Monologue PLEASE HELP?

Question:The letter the College sent me Says:

You will need to select, learn and rehearse a 2 minute monologue/ audition piece from a modern or classical play in preparation and perform this at the interview.

Does this mean that it can only be a staged play or written for a play?
Because i want to do a monologue from The Hours.
But this isn't a play is it?

Laura:
There are times when you don’t belong and you think you’re going to kill yourself. Once I went to a hotel. That night…later that night, I made a plan. Plan was, I would leave my family when my second child was born. And that’s what I did. Got up one morning, made breakfast, went to the bus stop, got on a bus. I’d left a note. (pause) I got a job in a library in Canada. It would be wonderful to say you regretted it. It would be easy. But what does it mean? What does it mean to regret when you have no choice? It’s what you can bear. There it is. No one is going to forgive me. (Laura looks at Clarissa, steady, unapologetic.) It was death. I chose life.

Best Answer - Chosen by Asker: The letter the College sent me Says:

You will need to select, learn and rehearse a 2 minute monologue/ audition piece from a modern or classical play in preparation and perform this at the interview.

Does this mean that it can only be a staged play or written for a play?
Because i want to do a monologue from The Hours.
But this isn't a play is it?

Laura:
There are times when you don’t belong and you think you’re going to kill yourself. Once I went to a hotel. That night…later that night, I made a plan. Plan was, I would leave my family when my second child was born. And that’s what I did. Got up one morning, made breakfast, went to the bus stop, got on a bus. I’d left a note. (pause) I got a job in a library in Canada. It would be wonderful to say you regretted it. It would be easy. But what does it mean? What does it mean to regret when you have no choice? It’s what you can bear. There it is. No one is going to forgive me. (Laura looks at Clarissa, steady, unapologetic.) It was death. I chose life.

No. Use a monologue from a PLAY, not a movie.

Your willingness (or lack thereof) will tell the audition board exactly what it needs to know to NOT accept you -- that you don't value the drama enough to do your honework and find a suitable monologue from a PLAY. There are thousands of them out there. Follow the directions. They have not omitted anything. You have modern and classical to choose from, dramatic or comedic. Find a one minute monologue and nail it; there's no need to go the full 2 minutes when most audition panels will tell you that they can determine all that they need to know in the first 30 seconds.

I don't know a lot about monologues! but i think the one you have is fine!!
And if you want to change it: there's a famous monologue i dnt know if you know it, it's shakespeare, forgot which play, but it goes like this but it's an oldie so:

All the world's a stage,
And all the men and women merely players,
They have their exits and entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms.
Then, the whining schoolboy with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden, and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice
In fair round belly, with good capon lin'd,
With eyes severe, and beard of formal cut,
Full of wise saws, and modern instances,
And so he plays his part.
The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose, and pouch on side,
His youthful hose well sav'd, a world too wide,
For his shrunk shank, and his big manly voice,
Turning again towards childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

hope i've helped at least!!

If you want to get technical, this is a screenPLAY so think you should go ahead and do it. Show 'em you got some moxie! ;o)

On the flip side - this material - hoo! - you're wading into some deep water. Not to detract from your abilities (which only you know) there's plenty of pitfalls in the text. Need to be strong so that they see that spark of energy so necessary in good actors. Obviously the text works against bouncing around on the stage gleefully skipping as you recite the lines - lol! So what to do? In REHEARSING I'd take it waaaaaaaaaaaay over the top - kinda like you're in front of a firing squad and this is your only hope for a pardon. In that scenario you'd prob' spit out the lines rat-a-tat-tat in desperation. You're up against the wall, literally and figuratively right? So DO IT with your back actually against the wall with that subtext in mind. Then try it in the extreeeeeeeeeeeeeme opposite direction - lying on a couch eating grapes lazily drawling out the words like you were some DIVA with not a care in the world. Take it sloooooooowly. Draw out each word paying attention to the pacing - the slow, laziness in which you luxuriate in your Diva-ness(!) as you share this (yawn, stretch, snuggle in, etc.) story.
Somewhere within these two extremes you may find some true reality in the way the character is telling her story. Since the subject matter is so serious, you sure don't want to fall into the trap of being a sappy sad down-on-her-luck lady. That = no energy and intensity. IF - on the other hand - you can bring to this, in performance, a sense of getting up "IN THEIR FACE" having discovered the highs and lows, strengths and weaknesses of the TRUTH within the text - and it must be YOUR TRUTH - it cannot help but bring this character's dilemma(s) to LIFE!

Break a leg!