←Recommendations of The Red Truck, a monologue

A phenomenally powerful statement on assault and the culture that blames the victim, not the perpetrator. Well done.

I know this red truck. I know what it is to dismiss what is happening, what could happen, what did happen, and this monologue gets it right! Thank you Rachel Bublitz for writing this! It may seem deceptively simple and yet coming to the consciousness of having been raped is not simple. What an honest clear piece for actors to work on! May it live in the world for all to see!

Bublitz's monologue achieves a rare and penetrating examination of the consciousness of a young woman learning to identify sexual violence despite the cultural noise which conditions us to accept the unacceptable. All the more real, devastating, and dazzling through its understatedness and artful brevity.

In this monologue, Bublitz builds incredible layers of tension, between past and present, between real and memory -- and between deep, unshakable knowledge and the niceties and complex conventions, the artificial excuses, that can so easily be perpetuated in a society that doesn't believe women. I'm truly grateful that this play's been written, as it so eloquently and powerfully expresses where we've been, and where we're going.

A raw and horrifying monologue that rings with such sad truth. Bublitz captures so perfectly a nightmare situation that so many women unfortunately face, that moment where a
woman’s innocence is lost and taken wrongfully by an evil that is man. It is a play that should be performed in every school and theater.

An incredibly power monologue that is, sadly, way too relevant. Bublitz is a gifted writer and has created a character that is honest and real. I know her, and it makes it even harder to hear her story. But it's important we listen. Read this monologue. Produce it.

This monologue is absolutely breathtaking and should be heard all over.

The ending of 'The Red Truck' hits you - like a truck. What happens after the last line - an emotional reaction for both character and audience - is not - intentionally - suggested or stated. This perfectly executed monologue makes an intimate connection - without closure even after curtain falls or blackout - between audience and the character on stage. She's speaking to us - not the theatre audience - the stage audience; we are in her world, her disgusting America - a country where men traumatize and assault women from girlhood to adulthood. Produce it. Audition it.