TEACH:

ANOTHER MONOLOGUE

I SHOULDN'T HAVE TO WRITE

Written for Gun Control - Protest Plays Project.

A high school teacher in handcuffs, blood on the tie.

M, White, any size, 30s-40s. This role must be played by a white actor.

SHORT - DRAMA - 5 Mins.

Production History

(upcoming) Protest Plays Project, Ohio State University, 2018

Development History

Reading - Protest Plays Project at Loft Ensemble, Los Angeles, CA, 2018

Reading - Protest Plays Project, Nu Sass Productions at the Pinch, Washington DC, 2018

 

Nuanced, important, and well constructed. A great example of a one-person show.
— Ezra Brain
A powerful solo piece that tackles head on the issues of gun violence, racism, and stand-your-ground. [A] story I shouldn’t have to read but it feels like one I’ll see trending in the news any day now. An upsetting, important, and necessary work.
— Steven Hayet
A blunt, disturbingly clear-eyed, and uncompromisingly confrontational short piece, and a forecast for a grim future. This is acceptance of a ‘post-racial’ modern America. This is acceptance that the answer to guns is more guns. This short solo piece feels complete but I’d also be very eager to see a full length play built around it. As is, it still packs the punch in just a couple of pages.
— Michael Kras
It’s beautiful and sick and sad and marvelously well-written, but all I can say is that as a teacher, it literally felt like someone had punched me in the stomach when I was finished. A monologue I shouldn’t have to write? A life I shouldn’t have to live. Unflinching, sick, and powerful.
— Emily Hageman
Where we are and where we are going... the most frightening thing is the reality of this monologue. A snapshot that could become reality in five minutes or tomorrow or in a year and it could happen over and over again. It should be included in every festival about gun control, black lives matter and school violence. Justification for killing a student: a terrifying “new normal.”
— Claudia Haas
One of Wyndham’s most disturbing works. The specific use of the chorus from a particular Kendrick Lamar song is devastating and speaks to the thoroughness and thoughtfulness of Wyndham’s writing. The kids aren’t (going to be) alright, not in this climate, not if the kind of too-close-to-fact “fiction” that’s depicted here is the direction being taken. This play feels terrifyingly prophetic, fearing the future, created with a full consideration of the past, and an urgent warning for the present.
— Ricardo Soltero-Brown