Kelly’s Monologue from Flesh and Bone by Elliot Warren
"Like a deep and darkly hole with which there is no foreseeable bottom..."
Overview of Flesh and Bone
Flesh and Bone by Elliot Warren is an award-winning play that delivers raw, visceral storytelling with poetic language and biting humour. Set in a working-class East End estate, the play explores themes of survival, identity, and systemic inequality. Kelly’s monologue is a standout moment, blending vulnerability, humour, and defiance as she navigates her struggles and self-worth.
Character Breakdown: Kelly
Name: Kelly
Age: Mid-20s
Background: Kelly is a working-class woman trying to survive in a harsh and unforgiving environment. With sharp wit and resilience, she confronts her circumstances head-on, balancing dreams of a better life with the reality of her situation.
Who the Character is Talking To in This Moment: Kelly speaks directly to the audience, using humour and poetic imagery to share her story and challenge their perceptions of her.
What’s Just Happened: Kelly reflects on her struggles, from financial insecurity to the exploitation she faces as a worker on a sex chatline, and how she uses wit and resourcefulness to cope.
The Monologue
"Like a deep and darkly hole with which there is no foreseeable bottom, my woes see no end. This part I play, this face I pretend, puts palisades between reality and what emits from my not-so-decorous defence. But I ain’t no damsel in distress, be sure about that, fuckers. I swim with the sharks, play ball in the lion’s den. You see, round these trenches I am a foot soldier in a ceaseless war we will both win and lose in the end.
What say you then? Smirk go on, call me: Silly, naive, weak. I’m a survivor on a busy island, where there ain’t much left to eat.
[...] From my boudoir, I lay atop my sheets, like a Frenchy getting painted I run a finger cross my cheek, pushing myself up and down, escaping sounds, you could drown, I writhe and sway, my body aches. I can ease your search through the darkness as you sit, gripped to your manhood, swelling with frustration. Dial my digits and let me climb aboard, for I am an articulate Aphrodite sent through the wires to melt your sword.
All lies! I sit on the sofa fucking bored, watching reruns of The Bill, eating packets of Haribo, scratching my arse, waiting to be called – by one of these dirty little pervs so I can make a few quid.
[...] Blokes, fucking oafs mostly ain’t they.”
Suggested New Thoughts Chunking / Paragraphing
“Like a deep and darkly hole with which there is no foreseeable bottom, my woes see no end. This part I play, this face I pretend, puts palisades between reality and what emits from my not-so-decorous defence. But I ain’t no damsel in distress, be sure about that, fuckers. I swim with the sharks, play ball in the lion’s den.”
Commentary: Kelly’s poetic opening reflects her inner turmoil and resilience. She quickly establishes herself as someone who won’t be pitied, blending vulnerability with defiance. Actors should emphasize the lyrical rhythm while injecting raw determination.
“What say you then? Smirk go on, call me: Silly, naive, weak. I’m a survivor on a busy island, where there ain’t much left to eat.”
Commentary: This section challenges the audience directly, daring them to judge her. Kelly’s confidence and wit shine here, masking her struggles. Actors can use this moment to confront and engage the audience.
“From my boudoir, I lay atop my sheets, like a Frenchy getting painted I run a finger cross my cheek, pushing myself up and down, escaping sounds, you could drown [...] for I am an articulate Aphrodite sent through the wires to melt your sword.”
Commentary: Kelly uses exaggerated sensuality and humour to satirize her job on the sex chatline. Actors should lean into the irony and perform this section with mock elegance, emphasizing the absurdity of the situation.
“All lies! I sit on the sofa fucking bored, watching reruns of The Bill, eating packets of Haribo, scratching my arse, waiting to be called – by one of these dirty little pervs so I can make a few quid.”
Commentary: The stark contrast between Kelly’s exaggerated fantasy and her mundane reality is both hilarious and sobering. This moment grounds the monologue, revealing Kelly’s frustration and sharp comedic timing.
“Blokes, fucking oafs mostly ain’t they.”
Commentary: Kelly’s final line is cutting and cynical, reflecting her disillusionment. Deliver this with a mix of bitterness and humour to leave a lasting impression.
Journey Keypoints
Hook: Kelly introduces her world with poetic defiance, inviting the audience into her struggles.
Turning Point: The description of her sex chatline job shifts the tone from lyrical to satirical, highlighting her resourcefulness.
Climax: The revelation of her mundane reality exposes the gap between fantasy and truth, blending humour with vulnerability.
Resolution: Kelly’s sardonic observation about men closes the monologue with a mix of humour and resignation.
Performance Tips
Embrace the Poetry:
The monologue’s language is rich and rhythmic. Play with the lyrical sections, balancing them with the raw, conversational moments.Use Humour as Armour:
Kelly’s wit and sarcasm are her tools for survival. Use these elements to reveal her strength while hinting at the pain beneath.Highlight the Contrasts:
The shift between Kelly’s exaggerated sensuality and her mundane reality creates a striking dynamic. Lean into these contrasts to showcase her complexity.
Learn with Acting Coach Scotland
Kelly’s monologue demands versatility, humour, and a deep connection to the character’s world. At Acting Coach Scotland, we help actors unlock the nuances of challenging roles. Whether preparing for auditions or refining your craft, we’re here to support you.
