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monologue
Drama

Pregnancy Monologue

from The Boys

Written by Gordon Graham

A young mother reflects on the trauma of a past assault and her profound relief at giving birth to a son rather than a daughter. She expresses deep-seated fears about the inherent dangers and societal pressures faced by women in a violent world.

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UNNAMED WOMAN

WOMAN: Yeah, hah, you know the first thing I said to meself after the birth? I said, thank God it's not a girl. 'Cause I'd been thinkin' you know, about what happened to that girl that night. Thinkin' about all sorts of things blokes might do to my girl if she was pretty, and all the things she'd have to cop if she wasn't. Either way she'd lose.

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Scene Notes & Audition Tips

5 sections
About This Scene

Written by Gordon Graham, this contemporary dramatic monologue is drawn from the Australian play The Boys. Running approximately two minutes, the piece features an unnamed young woman reflecting on the lingering trauma of an assault following the birth of her child. Her confession centers on an unsettling feeling of relief at having borne a son rather than a daughter. Through this intimate admission, the speech offers a raw, vulnerable commentary on motherhood and the violent realities women navigate in society.

Character Analysis

The speaker is a young, working-class mother whose perspective has been fundamentally altered by fear and lived trauma. Although she has just experienced childbirth, her celebration is complicated by a protective instinct born from pain. She communicates with candid, unvarnished honesty rather than polished sentimentality. This contrast between maternal tenderness and harsh emotional survival creates a compelling, multidimensional character.

Why This Works for Auditions

This piece serves as an exceptional audition vehicle because it allows an actor to display heavy emotional depth without resorting to overt melodrama. The dramatic tension is largely internal, requiring nuanced subtext, stillness, and an authentic connection to vulnerable subject matter. Because the viewpoint is so stark and honest, the monologue immediately commands attention and leaves a lasting impression on directors and auditors.

Best Suited For

This monologue is best suited for female performers aged eighteen to twenty-five preparing drama school auditions, general practice, or contemporary self-tapes. Actors targeting working-class, dramatic, ingenue, or intensely vulnerable casting profiles will discover that the text naturally accentuates their emotional strengths. It also serves as an outstanding selection for auditions requiring contemporary dramatic material with a strong, distinct voice.

Performance Tips

When approaching this piece, avoid the temptation to overplay the tragedy; the character's relief, however bittersweet, should feel utterly genuine to her. Ground your delivery in a natural, conversational tone so the weight of her words resonates organically. Pay close attention to the Australian working-class rhythm in the language, allowing the colloquial phrasing to support the character's directness. Let your eyes and physical stillness communicate the internal scars, trusting that the writing provides all the dramatic power you need.

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