Here are 11 NEW monologues for women over 40 to showcase their acting talents
These new monologues are completely FREE – as long as you let me know when, where and how you are using them, so I can keep track of my work. Photos and feedback are also appreciated.
In the past three years, my monologues for women over 40 have been performed in many states in the USA, including, Oregon, Wisconsin, Iowa, Virginia, Maryland, New York, Massachusetts, California, Florida and New Jersey, as well as in Toronto and Ontario in Canada, and London and Newhamptonshire in the UK.
My short plays have also been produced by drama teachers and students all over the USA, and in New Zealand and Australia. My one act comedy Supersnout, is currently in production by the Lithgow Theatre Group in South Bowenfels, NSW, for a two-week season in May
Throughout history, it’s common to read about the experiences of men, as leaders and conquerors.
I like to write about the experiences of women – ordinary women and their feelings and personal battles. It’s my way of recording women’s history.
My aim is to give older actresses in particular, material that is strong and relatable to help showcase their talents in auditions, reels, workshops and performances.
Older women’s lives are so rich with experience that it’s a joy to write about them and for them. I didn’t start writing plays until I was in my 50s, so I understand how exciting and daunting this stage of life can be.
Click on the links below to read and download the monologues. Love it, but need it shorter? Contact me and I’ll create a one-minute or 90-second version.
Let me know what you think by commenting here or emailing me directly at jane.cafarella@gmail.com. I’d love to hear from you!
Popular debates about identity seldom includes the identity crises of the aged.
Ageing is a popular topic right now. Mostly how not to.
We marvel (or cringe) as 81-year-old celebrity businesswoman Martha Stewart poses in a swimsuit for Sports Illustrated, and as 85-year-old Jane Fonda stars in her latest movie, dressed as a geriatric Barbie doll.
Meanwhile, back in the real world, my 90-year-old mother-in-law stares into the mirror incredulously and declares loudly, “Ah ya ugly old bat!”
She hasn’t always been so feisty. “No one needs you anymore,” she said quietly, when she was widowed two decades ago.
Managing the ravages of age is the price of a long life.
The other price is loss and grief.
It is indeed a privilege to grow old, to see your children and grandchildren mature, but there is a price for everything, and the often unspoken price of ageing is grief caused by continual loss.
Loss of friends and family through death or misunderstanding, loss of opportunities, loss of health, loss of independence, loss of memory, loss of relevance, loss of optimism, and loss of confidence in our ability to cope in a changing world.
We grieve for our past lives. We grieve for the dreams and battles of our radical youth – many of which are now being reversed. We grieve for the world we grew up in, as we find ourselves marooned in a different world with a different lexicon, different social mores and different expectations.
We grieve for the fact that the wisdom we have accumulated is not valued. Technology has outrun us and time has consumed us. The world is different, and we have lost our place in it.
Add to this, the issue of money.
What the media doesn’t tell you is that how you feel about growing old depends on how much money you have and how much pain you’re in.
For too many, there is not enough of the former and too much of the latter.
Yet these issues of accumulated grief and loss, this identity crisis, is seldom acknowledged in all the advice about “healthy ageing”, where the focus is mainly diet and exercise.
The popular debate about identity seldom includes the identity crises of the aged.
We barely admit it ourselves, as we sit in cafes, sipping lattes or wine, recounting stories of our travels or showing photos of our grandchildren.
Instead, in search of our lost selves, we gobble up the world, or return to the dreams of our youth, and take up piano, or gardening or learn a language, or join a book club – posting our achievements with false humility on Instagram and Facebook while gushing over the achievements of others to prove that we are liked and likable, to prove that we are still here…still worthy…still relevant.
Sometimes this search for our lost selves can make us envious of youth, beauty, confidence and opportunity.
“What do they know of life!” we say, as the newly hatched talk about what is new for them and old for us. And as the words leave our lips we blush, as we hear the echoes of our parents’ voices, shrill with resentment and frustration.
This grief and loss can also make us petty. We grow old but we don’t always grow up. Sometimes, we lash out at those on whom we are dependent, or at those who don’t or can’t give us what we want, which is always, always the same – to be seen, to be loved, to be valued.
But still, as the days pass, each bringing new losses and new challenges, there are thoughts of what has been, what might have been, and what now will never be: the opportunities that have come and gone, and the people who no longer share our lives.
Ageing may be a time of fulfilment and gratitude, but there is a reckoning as we come to terms with what is, and what can never be again.
Here are six FREE monologues for women over 40 and four for younger women. The monologues range from one minute to four minutes in length.
They may be used by women anywhere, on the condition that you let me know when they are being used and in what context.
I’m always delighted to get any feedback and to hear from actors who are performing them.
Your feedback also helps inform and inspire me about what other topics might be useful for a monologue.
My aim is to fill a gap in the market, providing materials for women who are often under-represented in the theatre – particularly older women.
I also take commissions, so if you are an actor or a theatre company who would like me to write a monologue about a particular topic, please get in touch – jane.cafarella@gmail.com.
This article, published in the Opinion section of The Age on 11 January 2011, was named one of the best articles in Australia by The Weekmagazine, in its 14 January edition of that year.
The Week is a UK magazine that describes itself as “a new and unique magazine that distils the most important news and comment from the world’s media into an essential weekend read”. An Australian edition was published from 2008-2012.
What’s changed? Do you agree?
HUNGRY FOR MORE THAN COOKING SHOWS
WHEN the ratings period starts again next month and TV programmers serve up a banquet of new cooking shows, spare a thought for the world’s hungry.
There are about a billion undernourished people in the world today, according to the website worldhunger.org, an online publication of the Washington-based private charity World Hunger Education Service.
While you digest that, I can also tell you that there are more than 1.1 billion overweight people and that in America, alone, nearly 70,000 tonnes of food is being wasted each day, while $140 billion is being spent on obesity-related diseases.
More or less. It’s hard to put a final figure on it as stopthehunger.com features all these stats in real time, which means you can watch hunger grow before your very eyes.
Like you, I can do without lashings of guilt to add to the New Year’s diet plan, but today’s national obsession with cooking and eating does seem incongruous when you think that while half the world is cooking or watching cooking shows or reading cookbooks, a significant other part is starving.
It will be interesting to see whether predictions of food shortages and price rises resulting from the devastating Queensland floods will diminish our appetite for this feast of food shows.
While economists are predicting that the food shortages will have only a minor effect on the Australian economy, and that the ensuing rebuilding program will even boost our GDP, people in developing countries, where most of the world’s hungry live, are not so lucky.
As reported in this paper last week, the price of soft commodities such as sugar, grain and oilseed drove world food prices to a record last month, according to a monthly index published by the United Nations.
Increasing demand due to population increases, rising oil prices, a decline in agricultural investment, and the effects of war, drought, flood and earthquakes, have all contributed to the global food security crisis.
But while Rome burns, back in the kitchen we are fiddling around with our food processors.
A report by the Australia Institute in November 2009, titled What a Waste – an analysis of Australian expenditure on food, revealed that “Australians are throwing out more than $5 billion worth of food each year – more than we spend on digital equipment and more than it costs to run the Australian army”.
This is especially sobering when you consider that poor nutrition contributes to half the 10.9 million child deaths in the world each year. Most of these occur in developing countries, but before you dismiss this as “other”, it may surprise you to learn that in Australia, 12 per cent of children live in poverty.
Like most of the people not living in poverty, my resolution for the New Year is to buy less, eat less and give more. Again.
But it’s not just these stark contrasts that bother me. It’s the fact that the national focus is so firmly fixed on our stomachs.
Television is a prime example. It seems that every second show on TV revolves around food. These days, instead of Nana and Mum telling us how to cook, we have Nigella, Jamie, Poh, Hewie, Paul, Luke, Maggie and Simon, Guy, Anthony, Maeve and friends, not to mention George, Matt, Anna and Gary.
Cooking shows have been a staple diet of TV since its invention, but we are now pigging out on them. And we love it. When lawyer Adam Liaw won MasterChef last year, 3.9 million people tuned in.
Who can blame them? Food is irresistible when it’s on your 25-centimetre plate. How much more seductive is it when it’s on a 152-centimetre screen in all its high-definition glory?
Food competition shows are especially tempting: it’s sustenance, it’s entertainment, and it’s drama, with all the thrill of the chase that our hunter and gatherer ancestors knew, without even having to get up from our chairs.
But it’s also a symptom of how self-absorbed and over indulged we are. Cooking may have made us human as Richard Wrangham, professor of biological anthropology at Harvard, says, but a national obsession with cooking and eating is just making us fat and boring.
A friend once prefaced our luncheon meeting with the request that we only spend 10 minutes talking about our health and 10 minutes talking about our children. These days, I would like to add a request that we restrict our conversations about what we ate, or are going to eat, or regret that we ate, to just five minutes.
Perhaps we can spare a few minutes instead on what we can do to help solve the world food crisis? Luckily, there are almost as many hunger sites as cooking shows.
Not only would it make us more interesting, it would help make us part of the solution instead of part of the problem.
Areyou a director, actor, theatre group or student, looking for FREE quality short plays?
Oliver with a Twist, performed at the Goodman Arts Centre, Singapore, as part of Timeless Tales in January 2019.
Here are nine COMPLETELY FREE short plays for you to perform.
They include one-minute, 10-minute, 15-minute and 20-minute plays on a wide range of topical issues, suitable for community theatre groups, schools or individual actors and directors wishing to produce a show or to workshop with students.
I am the author of all the plays and retrain the copyright. The only condition for workshopping or performing the plays is that none of the text is altered, and that you notify me about when and how you are using them – and send photos, please.
All except the one-minute plays have been performed previously, in Australia and Singapore (where I lived for six years), so they’ve been “on their feet”, as we say in the theatre industry, and tested before an audience.
Oliver with a Twist, a comment on our modern food culture, was performed at the Singapore Arts House, directed by Susie Penrice Tyrie in 2014, and in 2019 at the Goodman Arts Centre in Singapore, also directed by Susie Penrice Tyrie, as part of Timeless Tales Family Theatre Fest.
Greater Expectations was also performed at Timeless Tales and Hard Times with the Semi-Naked Chef was performed in Sydney at Script-in-Hand in 2014, directed by Kaye Lopez.
Katherine Shearer as Nigella Awesome and Gabe McCarthy as Oliver Jamie in Hard Times with the Semi-Naked Chef Oliver Jamie, directed by Kaye Lopez at Script in Hand, Sydney, in 2014
Errata was performed in 2013, directed by Chantelle Ashby, by Gemco Players, in Gembrook, Victoria, for its Little Gems 10-minute play festival, and in 2019 by Hobo Players in Castlemaine, directed by Jeffrey Bryant Jones.
She Drinks, a monologue in rhyme about family violence, was performed as part of Rhymes with Silence, a series of short plays about family violence produced by Joy Roberts in Sydney in 2015.
Change Shift, a tribute to Singapore taxi drivers, was performed in Tamil for the Pathey Nimidam 10-minute play festival at the Aliwal Arts Centre in Singapore in 2016, directed by Susan Penrice Tyrie and starring Drake Lim and Varshini Victoria.
In 2020, it was turned into a short film starring Hasisha Nazir as Sonja and Drake Lim as Mr Goh.
For more information about the other plays on offer here, go to my SHORT PLAYS section or follow the links below.
Why am I providing my work for free?
Because 10 years ago, I received my start in theatre through the generosity of actors and community theatre groups who took my fledgling plays seriously, so I want to pay it forward.
Because the theatre industry took a huge blow during the pandemic, and this is my way of helping.
And because I’d rather see my work performed than sitting on a shelf or behind a paywall.
I have four published works for which I receive royalties when they are performed: e-baby, d-baby, Supersnout and Uked! – The first play-along ukulele musical, so I do get paid for some of my work.
The joys of short plays
Short plays are a good introduction to theatre for students, who are still learning how to memorise lines and get into character. They are less of a commitment for schools and theatre companies who don’t have the time or resources for a full-length production, and they are good for modern audiences, who are time poor, or who prefer something snappy and fast-paced.
If you read them all, you’ll see some are social comment, while others are just a bit of fun.
Please tell me what you think, what you liked or didn’t like, and where and how you rehearsed and/or performed them.
Nine FREE plays for directors, actors and students
The first three plays may be performed individually or as a trio:
