Monologue Work

I've best achieved contrast in my Big Ten in my choice of material and, for a bunch of them, my 'floor pattern.'  They do vary in tempo, temperature, type of physical effort and physical shape, but not as much as I'd like.  I should jot out a full, complex score for each monologue, but ten monologues are turning out to be a lot.  Line-wise, it's no more than a reasonably substantial supporting role in Shakespeare (200 lines, approximately), but because they're all stand-alone speeches, the energy in them is highly condensed, so I feel like I'm rehearsing an entire season, not just 15 minutes of talking.

Searching my hard drive for contemporary material to perform on Tuesday, for "casting and assessment"--which is to be judged by the faculty and directors of the fall season's shows--I found a piece from "Address Unknown," in which Martin, living in Hitler's Germany, tells his Jewish friend not to write any more.  I only have two minutes, and I should do a contrasting pair, but this is a longish piece that doesn't cut well.  I like the steeliness alternating with guilt in it, which I think may be good qualities to demonstrate for the part I want in "Bridges," a new work being directed by Steve Wallace, the Chairman of the UH program.  Considering that Jack Young, who's directing "Metamorphosis," wants actors to sing an operatic ballad in callbacks, I think I can forget about doing that show.  The other production I'd like to work in his grad director Sam Spark's "Prime of Miss Jean Brodie," for which Martin isn't a great fit, but it's not terrible (also, Sam sees me work a lot.)  So, I'll probably just do the one piece.