Rachel Luann Strayer

Rachel Luann Strayer

Rachel Luann Strayer (she/her/hers) is a Pennsylvania playwright with an MFA in Creative Writing from Wilkes University. Her full-length plays include DROWNING OPHELIA (Repurposed Theatre, Gaslight Theatre Company, Philadelphia Fringe Festival, University of Idaho); her theatrical adaptation of Edgar Allan Poe short stories and poems, THE POE ASYLUM (Scranton Fringe Festival, Keystone College); THE LAST...
Rachel Luann Strayer (she/her/hers) is a Pennsylvania playwright with an MFA in Creative Writing from Wilkes University. Her full-length plays include DROWNING OPHELIA (Repurposed Theatre, Gaslight Theatre Company, Philadelphia Fringe Festival, University of Idaho); her theatrical adaptation of Edgar Allan Poe short stories and poems, THE POE ASYLUM (Scranton Fringe Festival, Keystone College); THE LAST DAUGHTER (Finalist, 2020 Jane Chambers Award for Excellence in Feminist Playwriting); SONGBIRD (The Bechdel Group reading, Premiere Stages at Kean University reading); and her first play for teens, A DECAMERON FOR THE APOCALYPSE. Rachel's short plays have been produced by several regional theatre companies in northeast Pennsylvania, as well as receiving online productions during the COVID-19 quarantine. Short plays include: EMPATHY, A CLEAN BATHROOM, THE NEXT STEP, IN THE DARK, IT’S ENOUGH, SAFE AS HOUSES, and SISTERS (Gaslight Theatre Company); GHOST STORY (Gaslight Theatre Company, CenterStage Theatre); GHOST IN THE WALL, STILL LIFE, and QUARANTINE EATING (Theatre is the Cure); I'LL BE ZOOMING YOU (Millersville University); LIGHT THE WAY BACK (Millersville University, Auburn University) and LIGHT (One-Minute Play Festival, Auburn University). Rachel has been a member of the Dramatists Guild since 2015.

Plays

  • A Decameron for the Apocalypse (a work in progress)
    FULL-LENGTH PLAY FOR TEENS. Seven teenagers find themselves trapped with their creative writing teacher in a library basement during the apocalypse. One by one, they tell stories to pass the time, each one unraveling truths about the wars they're fighting within and, in some cases, the battles they're fighting with each other. But the apocalypse above is about to intrude on their solitary world and...
    FULL-LENGTH PLAY FOR TEENS. Seven teenagers find themselves trapped with their creative writing teacher in a library basement during the apocalypse. One by one, they tell stories to pass the time, each one unraveling truths about the wars they're fighting within and, in some cases, the battles they're fighting with each other. But the apocalypse above is about to intrude on their solitary world and the way they respond will change each of them forever.

    *This draft is still under revision. Feedback is welcome!
  • Drowning Ophelia
    FULL-LENGTH PLAY. Jane doesn’t know what to do with the literary character who has taken up residence in her bathtub. She doesn’t want Ophelia interrupting the obsessive order of her life with obnoxious songs about death and valentines. She doesn’t want Ophelia disrupting her relationship with Edmund, the oddly charming actor who might show up for dinner in a suit…or a suit of armor. And she most definitely...
    FULL-LENGTH PLAY. Jane doesn’t know what to do with the literary character who has taken up residence in her bathtub. She doesn’t want Ophelia interrupting the obsessive order of her life with obnoxious songs about death and valentines. She doesn’t want Ophelia disrupting her relationship with Edmund, the oddly charming actor who might show up for dinner in a suit…or a suit of armor. And she most definitely doesn’t want Ophelia stirring up memories of a brother she would rather forget. But Ophelia doesn’t care about what Jane wants so much as what she needs. As Jane’s past intrudes dangerously on her present, it becomes clear that Ophelia is not simply a character from "Hamlet," but a long-forgotten messenger with a question from Jane’s own troubled mind: How do you move on when reconciliation is not an option?

    "Drowning Ophelia" is a dark comedy performed in one act about the long-term consequences of childhood abuse, and a love letter to those who have suffered. There is always hope.
  • Songbird
    FULL-LENGTH PLAY WITH SONGS. Jess is an up-and-coming singer/songwriter who doesn't want to talk about why she abandoned her career. In fact, she doesn't want to talk about it so badly that she hasn't spoken or sung about anything in months. Jess's sister, Brit, thinks a beach trip to their old family vacation spot is just the trick to get Jess to open up. What Brit doesn't expect is...
    FULL-LENGTH PLAY WITH SONGS. Jess is an up-and-coming singer/songwriter who doesn't want to talk about why she abandoned her career. In fact, she doesn't want to talk about it so badly that she hasn't spoken or sung about anything in months. Jess's sister, Brit, thinks a beach trip to their old family vacation spot is just the trick to get Jess to open up. What Brit doesn't expect is for her sister to stay silent, while also making friends with a young teenager who breaks into their beach house. Jess is haunted by the events that led up to her vow of silence, even as she is battered by her sister's insecurities and troubled by signs of abuse marking her new friend's face. As tensions rise, Jess knows there are words that have to be spoken; she's just hoping she has the right ones.
  • The Last Daughter
    FULL-LENGTH PLAY. Finalist for the 2020 Jane Chambers Award for Excellence in Feminist Playwriting. What if the last fertile woman on earth didn't want to have children? When Eve discovers she is the only known woman still able to conceive a child, she has no idea how radically her life is about to change. Immediately, Eve is put into a box - a literal, bulletproof, could-withstand-a-nuclear-blast-box -...
    FULL-LENGTH PLAY. Finalist for the 2020 Jane Chambers Award for Excellence in Feminist Playwriting. What if the last fertile woman on earth didn't want to have children? When Eve discovers she is the only known woman still able to conceive a child, she has no idea how radically her life is about to change. Immediately, Eve is put into a box - a literal, bulletproof, could-withstand-a-nuclear-blast-box - where she is looked after by a vaguely charming (and terribly un-funny) doctor and spied on by an ever-present Very Important Person. Eve's ecstatic mother is on hand, with a parade of horrid would-be suitors, intent on impregnating the very last of the Last Daughters. In this environment, it's impossible for Eve to figure out if she actually wants to have children, not that anyone cares what she wants. But can Eve really look into the face of her barren sister, Elizabeth, and reject what her sister so desperately desires?
  • The Poe Asylum
    FULL-LENGTH PLAY. THE POE ASYLUM is an immersive theatrical adaptation based on four terrifying short stories and one tragic poem by master of the macabre, Edgar Allan Poe. Audience members move from room to room in the asylum, watching and listening as stories of horror unfold. A captive recounts their imprisonment and torture. A woman calls out for her lost daughter, only to be answered by an enigmatic raven...
    FULL-LENGTH PLAY. THE POE ASYLUM is an immersive theatrical adaptation based on four terrifying short stories and one tragic poem by master of the macabre, Edgar Allan Poe. Audience members move from room to room in the asylum, watching and listening as stories of horror unfold. A captive recounts their imprisonment and torture. A woman calls out for her lost daughter, only to be answered by an enigmatic raven. Another patient fights with the uncontrollable and irrational desire to commit murder. But these are merely stories told by troubled minds. What is the true pain lurking behind the tales these men and women tell? The audience will have to ponder if these individuals are really patients in a mental asylum, or if they are simply trapped in their own minds by the demons they created. And then comes the greatest question of all: where is hope?

    THE POE ASYLUM may be performed as an immersive piece, or traditionally staged on a proscenium at the director's discretion. While there are five scenes in total, rights may be acquired to perform fewer scenes.

    If performed in full as an immersive piece, cast size may be as few as 9 with doubling, or as many as 16+.
    If performed on a stage with scene breaks, cast size may be as few as 4 with doubling.
  • Perchance to Dream
    TWENTY-MINUTE PLAY. Alcy is struggling with sleep paralysis and nightmares. The strange thing is that her sister, Seph, seems to be experiencing the nightmares along with her. As the sisters navigate a landscape of night terrors and shadow people, Alcy unravels the secret that brought them together and the truth that might tear them apart.
  • A Clean Bathroom
    TEN-MINUTE PLAY. Charlize won't let her husband Roy use the bathroom while she's cleaning. Which sucks for Roy, since he REALLY has to pee. But the real conflict has less to do with a clean bathroom, and more to do with accepting what can't be scrubbed away. First commissioned and performed by Gaslight Theatre Company for their PlayRoom Series.
  • Balconies
    THREE-MINUTE PLAY. A man and a woman stand right next to each other, but a million miles apart. What does it take to get what you want? A 3-minute play about the things we don't reach for, no matter how close.
  • Empathy
    TEN-MINUTE PLAY. In the wake of terrible news, Imogen can't understand why her husband continues to open and close their refrigerator door while refusing to eat anything, why he won't shower or pick up a knife, or why he shudders when the water turns on. If she learns the truth, will she empathize with what he's suffering? And is that what she really wants? First commissioned and performed by...
    TEN-MINUTE PLAY. In the wake of terrible news, Imogen can't understand why her husband continues to open and close their refrigerator door while refusing to eat anything, why he won't shower or pick up a knife, or why he shudders when the water turns on. If she learns the truth, will she empathize with what he's suffering? And is that what she really wants? First commissioned and performed by Gaslight Theatre Company as part of their PlayRoom Series.
  • Ghost Story
    TEN-MINUTE PLAY. Natalie is committed to her favorite holiday tradition - reading ghost stories on Christmas Eve - but her husband, Doug, very much wants to decorate the Christmas tree, drink hot chocolate, and watch something safe, like "Snoopy Saves Christmas." As Natalie persists in her reading endeavor (despite Doug's numerous distractions), an unexpected guest invades their home, bringing...
    TEN-MINUTE PLAY. Natalie is committed to her favorite holiday tradition - reading ghost stories on Christmas Eve - but her husband, Doug, very much wants to decorate the Christmas tree, drink hot chocolate, and watch something safe, like "Snoopy Saves Christmas." As Natalie persists in her reading endeavor (despite Doug's numerous distractions), an unexpected guest invades their home, bringing emotions to the surface that Natalie needs so desperately to deal with.
  • I'll Be Zooming You
    TEN-MINUTE PLAY. Distance is a challenge for any relationship, even with technology to bridge the gap. Clea and Riff are struggling through their "second date" on Zoom, but more than that, they're struggling to figure whether or not their relationship works when distance is no longer an option. Written specifically to be performed through the Zoom platform, I'LL BE ZOOMING YOU could also be...
    TEN-MINUTE PLAY. Distance is a challenge for any relationship, even with technology to bridge the gap. Clea and Riff are struggling through their "second date" on Zoom, but more than that, they're struggling to figure whether or not their relationship works when distance is no longer an option. Written specifically to be performed through the Zoom platform, I'LL BE ZOOMING YOU could also be creatively staged in a theatre with or without the inclusion of multimedia elements.

  • In the Dark
    TEN-MINUTE PLAY. An unwelcome visitor invades Sola’s bedroom in the middle of the night, awakening her deep-rooted fears and forcing her toward surprising introspection. First commissioned and performed by Gaslight Theatre Company for their PlayRoom Series.
  • It's Enough
    TEN-MINUTE PLAY. When a homeless woman wanders into her garage, Barb is surprised not just by the woman's presence, but also her intimate understanding of Barb's childhood. Of particular interest to the homeless woman is a music box given to Barb by her absent father...a gift that may be the key to a brighter future for both of them. First commissioned and performed by Gaslight Theatre Company for their PlayRoom Series.
  • Light
    ONE-MINUTE PLAY. When a pandemic shuts down the theatre on a school campus, the director fights to keep a light on.
  • Light the Way Back
    TEN-MINUTE PLAY. In the year 2082, teenagers Jamie and Cam break into an abandoned theatre, looking for relics of the past. What they find is the haunting presence of a world humankind has lost. Still, something magical lingers among the dusty remains, along with the hope that we can find our way back.
  • Matthew Weaver Writes One Million Plays
    SIX-MINUTE PLAY. Matthew Weaver is a prolific playwright, but no one seems to know how he's managed to write so many plays in such a short period of time. The answer, it seems, are a pair of Matthew Weaver clones who have been hard at work churning out excellent content. But as another deadline approaches, the Matthew Weavers are getting restless and one of them might pay dearly for their skills.
    ...
    SIX-MINUTE PLAY. Matthew Weaver is a prolific playwright, but no one seems to know how he's managed to write so many plays in such a short period of time. The answer, it seems, are a pair of Matthew Weaver clones who have been hard at work churning out excellent content. But as another deadline approaches, the Matthew Weavers are getting restless and one of them might pay dearly for their skills.

    Written for Matthew Weaver for his birthday.
  • Rona and the End of the World
    SEVEN-MINUTE PLAY. Rona descends from the goddess of music, destined to help save the world with her song. The only problem is that Rona finds herself trapped underwater, where she fears she cannot sing, nor fulfill her grand purpose. A sea creature tries to help Rona sort through her fears and disappointments, guiding her to a path of new understanding. Perhaps where we are, no matter how dark or challenging,...
    SEVEN-MINUTE PLAY. Rona descends from the goddess of music, destined to help save the world with her song. The only problem is that Rona finds herself trapped underwater, where she fears she cannot sing, nor fulfill her grand purpose. A sea creature tries to help Rona sort through her fears and disappointments, guiding her to a path of new understanding. Perhaps where we are, no matter how dark or challenging, is exactly where we need to be.

    RONA AND THE END OF THE WORLD is adapted from my full-length play for teens, A DECAMERON FOR THE APOCALYPSE.
  • Safe as Houses
    TEN-MINUTE PLAY. Surviving the zombie apocalypse is hard, especially with a teenage daughter in tow. When Rashida and her daughter Kella stumble upon a surprisingly unfazed survivor still playing house, they take a moment to face the reality that some people just, well, won't. First commissioned and performed by Gaslight Theatre Company for their PlayRoom Series.
  • Sisters
    TEN-MINUTE PLAY. What can you do when your sisters are driving you crazy? Stab one in the eye with a knitting needle? Threaten to chop their heads off with a paper cutter? Tell them for once and for all that NO YOU DO NOT WANT TO SCRAPBOOK? Shoshana might be considering all these things, but her friend Rose is about to turn Shoshana's problem on it's head. Which is worse; having sisters you can't...
    TEN-MINUTE PLAY. What can you do when your sisters are driving you crazy? Stab one in the eye with a knitting needle? Threaten to chop their heads off with a paper cutter? Tell them for once and for all that NO YOU DO NOT WANT TO SCRAPBOOK? Shoshana might be considering all these things, but her friend Rose is about to turn Shoshana's problem on it's head. Which is worse; having sisters you can't stand or not having any at all? First commissioned and performed by Gaslight Theatre Company as part of their PlayRoom Series.
  • The Donation
    TEN-MINUTE PLAY. A generous donation just came in for the movie Jael and Mickey are making. There's only one problem: the person who donated the money is actually the film's subject - and not in a good way.
  • The Next Step
    TEN-MINUTE PLAY. Hiding a dead body is not an easy task, especially when you're in a tiny attic while your extended family is cheerfully eating dinner downstairs. Fortunately, the dead body has some ideas of their own on how they would like to be disposed of, along with some life advice for our hapless "killer." Commissioned and performed by Gaslight Theatre Company for their PlayRoom Series in...
    TEN-MINUTE PLAY. Hiding a dead body is not an easy task, especially when you're in a tiny attic while your extended family is cheerfully eating dinner downstairs. Fortunately, the dead body has some ideas of their own on how they would like to be disposed of, along with some life advice for our hapless "killer." Commissioned and performed by Gaslight Theatre Company for their PlayRoom Series in 2014. Revised for a reading with Millersville University students in 2020.
  • Writing a Play for the Quarantine Bake Off
    TEN-MINUTE PLAY. Self-isolating with another person can be a challenge, even if it's a person you love.
  • Ghost in the Wall: A Monologue
    MONOLOGUE. Clara's all alone, with only a ghost in her wall to keep her company. As she puzzles her way through the events leading up to her isolation, she begins to wonder if the ghostly presence she perceives is actually there at all.
  • Itch: A Monologue
    MONOLOGUE. What did you want to be when you grew up? Eve recalls her childhood desire to be an archaeologist - among other things - and the cruel reality that you don't always get to pursue what you want. This reality comes into sharp relief even now, as Eve finds herself trapped in a literal box, waiting for the life that the world has chosen for her while itching for the life she cannot have. *ITCH is a...
    MONOLOGUE. What did you want to be when you grew up? Eve recalls her childhood desire to be an archaeologist - among other things - and the cruel reality that you don't always get to pursue what you want. This reality comes into sharp relief even now, as Eve finds herself trapped in a literal box, waiting for the life that the world has chosen for her while itching for the life she cannot have. *ITCH is a monologue adapted from my full-length play, THE LAST DAUGHTER.*
  • Photos with my Rapist: A Two-Minute Monologue
    TWO-MINUTE MONOLOGUE. No one would get together with their rapist every year and take a photo, unless, of course, that person was a part of their family. A brief monologue about the way victims of familial abuse suffer, no matter how long it has been since the original assault.
  • Photos with my Rapist: A One-Minute Monologue
    ONE-MINUTE MONOLOGUE. No one would get together with their rapist every year and take a photo, unless, of course, that person was a part of their family. A brief monologue about the way victims of familial abuse suffer, no matter how long it has been since the original assault.

    *Revised from two-minute version. Perfect for one-minute audition or competition piece.
  • Quarantine Eating: A Monologue
    MONOLOGUE. When Mark tells his wife to "stop eating" he wasn't making a comment about her weight. He was only trying to be helpful the way his dad helped him when he was an overweight child. But the more Mark thinks about his father's approach to "healthy eating," the more he realizes that maybe it wasn't helpful after all.
  • Still Life: A Monologue
    MONOLOGUE. Marian just needs someone to pose for ten pictures in the park for a school project. When she finds the perfect subject, a little bit of chaos ensues.
  • Tooth Fairy from Hell: A Monologue
    MONOLOGUE. Sometimes its hard to love family unconditionally, especially when their love seems oh-so-conditional on most occasions. Faced with wearing the ugliest dress in creation for her sister's wedding, a woman ponders what her priorities are and whether or not unconditional love for family is all its cracked up to be.
  • A Trial by Her Peers: A WIT Monologue
    MONOLOGUE. You've heard of Oscar Wilde. George Bernard Shaw. But what about Elizabeth Robins? The "Priestess of Ibsen" reflects on a life lived in the shadow of men even as she works to write the very first play about women's suffrage.

    Elizabeth Robins was an actress, playwright, and women’s rights activist known for writing the very first suffrage drama. Along with her...
    MONOLOGUE. You've heard of Oscar Wilde. George Bernard Shaw. But what about Elizabeth Robins? The "Priestess of Ibsen" reflects on a life lived in the shadow of men even as she works to write the very first play about women's suffrage.

    Elizabeth Robins was an actress, playwright, and women’s rights activist known for writing the very first suffrage drama. Along with her business partner Marion Lea, she brough Hedda Gabler to the British stage for the first time and her dedication to the works of Henrik Ibsen led to her being dubbed “Ibsen’s High Priestess.” She was also a friend and contemporary of Oscar Wilde and George Bernard Shaw.

    A TRIAL BY HER PEERS is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Elizabeth Robins was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Fragile Beautiful: A WIT Monologue
    MONOLOGUE. Brazilian teenager Izzy hopes one day to be an opera singer, taking inspiration from her favorite soprano, Isabel Rubio Ricciolini.

    Isabel Rubio Ricciolini was an operatic soprano and stage actress who is credited with being one of the pioneers of opera in South America. She co-founded the Academic Philharmonic in Rio de Janiero, Brazil, and played Donna Elvira in the Argentine...
    MONOLOGUE. Brazilian teenager Izzy hopes one day to be an opera singer, taking inspiration from her favorite soprano, Isabel Rubio Ricciolini.

    Isabel Rubio Ricciolini was an operatic soprano and stage actress who is credited with being one of the pioneers of opera in South America. She co-founded the Academic Philharmonic in Rio de Janiero, Brazil, and played Donna Elvira in the Argentine premiere of Mozart’s Don Giovanni.

    FRAGILE BEAUTIFUL is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Isabel Rubio Ricciolini was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Happy Birthday, Homa Rousta: A WIT Monologue
    MONOLOGUE. A mourner looks back at the contributions Homa Rousta made to the theatre community, even as she suffered her own private tragedy.

    Homa Rousta was an Iranian stage and film actress and director. She was best known for her roles in The Glass Menagerie, Uncle Vanya, The Seagull, and Antigone. After Homa died of cacner, Iran’s Theatre Forum held a memorial ceremony to honor her work, as...
    MONOLOGUE. A mourner looks back at the contributions Homa Rousta made to the theatre community, even as she suffered her own private tragedy.

    Homa Rousta was an Iranian stage and film actress and director. She was best known for her roles in The Glass Menagerie, Uncle Vanya, The Seagull, and Antigone. After Homa died of cacner, Iran’s Theatre Forum held a memorial ceremony to honor her work, as well as her fundraising efforts for theatre artists suffering from terminal illnesses.

    HAPPY BIRTHDAY, HOMA ROUSTA is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Homa Rousta was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Her Little Match Girl: A WIT Monologue
    MONOLOGUE. A Marionette recounts how she was brought to life by Dinara Yuldasheva, a director and playwright who has worked for the Youth Theatre of Uzbekistan and the Uzbek State Puppet Theater.

    HER LITTLE MATCH GIRL is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre....
    MONOLOGUE. A Marionette recounts how she was brought to life by Dinara Yuldasheva, a director and playwright who has worked for the Youth Theatre of Uzbekistan and the Uzbek State Puppet Theater.

    HER LITTLE MATCH GIRL is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Dinara Yuldasheva was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Look: A WIT Monologue
    MONOLOGUE. A powerful performance by Canyon Sam teaches us that when horrible things happen, sometimes the first step to making a difference is being willing to look.

    Canyon Sam is a Chinese American playwright, performance artist, and Tibetan rights activist. She is best known for her one-woman shows The Dissident and Taxi Karma, as well as her novel Sky Train. A documentary was released in...
    MONOLOGUE. A powerful performance by Canyon Sam teaches us that when horrible things happen, sometimes the first step to making a difference is being willing to look.

    Canyon Sam is a Chinese American playwright, performance artist, and Tibetan rights activist. She is best known for her one-woman shows The Dissident and Taxi Karma, as well as her novel Sky Train. A documentary was released in 2011 called A Woman Named Canyon Sam which focuses on her theatre work, her Chinese heritage, her lesbian identity, and her activism in Tibet.

    LOOK is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Canyon Sam was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • My Mother, Mr. Brown: A WIT Monologue
    MONOLOGUE. When Kitty Harman learns of her mother's death, she takes a moment to remember her unique upbringing as the daughter of writer and performer, Charlotte Charke. More importantly, she ponders the identity of her mother, who was also known as Mr. Brown.

    Charlotte Charke was an actress and playwright in the 1700s known for playing “breeches” roles onstage, as well as maintaining a...
    MONOLOGUE. When Kitty Harman learns of her mother's death, she takes a moment to remember her unique upbringing as the daughter of writer and performer, Charlotte Charke. More importantly, she ponders the identity of her mother, who was also known as Mr. Brown.

    Charlotte Charke was an actress and playwright in the 1700s known for playing “breeches” roles onstage, as well as maintaining a male alter-ego offstage known as Mr. Charles Brown. She was one of the first women to be given a license to run a theatre, as well as one of the first women to write and publish an autobiography.

    MY MOTHER, MR. BROWN is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Charlotte Charke was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Now, Rebirth: A WIT Monologue
    MONOLOGUE. As a young woman reflects on sexism in religion, she finds hope and inspiration in the story of Shabnam Tolouei, and comes to recognize her own privilege in light of Shabnam's struggle.

    Shabnam Tolouei is an Iranian actress, director, and playwright currently living in Paris, France, after the Islamic Ministry of Culture and Guidance banned her from working in Tehran due to her...
    MONOLOGUE. As a young woman reflects on sexism in religion, she finds hope and inspiration in the story of Shabnam Tolouei, and comes to recognize her own privilege in light of Shabnam's struggle.

    Shabnam Tolouei is an Iranian actress, director, and playwright currently living in Paris, France, after the Islamic Ministry of Culture and Guidance banned her from working in Tehran due to her religious beliefs. In addition to her theatre and film work in France, Shabnam has won five awards at the prestigious Fajre International Theatre Festival and spent two years performing and directing in Germany. She is best known for her leading role in the film "Women Without Men."

    NOW, REBIRTH is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Shabnam Tolouei was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.
  • Vaudeville Queen: A WIT Monologue
    MONOLOGUE. Dora Dean, an African American vaudeville dancer and entertainer, returns to modern-day Broadway to see how things may (or may not) have changed in the theatre world over the last century.

    Dora Dean and her husband, Charles E. Johnson, were the first African American couple to perform on Broadway. Dora was best known for popularizing the cakewalk with her husband, and for performing...
    MONOLOGUE. Dora Dean, an African American vaudeville dancer and entertainer, returns to modern-day Broadway to see how things may (or may not) have changed in the theatre world over the last century.

    Dora Dean and her husband, Charles E. Johnson, were the first African American couple to perform on Broadway. Dora was best known for popularizing the cakewalk with her husband, and for performing acrobatic soft shoe while wearing evening gowns. Two popular songs were written about her in 1896 and 1902.

    VAUDEVILLE QUEEN is a WIT (Women in Theatre) Monologue written for 365 Women a Year. In 2020 I was asked to research and write twelve biographical monologues about twelve amazing women in theatre. Dora Dean was one of twelve women assigned to me at random. While I do not claim to fully understand her background, her heritage, or her experiences, I hope this monologue honors her and does justice to her work as a theatre artist.