Izzy’s Monologue from BU21 by Stuart Slade
"So I found out my mum was dead on Twitter..."
Overview of BU21
BU21 by Stuart Slade offers a searing exploration of trauma, resilience, and humanity in the wake of a devastating terrorist attack in London. Through interconnected monologues, the play unveils deeply personal stories of survival, grief, and coping mechanisms. Izzy’s monologue is a poignant and raw account of how she learned of her mother’s death, blending dark humour, disbelief, and overwhelming emotion.
Character Breakdown: Izzy
Name: Izzy
Age: Early 20s
Background: Izzy is a young professional navigating life in London. Her monologue reveals her trauma and guilt as she processes the shocking death of her mother in the attack.
Who the Character is Talking To in This Moment: Izzy is speaking directly to the audience in a support circle, reflecting on her experience with a mix of detachment and vulnerability.
What’s Just Happened: Izzy recounts the moment she was caught in the blast of the attack, followed by the horrifying realization—via Twitter—that her mother was one of the victims.
The Monologue
"So I found out my mum was dead on Twitter. Which wasn’t, you know, great.
It was about ten-thirty on a Friday morning and I was just printing off some stuff for a client workshop at eleven, and the printer was being just – you fucking – you know?
Yeah.
And then – out of absolutely nowhere – there was just this massive, massive bang –
It wasn’t even like a sound – it was just this, I don’t even know the word – this pure violence.
And I guess I must have been knocked down by the blast – because I realised I was on the floor, so I got up – and I was deaf, like my ears were underwater –
And I looked up, and all the windows of the office were broken, and I was just like – shit –
And people were bleeding from the broken glass, covered in dust, and everybody was just – shocked kind of isn’t the word – they were like really wired and breathing really fast and just acting strange and shaking and –
And this one woman was screaming, so me and this other girl tried to calm her down.
And everybody wanted to get the fuck out of the office – run for the hills, you know – but the facilities guys were all like Stay Where You Are It’s Not Safe to Leave the Building.
And part of me was like – fuck that, who listens to the facilities guys? Wearing a yellow Day-Glo fucking tabard doesn’t make you the King of the World, you pompous, megalomaniac, fuck-stick cunts – but part of me knew they were probably right –
So I brushed the glass off my desk – by now I was sort of on autopilot, you know – trying to re-normalise my situation.
And I sat there at my desk, covered in dust and glass – trying to do the deep breathing from my yoga, but it wasn’t helping in the slightest – and so I did what millions of other people were probably doing that exact moment – I googled ‘Explosion, London’, and pretty much within two seconds I just found this photo of – well, this woman, lying face down in the street, in this pool of –
She was in a really bad way. Like the bottom half of her was just – gone – sorry. That was like five minutes after it happened.
She was outside the Space NK apothecary on the New King’s Road.
And all the hair on my arms was standing up because –
I was like – it fucking can’t be.
But in my heart I knew it was.
And the one thing I’ll always – my first reaction wasn’t grief or – it was disgust. Which I’m so unbelievably ashamed about. Thinking that. About my mum.”
Suggested New Thoughts Chunking / Paragraphing
“So I found out my mum was dead on Twitter. Which wasn’t, you know, great. It was about ten-thirty on a Friday morning and I was just printing off some stuff for a client workshop at eleven, and the printer was being just – you fucking – you know? Yeah.”
Commentary: Izzy’s dry humour and casual tone set the stage for a shocking story. This opening juxtaposes the mundane with the extraordinary, making the eventual revelation even more jarring. Actors should emphasize the everyday frustration to create a stark contrast with what follows.
“And then – out of absolutely nowhere – there was just this massive, massive bang – It wasn’t even like a sound – it was just this, I don’t even know the word – this pure violence.”
Commentary: The description of the explosion captures its visceral and disorienting impact. Actors should focus on the raw physicality of this moment, allowing the audience to feel the violence and chaos.
“And I guess I must have been knocked down by the blast – because I realised I was on the floor, so I got up – and I was deaf, like my ears were underwater –”
Commentary: Izzy’s disorientation and sensory descriptions add to the realism. Actors can use physicality here, portraying her struggle to regain composure while emphasizing her vulnerability.
“And I sat there at my desk, covered in dust and glass – trying to do the deep breathing from my yoga, but it wasn’t helping in the slightest – and so I did what millions of other people were probably doing that exact moment – I googled ‘Explosion, London’, and pretty much within two seconds I just found this photo of – well, this woman, lying face down in the street, in this pool of –”
Commentary: The surreal act of googling the explosion captures the modern-day immediacy of tragedy. Actors should balance detachment with the growing horror as Izzy realizes the personal connection to the news.
“She was in a really bad way. Like the bottom half of her was just – gone – sorry. That was like five minutes after it happened. She was outside the Space NK apothecary on the New King’s Road.”
Commentary: Izzy’s guilt and discomfort come through in her fragmented descriptions. Actors should show the internal conflict as she struggles to process the horrifying image.
“And all the hair on my arms was standing up because – I was like – it fucking can’t be. But in my heart I knew it was.”
Commentary: This moment of realization is devastating. Izzy’s certainty clashes with her desperate hope that she’s wrong, creating an emotionally charged pivot.
“And the one thing I’ll always – my first reaction wasn’t grief or – it was disgust. Which I’m so unbelievably ashamed about. Thinking that. About my mum.”
Commentary: The final admission is raw and unfiltered. Actors should focus on Izzy’s shame and vulnerability, allowing this moment to linger as the emotional climax of the monologue.
Journey Keypoints
Hook: Izzy’s offhand mention of discovering her mother’s death on Twitter shocks the audience.
Turning Point: The visceral description of the explosion and the moment she identifies her mother in the photo.
Climax: Izzy’s confession of her initial reaction, highlighting her guilt and emotional turmoil.
Resolution: The lingering shame and vulnerability as she reflects on her response.
Performance Tips
Embrace Disorientation:
The monologue transitions from detachment to chaos to deep vulnerability. Allow the disorientation to inform your pacing and delivery.Balance Humour and Pain:
Izzy’s dry humour is her defense mechanism. Use it sparingly to highlight her pain rather than diminish it.Pace the Realization:
The moment Izzy identifies her mother in the photo is pivotal. Build to this realization with growing dread and inevitability.
Learn with Acting Coach Scotland
Monologues like Izzy’s demand emotional authenticity and precision. At Acting Coach Scotland, we specialize in helping actors bring complex characters to life. From auditions to performances, we’ll help you hone your craft.
