Introduction
Fairytales have a special place in our imagination. We grow up hearing about wolves, witches, princesses, magical mirrors, talking animals, enchanted forests, and characters who go on extraordinary adventures.
But what happens when we stop looking at these characters only as heroes and villains?
What if the Wolf has dreams of his own? What if Snow White has something to say about the life everyone expects her to live? What if Jack begins questioning whether the giants were really the villains? What if the Magic Mirror wants to be valued for something more than answering a familiar question?
20 Monologues for Young Actors by Marieke Gaboury explores these questions by giving familiar fairytale and classic-story characters new perspectives and personal voices. The collection is written for young actors ages 8+ and can be used for auditions, acting classes, and classroom settings.
Looking Beyond the Traditional Story
Traditional stories often give us a clear idea of who a character is.
The wolf is dangerous.
The witch is wicked.
The princess needs rescuing.
The hero defeats the villain.
But theatre allows us to ask a different question:
What is happening inside the character?
That is where a monologue becomes especially interesting.
A monologue gives a character space to speak directly about thoughts, emotions, doubts, hopes, regrets, and dreams that may not appear in the original story.
In this collection, familiar characters are given that opportunity.
The Wolf Who Doesn’t Want to Be the Wolf
The Wolf is one of the clearest examples.
Instead of simply being a threatening figure from The Three Little Pigs, this Wolf wants to play the flute and would rather avoid the expectations associated with being a wolf.
His story introduces the idea that identity can be complicated. A person may feel pressure to become what others expect while privately wanting something completely different.
For a young actor, this creates an opportunity to explore character through humor, conflict, and personal choice.
Jack Questions His Own Story
Jack also receives a different perspective.
After returning from the beanstalk, Jack begins thinking about the giants he encountered. He remembers how frightening they seemed, but he also wonders whether they were truly as terrible as he believed.
His story becomes a reflection on guilt, responsibility, and the consequences of our actions.
This is an excellent example of how a familiar story can become something more emotionally complex when the character is allowed to speak for himself.
The Magic Mirror Wants to Be Heard
The Magic Mirror has perhaps one of the most unusual perspectives in the collection.
Instead of existing simply as a magical object, the Mirror imagines what it could accomplish if people valued its knowledge and wisdom. It wants to be more than something used to answer a question about beauty.
For a young performer, playing a character that is not traditionally human can be an exciting acting exercise.
It requires imagination.
How does a mirror move?
How does it speak?
What does boredom sound like?
What does it mean for an object to have feelings?
These questions can turn a simple performance into a creative character study.
A Collection Full of Different Emotional Worlds
The characters in the book don’t all experience the same kind of conflict.
Some are humorous.
Some are lonely.
Some are frightened.
Some are dealing with expectations.
Some are questioning their choices.
Others are searching for friendship, belonging, or a sense of purpose.
Terry the Tortoise, for example, unexpectedly becomes famous after winning the race against the Rabbit, only to discover that fame brings its own pressure.
Thumbelina faces a different kind of decision. She must consider whether to continue searching for the place where she belongs or stay behind to help an injured friend.
Why This Matters for Young Actors
Young performers need opportunities to explore more than one type of character.
A collection based on familiar stories can give them a comfortable starting point while still encouraging imagination and interpretation.
The actor recognizes the character—but doesn’t have to copy an existing version.
Instead, they can ask:
“What would my version of this character be?”
That question is at the heart of creative acting.
Final Thoughts
The power of a familiar fairytale is not only in the story we already know.
Sometimes, the most interesting story is the one we never heard.
20 Monologues for Young Actors invites performers to look behind the traditional fairytale and listen to the characters themselves.
Because every character has a story.
And every young actor has a voice worth hearing.