① Tennessee Williams Monologues

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Tennessee Williams Monologues



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Monologues - A Streetcar Named Desire by Tennessee Williams

An assistant professor of film studies was the first to describe The Room as "the Citizen Kane of bad movies. Although Wiseau has retrospectively described the film as a black comedy , audiences have generally viewed it as a poorly made drama, an opinion shared by some of the cast. A film of the same title based on the book, directed by and starring James Franco , was released on December 1, ; the book and film received widespread acclaim and numerous award nominations. She seduces his best friend, Mark, and the two begin a secret affair.

Meanwhile, Johnny, having overheard Lisa confessing her infidelity to her mother, Claudette, attaches a tape recorder to their phone in an attempt to identify her lover by recording their phone conversations. Denny, a neighboring college student whom Johnny financially and emotionally supports, has a run-in with an armed drug dealer, Chris-R, but Johnny and Mark overpower and detain him. Denny also lusts after Lisa, and confesses this to Johnny, who understands and encourages him to instead pursue one of his classmates.

Johnny spirals into a mental haze and calls upon Peter — his and Mark's friend and a psychologist — for help. Mark also confides in Peter that he feels guilty about his affair. When Peter asks Mark if the affair is with Lisa, Mark attacks Peter and attempts to kill him, but they quickly reconcile. At a surprise birthday party for Johnny, his friend Steven catches Lisa kissing Mark while the other guests are outside and confronts them about the affair. Johnny announces that he and Lisa are expecting a child, although Lisa later reveals she lied about it in order to cover up the truth about the affair. At the end of the evening, Lisa flaunts her affair in front of Johnny and Mark starts to attack him. After the party, Johnny locks himself in the bathroom in despair.

When he leaves, he retrieves the cassette recorder that he attached to the phone and listens to an intimate call between Lisa and Mark. Outraged, Johnny berates Lisa for betraying him, prompting her to end their relationship permanently and live with Mark. Johnny then has an emotional breakdown, angrily destroying his apartment and committing suicide by shooting himself in the mouth. Hearing the commotion, Denny, Mark, and Lisa rush up the stairs to find his dead body. Mark blames Lisa for Johnny's death, admonishes her for her deceitful behavior, and tells her to get out of his life. Denny tells Lisa and Mark to leave him with Johnny, and they step back to give him a moment, but ultimately they all stay and comfort each other as the police arrive. Tommy Wiseau originally wrote The Room as a play in Wiseau has been secretive about how he obtained funding for the project, but told Entertainment Weekly that he made some of the money by importing leather jackets from Korea.

Over several years, he claims to have amassed a fortune through entrepreneurship and real estate development in Los Angeles and San Francisco, a story Sestero finds impossible to believe. Wiseau's actions further caused the film's cost to skyrocket, according to Sestero. He wanted to be the first director to film an entire movie simultaneously in two formats.

He achieved this by using a custom-built apparatus that housed both cameras side by side and required two crews to operate. Wiseau selected actors from thousands of head shots , [6] although most of the cast had never been in a full-length film. Sestero had limited film experience and agreed to work as part of the production crew only as a favor to Wiseau, with whom he had been friends for some time before production began.

Sestero then agreed to play the Mark character after Wiseau fired the original actor on the first day of filming. Sestero was uncomfortable filming his sex scenes and was allowed to keep his jeans on while shooting them. According to Greg Ellery, Juliette Danielle had "just gotten off the bus from Texas" when shooting began, and "the cast watched in horror" as Wiseau jumped on Danielle, immediately beginning to film their "love scene. Danielle had been cast as Michelle, but was given the Lisa role when the original actress was dismissed because her "personality Even though Kyle Vogt who played Peter told the production team that he had only a limited amount of time for the project, not all of his scenes were filmed by the time his schedule ran out.

Despite the fact that Peter was to play a pivotal role in the climax, Vogt left the production; his lines in the last half of the film were given to Ellery, whose character is never introduced, explained, or addressed by name. The original script was significantly longer than the one used and featured a series of lengthy monologues; it was edited on-set by the cast and script supervisor Sandy Schklair, who found much of the dialogue incomprehensible.

An anonymous cast member told Entertainment Weekly that the script contained "stuff that was just unsayable. I know it's hard to imagine there was stuff that was worse. But there was. Much of the dialogue is repetitive, especially Johnny's. His speech contains several catchphrases : he begins almost every conversation with "Oh, hi! Lisa often stops discussions about Johnny by saying "I don't want to talk about it. In The Disaster Artist , Sestero recalls that Wiseau planned a subplot in which Johnny was revealed to be a vampire because of Wiseau's fascination with the creatures. Principal photography lasted four months.

The many rooftop sequences were shot on the soundstage, and exteriors of San Francisco were greenscreened in. The film employed over people, and Wiseau is credited as an actor, writer, producer, director, and executive producer. Other executive producer credits include Chloe Lietzke and Drew Caffrey. According to Sestero, Lietzke was Wiseau's ESL tutor and had no involvement in the film, and Caffrey, who had been an entrepreneurial mentor to Wiseau, died in In a February 11, Entertainment Weekly article, Schklair announced that he desired credit for directing The Room.

Schklair told EW that Wiseau became too engrossed with his acting duties to direct the film properly and asked him to "tell the actors what to do, and yell 'Action' and 'Cut' and tell the cameraman what shots to get. The story is corroborated by one of the film's actors who requested anonymity and by Sestero in The Disaster Artist. I don't know, probably only in America it can happen, this kind of stuff"; he similarly implied that Schklair's abandoning of the film during filming was justification for not receiving such a credit. Tommy's life study of human interaction had been put into a Final Draft blender and sprinkled with the darkness of whatever he'd been living through over the last nine months.

The one thing Tommy's script wasn't about, despite its characters' claims? I had a sobering, sad, and powerful realization: our friendship was the most human experience Tommy had had in the last few years. Maybe ever. The happy news was that whatever Tommy had been running from, he'd managed to turn and face it down in his script. Instead of killing himself, he wrote himself out of danger. He did this by making his character [Johnny] the one spotless human being amid chaos, lies and infidelity.

The Room is considered to be semi-autobiographical as it draws on specific incidents from Wiseau's own life, such as the details of how Johnny came to San Francisco and met Lisa, and the nature of Johnny and Mark's friendship. Sestero further postulates that Wiseau based Lisa's explicit conniving on the character Tom Ripley , after Wiseau had a profound emotional reaction to the film The Talented Mr. Ripley , and matches elements of its three main characters to those in The Room ; Sestero has likewise indicated that the character Mark was named for the Ripley actor Matt Damon , whose first name Wiseau had misheard. In his direction and performance, Wiseau attempted to emulate Orson Welles , Clint Eastwood , Marlon Brando and James Dean , especially Dean's performance in the film Giant , [39] [11] and went so far as to directly use quotes from their films — the famous line "You are tearing me apart, Lisa!

The script is characterized by numerous inexplicable mood and personality shifts in characters. In analyzing the film's abrupt tone shifts, Sestero highlighted two scenes in particular. In the first scene, Johnny enters the rooftop in the middle of a tirade about being wrongfully accused of domestic abuse, only to become abruptly cheerful upon seeing Mark; a few moments later, he laughs inappropriately upon learning that a friend of Mark's had been severely beaten. On set, Sestero and script supervisor Sandy Schklair repeatedly tried to convince Wiseau that the line should not be delivered as comical, but Wiseau refused to refrain from laughing.

In addition to being rife with continuity errors, the film has several plots, subplots and character details whose inconsistencies have been commented on by critics and audiences. I definitely have breast cancer. Beyond being Johnny's friend, Mark's background receives no exposition; when he is first introduced he claims to be "very busy" while sitting in a parked car in the middle of the day, with no explanation ever given as to his occupation or what he was doing. In The Disaster Artist , Sestero states that he created a backstory for the character in which Mark was an undercover vice detective , which Sestero felt united several otherwise disparate aspects of Mark's character, including the secretive nature of various aspects of his behavior — including marijuana use — his mood swings, and his handling of the Chris-R incident.

Wiseau dismissed adding any reference to Mark's past to the script. At one point, the principal male characters congregate in an alley behind Johnny's apartment to play catch with a football while wearing tuxedos. When Mark arrives, he is revealed to have shaved his beard, and the camera slowly zooms in on his face while dramatic music plays on the soundtrack. Nothing that is said or occurs during the scene has any effect on the plot; the scene ends abruptly when the men decide to return to Johnny's apartment after Peter trips. Similar to most of the other plot points of the film, the event is introduced abruptly, and is never referenced elsewhere in the story.

According to Sestero, Wiseau submitted the film to Paramount Pictures , hoping to get them as the distributor. Usually, it takes about two weeks to get a reply. The Room however was rejected within 24 hours. Because of this, the film was promoted almost exclusively through a single billboard in Hollywood, located on Highland Avenue just north of Fountain Avenue, featuring an image Wiseau refers to as "Evil Man": an extreme close-up of his own face with one eye in mid-blink.

So we feel that people should see The Room. Wiseau additionally arranged a screening for the cast and the press at one of the venues, renting a spotlight to sit in front of the theater and arriving in a limousine. Actress Robyn Paris described the audience laughing at the film, and Variety reporter Scott Foundas, who was also in attendance, would later write that the film prompted "most of its viewers to ask for their money back—before even 30 minutes [had] passed.

Kelly 's Trapped in the Closet. The Room was unanimously panned by critics for its poor acting particularly Wiseau's , screenplay, dialogue, production values, score, direction, and cinematography. The film is described by several publications as one of the worst films ever made. The site's critical consensus reads, "A bona-fide classic of midnight cinema, Tommy Wiseau's misguided masterpiece subverts the rules of filmmaking with a boundless enthusiasm that renders such mundanities as acting, screenwriting, and cinematography utterly irrelevant. You will never see a football the same way again. In a interview for a Vox video, The Disaster Artist co-writer Tom Bissell explained his views on The Room ' s popularity, as well as his personal enjoyment of the film, by noting that: [59].

It is like a movie made by an alien who has never seen a movie, but has had movies thoroughly explained to him. There's not often that a work of film has every creative decision that's made in it on a moment-by-moment basis seemingly be the wrong one. Do I think it's a good movie? Do I think it's a strong movie that moves me on the level that art usually moves me? Absolutely not. But I can't say it's bad because it's so watchable. It's so fun. It's brought me so much joy. How can something that's bad do those things for me?

After treating the screening as his "own private Mystery Science Theater ", Rousselet began encouraging friends to join him for future showings to mock the film, starting a word-of-mouth campaign that resulted in about attending the film's final screening. Rousselet and his friends saw the film "four times in three days," and it was in these initial screenings that many of The Room traditions were born, such as the throwing of spoons and footballs during the film. After the film was pulled from theaters, those who had attended the final showing began e-mailing Wiseau telling him how much they had enjoyed the film.

Encouraged by the volume of messages he received, Wiseau booked a single midnight screening of The Room in June , which proved successful enough that Wiseau booked a second showing in July, and a third in August. These screenings proved to be even more successful, and were followed by monthly screenings on the last Saturday of the month, which began selling out and continued up until the theatre was sold in Kristen Bell acquired a film reel and hosted private viewing parties; [65] Veronica Mars creator Rob Thomas would also slip references into episodes of Mars "as much as possible.

The film had regular showings in many theaters worldwide, with many as a monthly event. Wiseau sits directly in front of a fireplace, with a mantle cluttered by various props from the film; [51] next to him sits a large framed theatrical poster for the film. A few of Wiseau's answers are dubbed in, although it is evident that the dubbed responses match what he was originally saying. Wiseau fails to answer several of the questions, instead offering non sequiturs. Among the outtakes included on the Blu-ray is an alternate version of the Chris-R scene, set in a back alley; instead of tossing a football, Denny is playing basketball and attempts to get the drug dealer to "shoot some H-O-R-S-E " with him to distract him from the debt.

Another bonus feature on the Blu-ray is a more than half-hour long fly-on-the-wall style documentary about the making of The Room. The documentary includes no narration, very little dialogue, and only one interview with cast member Carolyn Minnott , and consists largely of clips of the crew preparing to shoot. Wiseau announced plans in April for a 3D version of The Room , scanned from the 35mm negative. The Room was uploaded to YouTube by Wiseau on September 21, , [73] but was removed the day afterwards. The book, titled The Disaster Artist , was published in October Filming began December 7, A Canadian documentary about the film, titled Room Full of Spoons and directed by Rick Harper, was initially given a brief theatrical release in April However, the film was pulled from theaters and plans for a wide release in conjunction with the release of The Disaster Artist were hampered when it became the subject of legal proceedings by Wiseau, who claimed copyright infringement and defamation.

In September , Newgrounds owner Tom Fulp released a Flash game tribute, in the form of a bit styled adventure game played entirely from Johnny's point of view. The game's artwork was provided by staff member Jeff "JohnnyUtah" Bandelin, with music transcribed by animator Chris O'Neill from the Mladen Milicevic score and soundtrack. Wiseau reprised his role of Johnny and was joined by Sestero playing the role of Mark. In , Wiseau mentioned plans for a Broadway adaptation of the film, [84] in which he would appear only on opening night: "It will be similar to what you see in the movie, except it will be musical.

As well as, you will see So, the decision have to be made at the time when we actually doing choreography, 'cause I'll be doing choreography, as well I'll be in it only one time, that's it, as Johnny. A Mockumentary. The work builds on the backstory of the film, particularly the character of Denny and his relationship with Chris-R. In , Oh Hi, Johnny! The work explores if Tommy Wiseau actually made a stage adaptation of The Room.

Two scenes from The Room are featured during the episode. Adult Swim broadcast the movie three times from to as part of their April Fools' Day programming. In , they showed the first 20 seconds of it before switching to Toonami for the remainder of the night. The spoof also features a cameo from Jon Hamm. In , the film was mocked on the Internet comedy series Nostalgia Critic , which highlighted the film's bad acting and writing, but encouraged viewers to see the movie: "It truly is one of those films you have to see to believe.

It was replaced by a short video titled " The Tommy Wi-Show ", in which host Doug Walker, dressed as Wiseau, mocked the threatened legal actions. The main review was later reinstated. In , Greg DeLiso and Peter Litvin directed and produced a video titled "The Room Rap", telling the story of The Room 's production while mocking the green screen work and sub-par acting found in the movie. The best Jacobean tragedy outside Shakespeare, The Changeling — co-authored by Middleton and Rowley — also seems to anticipate film noir. This villain has a disfigurement, but the piece is alert to how perversely attracted we are to what repels us.

The assassin demands her virginity as his blood-money and the slide into shadowy corruption becomes inexorable. There is a subplot in a madhouse that is designed as a distorted mirror of the main action in its obsession with disguise, lunacy, and sex. You feel that if ugliness did not exist, we would have to invent it to satisfy our desires. It has fun sending up the pretensions of theatre, but ultimately uses it as means for talking about empathy, communication, and understanding, as relations between the reviled prisoners and the cruel officers thaw. A direct piece of storytelling with a huge heart. Hamlet , William Shakespeare. A play of astonishing breakthroughs. There had been plenty of soliloquies in Elizabethan drama beforehand.

But no one had ever talked to an audience like Hamlet. And like its title character, Hamlet is brilliantly self-reflexive, constantly probing its own theatricality. All his life he played tricksy games with philosophical problems such as the deceptiveness of identity. Henry IV is about madness, the appearance of madness, and the consequence of deciding to become trapped within the appearance of madness. For 20 years, he has been allowed to live this illusion, attended by flunkies in period-costume. Richard Harris and Ian McDiarmid were the last pair to play Henry in the West End and they relished the chance to interweave the quizzicality and raw pain that the part requires.

The predicament of the central character feels more tragicomically stimulating than far-fetched. This Pulitzer-winning American playwright has dramatised the plight of Congolese woman in her play Riot and industrial unrest in small-town America in Sweat from In this lovely earlier piece, she explores the history of her great-grandmother in early 20th century New York. Esther is a black seamstress — unmarried and illiterate — who sews ravishingly beautiful garments for other women to wear on their wedding nights.

The sensual feel of fine fabric her means of supporting and expressing herself is conveyed with gorgeous descriptive power. Intimate Apparel manages to be uplifting without ever losing its irreverent humour. What makes a great play? Many people argue for form matching content. A stage hypnotist encounters the father of a girl he killed in a car accident. The father truly believes his daughter has been transformed into an oak tree. The actor is transformed before us; we accept that they are now the father and fathers, over the years, have included Mike Myers, Toby Jones, Frances McDormand and even Alanis Morissette. An Oak Tree has a radical honesty which has made it hugely influential. Athol Fugard came to see that the righteous anger of didactic anti-apartheid drama was not as effective as the subversive laughter of the black townships when it came to getting across the harshness of the conditions there.

Certainly, there is nothing moralising or solemn about this piece which was produced in and developed by Fugard from improvisations with the great John Kani and Winston Ntshona who first performed it. A mischievous shaggy dog story, it pulls the audience into an atmosphere of good-humoured sociability. How does he feel about this administrative rebirth? A deceptively light and humane play that outlasts the apartheid era. Fear and lust rub up against each other, sweatily; few other writers have captured the heat of the South like Williams, and this is the playwright at his most atmospheric.

Blanche DuBois — the deluded southern belle who shacks up with her sister and her macho, abusive husband — is a summit part for an actress, and everyone from Vivien Leigh to Tallulah Bankhead, Cate Blanchett to Gillian Anderson have had a go. The Effect , Lucy Prebble. And given all interactions in the brain are just chemical, does it even matter? Her characters are fun to spend time with, her dialogue is snappy, but she digs deep too, into both scientific theories and human emotions, taking us from the grey lows of depression to the technicolour highs of new love.

The Seagull , Anton Chekhov. Has there ever been such a reliably delightful comedy? The improbable plot of tangled engagements, lost handbags, invented wicked relatives, and real monstrous aunts runs like clockwork. There are innumerable blissful one-liners, and at every turn Wilde has a fine old time pricking upper class social niceties. Our jack-the-lad hero — frantically trying to hold down a pair of jobs, unbeknownst to either boss — is a failed skiffle player. The atmosphere is Joe Orton-meets-the Carry On films. The complications are deliciously warped.

One character does a bunk to Brighton disguised as her psychotic twin brother who has been bumped off by her posh twit of a boyfriend in a gangland brawl. Still with me? Ibsen wrote great women: we could have gone for Hedda Gabler. The play shocked some in its portrayal of a woman made so desperate by her suffocating domestic situation that she abandons her children as well as her husband, choosing freedom and self-actualisation over the prison of the home. Of course, things have changed for women since, but this exceptionally controlled play still unfolds perfectly — and that slam still resonates. A supreme example of how a writer can make a play by putting together a triptych of miniatures. Born in north Yorkshire in the early s, Holman was brought up in the pacifist tradition and Making Noise Quietly looks at the long-range effects of war in three chance encounters, beautifully evoked situations.

In the first, set in a Kent field in , a northern Quaker and an uninhibited London aesthete based on the writer and painter Denton Welch discuss their reasons for not fighting. There are wry homosexual undercurrents. The third is set in the Black Forest in An English private, gone Awol with his disturbed eight-year-old stepson, come into testing collision with a rich German businesswoman who survived the Holocaust.

Writing of rare sensitivity and cumulative power. Private Lives , Noel Coward. He wrote it as a vehicle for himself and Gertrude Lawrence, with indecent speed. The play centres on two divorcees who, five years after their split, bump into each other on adjacent hotel balconies while on the first night of honeymoons with their respective new spouses. An elegantly contrived coincidence followed by a pattern of cheekily reversed expectations: most comedies end in marriage; this one begins with nobbled nuptials as the couple unceremoniously ditch their second partners and abscond to Paris together.

Elyot and Amanda are the kind of flighty egotistical couple that can neither live together nor apart. Coward has sharp insights in the plotless marvel of the second act: we see how easily post-coital languor can fracture into bitchy niggling and flamboyant violence. Few, if any, playwrights of the 20th century had as much of an impact on theatre as Brecht: he wanted art to be a political tool rather than escapist entertainment, but also revolutionised theatrical form and style, doing away with naturalism. Faith Healer , Brian Friel ,.

Frank Hardy, an itinerant Irish faith healer, his wife, and his manager tell four monologues that contradict each other, leaving the audience to question truth and memory, lies and storytelling. Although Friel throughout maintains a — crucial — ambivalence, the play attains a sort of transcendent grace of its own. Jerusalem , Jez Butterworth. A state-of-the-nation show powered by anti-establishment brio, it also precisely captures a contemporary rural community very sweary, and very funny. Jerusalem became a ridiculously big hit, with audiences camping out round the theatre for tickets. But a recent revival suggests the play can still crow, whoever plays Rooster. Angels in America , Tony Kushner.

The word AIDS was never mentioned by the President, and the struggle to find a cure was hampered by a lack of government recognition. Kushner retaliated by putting gay men centre stage in an epic that shows them fighting to forge their private and public destinies. The piece rages from Antarctica and the damaged ozone layer to a baroque heaven that god has abandoned.

Prophetic angels crash through ceilings. He is a closeted gay man when diagnosed with AIDS, but he opts for contemptuous denial on both fronts. This enormous autobiographical drama is so raw and unremitting in its revelations about his dysfunctional Irish-Catholic family that the author left instructions — mercifully disobeyed by his widow — that the play was not to be performed until 25 years after his death.

You can understand the trepidation. But the way the family pick at the same scabs again and again is very true to life. After witnessing three-and-half hours of whisky-soaked and morphine-fuelled recrimination, you emerge drained but in a state of elating catharsis. Based on the Greek myth where Medea kills her children in order to get revenge on her unfaithful husband, this tragedy has lost none of its force — or power to shock.

But the text allows more sympathetic readings Medea too, as a woman fighting for justice in an unjust world.

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