Audition Techniques

If you live in Dallas and want to kick off your acting career, then these classes are for you!

3 weekends, 6 intense classes! 

An Actor's Playhouse Presents:
Monologue and Audition Techniques 

- How to audition and get the part
- The resources you need as a professional actor
- Breakdown monologues, and self-tape video for auditions
- Everything you need to know as an actor, to kick off your career

Weekend 1: March 27th & 28th
Weekend 2: April 3rd & 4th
Weekend 3: April 10th & 11th 

Friday Classes: 5pm - 8pm
Saturday Classes: 2pm - 5pm

Common Desk 

Class Size: 
There are 10 spots available in this class. 

Fee: $300 (You can pay in 2 installments.
$150 paid immediately to reserve your spot, the other $150 on or before the 28th of March)

At the end of the course, the students will feature in a short film that will be screened for families and friends. Each student will be awarded a certificate of participation and a complimentary headshot on the day of the screening. 

To pay and reserve your spot in the class, please select a payment option from the dropdown below and click on buy now to complete your purchase


Monday 23 December 2019


LAGOS, are you ready?

On the 11th of January 2020, our coach Stella Damasus will be hosting an in-person advanced acting class.

There are only 20 spots available! To reserve a spot, select a monologue from the options below (for male or female); record it and send it to actorsplayhousecast@gmail.com. Submissions close on the 5th of January 2020. Please note that this class IS NOT for beginners, who have never attended any acting class, or do not have any acting experience whatsoever.

If you are selected, you will receive a ticket with a unique code via email, that will grant you access to the class. Please DO NOT share this code with anyone else. If you do not receive an email, please know that you have not been selected to attend this class. However, this DOES NOT mean that you can not participate in any other class in the future.

Thank you, and we look forward to your submissions.