Young Man — Violent? Violent, are we? Tell me what else we've ev…

In this searing contemporary dramatic monologue from Tony Morphett's play I've Come About the Assassination, a son delivers a blistering confrontation directly to his father. Challenging the older generation's condemnation of youth violence, the speaker systematically deconstructs historical atrocities orchestrated by elder statesmen. He uses this critique of institutional hypocrisy to justify his own planned violent act as an urgent expression of personal autonomy in an era overshadowed by nuclear annihilation.

The Young Man embodies the archetype of the fierce rebel and disenfranchised anti-hero pushed toward extreme measures. Driven by bitter disillusionment and existential dread, he utterly rejects the sanctimonious moralising of authority figures whom he views as architects of mass slaughter. Beneath his fierce cynicism lies a desperate longing for control, transforming his nihilism into a chilling, calculated resolve to define his destiny entirely on his own terms.

This piece provides an exceptional showcase for young actors looking to demonstrate sustained dramatic tension and high-stakes emotional power. The monologue offers an immediate, tangible objective, as the character actively fights to shatter his father's rationalisations while steeling himself for a radical deed. Its sharp shifts between broad political indictment and raw familial resentment present dynamic opportunities to display vocal range, varied pacing, and deeply layered subtext.

Tailored for male performers playing ages eighteen to twenty-five, this selection suits auditions requiring an intense contemporary dramatic presence. It serves exceptionally well for drama school admissions panels, agent showcases, self-tapes, and monologue competitions. Directors seeking actors for outsider, rebel, or anti-hero roles will quickly see a performer's ability to navigate moral complexity and carry an aggressive narrative without slipping into generic anger.

Resist the initial urge to begin at maximum vocal volume, as starting at a fever pitch leaves nowhere to escalate over the two-minute duration. Ground the speech in the specific interpersonal conflict with the father, finding moments where genuine personal hurt punctures the biting political rhetoric. Maintain physical stillness to anchor your presence, letting the mounting existential terror drive the internal rhythm until the final decision lands with chilling, irreversible certainty.