Puck’s Monologues
From: A Midsummer Night’s Dream
Casting type notes: Puck, or Robin Goodfellow, is a cheeky sprite who causes trouble (accidentally and on purpose) all through A Midsummer Night’s Dream. The character is referred to as a ‘he’, but it is common for Puck to be played by actors of all ages and genders. If you have a cheeky, youthful vibe (or sometimes a roguish, trouble-maker vibe), and an energetic physicality, Puck might be a good fit for you.
Act 2, Scene 1
The king doth keep his revels here to-night:
Take heed the queen come not within his sight;
For Oberon is passing fell and wrath,
Because that she as her attendant hath
A lovely boy, stolen from an Indian king;
She never had so sweet a changeling;
And jealous Oberon would have the child
Knight of his train, to trace the forests wild;
But she perforce withholds the loved boy,
Crowns him with flowers and makes him all her joy:
And now they never meet in grove or green,
By fountain clear, or spangled starlight sheen,
But, they do square, that all their elves for fear
Creep into acorn-cups and hide them there.
Quick tips:
This is an expository monologue, telling the audience what they need to know. How can you raise the stakes so there is a sense of urgency? Hint: Try imagining that Oberon is just around the corner, about to appear, and you need the fairies to leave RIGHT NOW.
Make sure you choose a clear objective for yourself to help drive that sense of urgency. What does he want the fairies to do? Put it in your own words.
Act 2 Scene 1
Thou speak'st aright;
I am that merry wanderer of the night.
I jest to Oberon and make him smile
When I a fat and bean-fed horse beguile,
Neighing in likeness of a filly foal:
And sometime lurk I in a gossip's bowl,
In very likeness of a roasted crab,
And when she drinks, against her lips I bob
And on her wither'd dewlap pour the ale.
The wisest aunt, telling the saddest tale,
Sometime for three-foot stool mistaketh me;
Then slip I from her bum, down topples she,
And 'tailor' cries, and falls into a cough;
And then the whole quire hold their hips and laugh,
And waxen in their mirth and neeze and swear
A merrier hour was never wasted there.
But, room, fairy! here comes Oberon.
Quick Tips:
Notice the first line is a half line, which means it comes in quickly following the last line of the actor before.
Create a clear physicality for Puck - how do you envision them?
You will need to think about how much you are physicalising what you are saying and how much you are just “telling”.
Act 2, Scene 2
Through the forest have I gone.
But Athenian found I none,
On whose eyes I might approve
This flower's force in stirring love.
Night and silence. Who is here?
Weeds of Athens he doth wear:
This is he, my master said,
Despised the Athenian maid;
And here the maiden, sleeping sound,
On the dank and dirty ground.
Pretty soul! she durst not lie
Near this lack-love, this kill-courtesy.
Churl, upon thy eyes I throw
All the power this charm doth owe.
When thou wakest, let love forbid
Sleep his seat on thy eyelid:
So awake when I am gone;
For I must now to Oberon.
Quick Tips:
NB: This monologue is NOT in Iambic Pentameter, so if your audition requires a “blank verse” or “verse” monologue, don’t use this one!
Shakespeare has deliberately chosen a different rhythm that what he usually uses to create a different effect. Notice how it feels like a childish song or nursery rhyme? How can you play with this effect (without it sounding too childish, sing-song-y or annoying)? Play with some options and aim to strike a balance.
Act 3 Scene 2
My mistress with a monster is in love.
Near to her close and consecrated bower,
While she was in her dull and sleeping hour,
A crew of patches, rude mechanicals,
That work for bread upon Athenian stalls,
Were met together to rehearse a play
Intended for great Theseus' nuptial-day.
The shallowest thick-skin of that barren sort,
Who Pyramus presented, in their sport
Forsook his scene and enter'd in a brake
When I did him at this advantage take,
An ass's nole I fixed on his head:
Anon his Thisbe must be answered,
And forth my mimic comes. When they him spy,
As wild geese that the creeping fowler eye,
Or russet-pated choughs, many in sort,
Rising and cawing at the gun's report,
Sever themselves and madly sweep the sky,
So, at his sight, away his fellows fly;
And, at our stamp, here o'er and o'er one falls;
He murder cries and help from Athens calls.
Their sense thus weak, lost with their fears thus strong,
Made senseless things begin to do them wrong;
For briers and thorns at their apparel snatch;
Some sleeves, some hats, from yielders all things catch.
I led them on in this distracted fear,
And left sweet Pyramus translated there:
When in that moment, so it came to pass,
Titania waked and straightway loved an ass.
Quick Tips:
This is another ‘storyteller’ type monologue from Puck, so again you need to think about how much of the monologue you will physicalise.
Make sure you use a Shakespeare lexicon or something like shakespeareswords.com to check some of the unusual references, like “russet-pated choughs”. Don’t just guess the meaning!
Create clear memories or images in your mind as you speak through the monologue, so you can paint the picture for your audience.
Act V Scene 1
Now the hungry lion roars,
And the wolf behowls the moon;
Whilst the heavy ploughman snores,
All with weary task fordone.
Now the wasted brands do glow,
Whilst the screech-owl, screeching loud,
Puts the wretch that lies in woe
In remembrance of a shroud.
Now it is the time of night
That the graves all gaping wide,
Every one lets forth his sprite,
In the church-way paths to glide:
And we fairies, that do run
By the triple Hecate's team,
From the presence of the sun,
Following darkness like a dream,
Now are frolic: not a mouse
Shall disturb this hallow'd house:
I am sent with broom before,
To sweep the dust behind the door.
Quick tips:
This is another monologue NOT in Iambic Pentameter, so do not use so if your audition requires a “blank verse” or “verse” monologue.
Again, notice the nursery rhyme-like feeling. Now it feels more like a spell. How can you create a sense of magic when you speak?
Act V Scene 2
If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.
Quick Tips:
Another one NOT in Iambic Pentameter - do not use so if your audition requires a “blank verse” or “verse” monologue.
This is the epilogue of the play, which is a speech directly addressed to the audience at the end of the play.
Because it is at the end of the play, it needs to feel like a resolution or conclusion. You are saying goodbye (and thank you) to the audience. A sense of reflectiveness can help. How can you combine a bit of cheekiness or glee with a sense of reflection?
