Janey’s Monologue from The Funeral Director by Iman Qureshi
"I’m leaving..."
Overview of The Funeral Director
The Funeral Director by Iman Qureshi is a nuanced exploration of identity, family, and societal expectations within a British Muslim community. Janey’s monologue is a deeply personal reflection on her struggles with acceptance, both from her mother and the society she grew up in, highlighting the scars of homophobia and the longing for connection and belonging.
Character Breakdown: Janey
Name: Janey
Age: Late 20s to early 30s
Background: Janey is a lesbian navigating her relationship with her mother, her identity, and the prejudice she experienced growing up. She has spent time in London, where she found a sense of belonging, but returning to her hometown forces her to confront past traumas.
Who the Character is Talking To in This Moment: Janey is speaking to Ayesha, reflecting on their shared history and her struggles with her mother’s disapproval.
What’s Just Happened: Janey reveals the impact of her mother’s rejection after she came out as a lesbian, exploring how it shaped her decisions and left lingering emotional scars.
The Monologue
"I’m leaving. [...] Mum’s better. But we’re fighting all the time. Over everything. The Archers. The Ten O’Clock News. The difference between organic and free-range eggs. [...]
Being back here. It feels like home, but not, you know? Like I’m a foreigner in the place I was born. You know what I mean? [...]
And I miss London. It just sucks you in. I was a Londoner from the second I got on the Tube to go to work on my first day. My head in someone’s armpit.
Beat.
And I don’t know what it does to you, but you start to think the whole world is like that. A melting pot of cultures, unified by suits and mobile phones, commuter woes and house-price grievances. [...] The air is thick with hurt.
I didn’t speak to her for years you know? After I told her I was a lesbian. Pause – this lands with AYESHA.
[...] She stopped me hanging around you because she was afraid I was a lesbian. And I was too weak, too miserable, too ashamed really, to argue with her. [...] Those scars run so deep. I can still feel them today. [...] She was terrified, absolutely terrified that the bullying was – justified. That we were a couple and those rumours were true."
Suggested New Thoughts Chunking / Paragraphing
“I’m leaving. [...] Mum’s better. But we’re fighting all the time. Over everything. The Archers. The Ten O’Clock News. The difference between organic and free-range eggs. [...] Being back here. It feels like home, but not, you know? Like I’m a foreigner in the place I was born. You know what I mean?”
Commentary: Janey’s opening reflects her conflicted feelings about home. There’s a mix of humour and sadness, highlighting her sense of disconnection. Actors can deliver this with a conversational tone, allowing the underlying frustration to seep through.
“And I miss London. It just sucks you in. I was a Londoner from the second I got on the Tube to go to work on my first day. My head in someone’s armpit.
Beat.
And I don’t know what it does to you, but you start to think the whole world is like that. A melting pot of cultures, unified by suits and mobile phones, commuter woes and house-price grievances.”
Commentary: Janey’s nostalgia for London contrasts sharply with her experience of her hometown. This section should be delivered with warmth and longing, emphasizing the contrast between the inclusivity of the city and the narrow-mindedness she feels back home.
“The air is thick with hurt. I didn’t speak to her for years you know? After I told her I was a lesbian. Pause – this lands with AYESHA.
Commentary: The shift here introduces the emotional core of the monologue. Janey’s pain and vulnerability come to the forefront as she reflects on her mother’s rejection. The pause is crucial for the weight of this revelation to sink in.
“She stopped me hanging around you because she was afraid I was a lesbian. And I was too weak, too miserable, too ashamed really, to argue with her. [...] Those scars run so deep. I can still feel them today.”
Commentary: This section reveals the depth of Janey’s trauma. Actors should focus on the raw emotion, balancing shame, anger, and the enduring impact of bullying and rejection.
“She was terrified, absolutely terrified that the bullying was – justified. That we were a couple and those rumours were true.”
Commentary: Janey’s final lines are devastating, exposing the prejudice she faced and the internalized shame it caused. Deliver this with quiet intensity, letting the audience feel the weight of her mother’s fears and the societal pressures that shaped them.
Journey Keypoints
Hook: Janey begins with humour and lightness, reflecting on her arguments with her mother and her conflicted feelings about home.
Turning Point: Her nostalgia for London introduces a contrast with the prejudice and rejection she faced in her hometown.
Climax: The revelation of her mother’s homophobia and its impact on Janey’s self-worth and relationships.
Resolution: Janey confronts the lingering scars of her past, laying bare the fear and shame instilled in her.
Performance Tips
Balance Humour and Pain:
Janey’s monologue weaves between light-hearted moments and deep emotional revelations. Use the humour to build contrast and emphasize the weight of her pain.Honour the Pauses:
The beats and pauses in the text are key to Janey’s emotional arc. Use them to let the gravity of her words sink in, both for the audience and for Janey herself.Engage with the Listener:
Although Janey is speaking to Ayesha, her words resonate with broader themes of identity and acceptance. Use eye contact and shifts in tone to draw the audience into her story.
Learn with Acting Coach Scotland
Janey’s monologue demands a careful balance of humour, vulnerability, and emotional depth. At Acting Coach Scotland, we specialize in helping actors connect with complex characters and deliver authentic, impactful performances.
