Kaite OReilly - The d Monologues
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These performance texts were written exclusively for performers identifying as Deaf, disabled or neuro-divergent.
This unique collection of fictional dramatic monologues was written specifically for D/deaf and disabled performers (the d of the title), informed by lived experience. But the d could just as easily refer to difference, diversity, defiance, determination, desirability and a host of other delicious ds....
Covering a wide variety of form, content, and theatrical styles, the monologues offer fresh perspectives on difference and disability from across the UK and beyond. From biting satire to crip pride, observational comedy to poignant revelations of life in contemporary Britain and beyond, these texts challenge and subvert ingrained preconceptions of disability and celebrate all the possibilities of human variety.
This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water Im Weightless (National Theatre Wales Cultural Olympiad 2012), the 70 minute stand alone one-woman show richard iii redux, co-written with Phillip Zarrilli, and the multilingual intercultural And Suddenly I Disappear: The Singapore/UK d Monologues.
The monologues offer a great resource for atypical performers as audition pieces and for companies and individuals as script-in-hand, full productions, solo shows or with larger casts. The variety of monologues enables flexible presentation as solo, choral or ensemble performances.
This unique collection of fictional dramatic monologues was written specifically for D/deaf and disabled performers (the d of the title), informed by lived experience. But the d could just as easily refer to difference, diversity, defiance, determination, desirability and a host of other delicious ds....
Covering a wide variety of form, content, and theatrical styles, the monologues offer fresh perspectives on difference and disability from across the UK and beyond. From biting satire to crip pride, observational comedy to poignant revelations of life in contemporary Britain and beyond, these texts challenge and subvert ingrained preconceptions of disability and celebrate all the possibilities of human variety.
This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water Im Weightless (National Theatre Wales Cultural Olympiad 2012), the 70 minute stand alone one-woman show richard iii redux, co-written with Phillip Zarrilli, and the multilingual intercultural And Suddenly I Disappear: The Singapore/UK d Monologues.
The monologues offer a great resource for atypical performers as audition pieces and for companies and individuals as script-in-hand, full productions, solo shows or with larger casts. The variety of monologues enables flexible presentation as solo, choral or ensemble performances.
Kaite OReilly: author's other books
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Kaite OReilly
Frank Catalano
Frank Catalano
Simeilia Hodge-Dallaway (editor)
Alisha Gaddis
Todd London
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This extraordinary piece of written art is an emotional rollercoaster of raw pain, humour and resilience. OReilly pushes the complexity of being human defined within a D/ deaf and disabled context a world which refutes and battles against ableist words of cure, to be fragmented, unfinished, damaged goods. Each monologue is whole and holistically rich and all resonate for the disabled and non-disabled reader. The poignant message is we are not ever going to disappear and we make no apology. This is a book for anyone who treasures the diversity of the world.
Jenny Sealey CEO/Artistic Director, Graeae Theatre
I absolutely loved these playsbrilliantprofoundOReillys collection of plays balances with expert precision both commonalities and particularities of disability experiences across many boundaries: international borders, identities, impairment types, languages, and cultures. Each play addresses the complexities of disability, Deaf, or illness experiences. Disability pride includes feelings of belonging but also deep ambivalence about the pain, suffering, oppression, and alienation those of with disabilities endure. The lyrical and collective voice of disability experience in these plays make me proud to be part of this remarkable community.
Carrie Sandahl Scholar, practitioner, activist
First published in 2018 by Oberon Books Ltd
521 Caledonian Road, London N7 9RH
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Copyright Kaite OReilly, 2018
10 9 8 7 6 5 4 3 2 1
Kaite OReilly is hereby identified as author of these plays in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights.
All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before commencement of rehearsal to Blake Friedmann, First Floor, Selous House, 5-12 Mandela Street, London, NW1 0DU. No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the authors prior written consent.
You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electrownic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
A catalogue record for this book is available from the British Library.
PB ISBN: 9781786826350
E ISBN: 9781786826343
Cover image: Sophie Stone in In Water Im Weightless
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Printed and bound by 4EDGE Limited, Hockley, Essex, UK.
eBook conversion by Lapiz Digital Services, India.
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Printed on FSC accredited paper
For all the glorious freaks of nature, the brittle-boned beauties,
the gems of the genome; the marvels, the rare jewels of genetic code,
dodo diamonds of DNA: You amaze me. I salute you.
the gems of the genome; the marvels, the rare jewels of genetic code,
dodo diamonds of DNA: You amaze me. I salute you.
I dedicate this to you all.
With thanks foremost to my community, one that is multiple and knows no borders or limitations. Thanks also to my collaborators, interviewees, supporters, funders, and all who made this collection possible.
Contents
richard iii redux
(co-written with Phillip Zarrilli)
(co-written with Phillip Zarrilli)
And Suddenly I Disappear
The Singapore/UK d Monologues
The Singapore/UK d Monologues
Preface in Three Voices
1.
DO YOU KNOW, EVEN FOR ONE MOMENT,
HOW EXTRAORDINARY YOU ARE?
HOW EXTRAORDINARY YOU ARE?
In her glorious monologue A Short History of Fear, Kaite OReilly takes a litany of insults directed at disabled people: the mongs, the spazzies, the shunned, the feared, and turns this list into a vision of greatness. It is a masterpiece of poetic and dramatic transformation. It is also a particularly resonant example of the juxtapositions of tone and language typical of OReillys writing in general, and this volume in particular. Where else could you find a profound re-imagining of Shakespeares Richard III weaving around nostalgia for the Bay City Rollers, or the lyrical inspiration of Be a River just around the corner from the vicious parody of Non-Believer : You have to be cruel to be kind. And Ill smash your fucking face in if you tell me otherwise.
The pieces in the volume have been performed in a variety of ways, but unlike much of OReillys earlier work, they take the dramatic monologue as their organising principle. Gone here are the complex temporal and dramaturgical structures of earlier pieces such as Perfect and Henhouse , instead we have an exploration of the solo dramatic voice, the moment of acting and its confrontation with text. By boiling her theatre down to this simple question of the monologue, OReilly delivers perhaps her most thorough exploration to date of the nature of theatre and of the ways in which the body of the disabled performer deconstructs and challenges our assumptions about stage and society. Certainly, richard iii redux (OR Sara Beer Is/ Not Richard III) , which sits at the centre of the collection, is a mighty investigation of these questions. By introducing the actor who performs the monologue in the title of the work, OReilly/ Zarrilli instantly deconstruct the notion of performance, of representation, of the neutral body Im an actor about to play Richard the Third. Do you have any books on deformities? reminding us instead that there is only ever specificity, difference, and that the dramatic text is always deeply implicated in the world that has produced it.
Around this central meditation on acting, other d Monologues circulate in this book, presented always as a range of possibilities, never as a prescriptive text. While richard iii redux can, in a way, never be properly performed by anyone other than Sara Beer, and can only be improperly performed by Beer herself as she fails brilliantly to become the Shakespearian anti-hero, the other d Monologues here are invitations to interpretation. They have been selected and structured in different ways by different performers, with a different shape and size each time. There is no normative d monologue!
Indeed, as this collection of beautifully disparate works demonstrates, there is no normative OReilly, no one view, no single proposition about theatre or life, to recognise and write about, or enact. Rather this body of work is a disruptive flow, asking all of us to stop and make time for difference: to recognise the ever-unexpected emergence of the extraordinary.
John E McGrath
Artistic Director, Manchester International Festival
2.
IM SORRY. IM SO, SO SORRY. IT WILL HAPPEN TO YOU.
To recognise Disability Arts as a nuanced, distinct and powerful art genus always seems to be an uphill struggle. Non-disabled arts practitioners often view this solely from a community, marginalised or therapeutic model. Therefore, making connections into mainstream opportunities continues to be fraught with misunderstanding and barriers. Kaite OReilly is one of the few disability arts rooted artists to have made this impact. Kaite is a master in capturing atypical realities through beauty, challenge, connection and compassion. This is made clear through The d Monologues , a plethora of gifts of insights into real disabled and Deaf lives, usually all too easily ignored within todays prevailing ableist society.
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