Uta’s Monologue from 8 Hotels by Nicholas Wright
"When I was doing this play in New York..."
Overview of 8 Hotels
8 Hotels by Nicholas Wright is a captivating exploration of love, politics, and artistry during a volatile time in American history. This play dives deep into the lives of real-world figures like Uta Hagen, Paul Robeson, and José Ferrer, blending their professional accomplishments with their personal entanglements. Uta’s monologue encapsulates the essence of the play—vulnerability, triumph, and the ability to channel personal pain into artistic brilliance.
Character Breakdown: Uta Hagen
Name: Uta Hagen
Age: Mid-30s (during this scene)
Background: A German-born, award-winning actress and acting teacher who moved to the U.S. at a young age. Known for her role as Desdemona in Othello and her teachings in Respect for Acting.
Context in the Play: Uta reflects on her tumultuous relationships and her artistic process, particularly her interactions with Paul Robeson, a former lover, and Marlon Brando, during a pivotal stage performance.
Relationship to Others: Uta was married to José Ferrer and had an affair with Paul Robeson, whose larger-than-life presence profoundly impacted her emotionally and professionally.
The Monologue
“When I was doing this play in New York, there were cast replacements and vacations, and at one point, believe it or not, we actually ran out of Stanley Kowalskis. [...] So they sent for the actor who’d created the role, no less than Marlon Brando. He arrived after the half with no rehearsal, though he hadn’t done the show in over a year and a lot had changed. Different blocking, different rhythms and a very different Blanche in the shape of me. Marlon and I looked at each other thinking, ‘This is crazy,’ but we heard the audience over the Tannoy, and we couldn’t let them down, so on we went, just knocking it backwards and forwards between us and we were... we were pretty damn good. [...] Then we got to the scene where Stanley has to rape me. [...] Whenever I’d done that scene before, it was easy to feel afraid, because the actor was so undisciplined that he would beat me black and blue without meaning to. But looking at Marlon, I saw an actor in complete control. I knew there would be no accidents, no fumbling, nothing clumsy. Simple genius. I thought, ‘Where the hell am I gonna find my fear?’ Then I remembered you. [...] I remembered your fury. I remembered feeling quite certain that I was gonna get killed. I put you, Paul Robeson, onstage as Stanley and the scene went right like never before. When we came off after the call, Marlon said, ‘Did you ever have such a good time onstage in all your life?’ He was right. I hadn’t. I’m not saying that what you did in Seattle was forgivable, because it was not forgivable, and it never will be. But you gave me something that I could use. And now you really do have to go.”
Suggested New Thoughts Chunking / Paragraphing
“When I was doing this play in New York, there were cast replacements and vacations, and at one point, believe it or not, we actually ran out of Stanley Kowalskis. [...] So they sent for the actor who’d created the role, no less than Marlon Brando.”
Commentary: This opening sets the stage for Uta’s larger reflection on the unpredictability of theatre. Her tone is conversational, almost amused, showcasing her confidence in navigating challenging situations. Actors should lean into the incredulity here, letting the audience feel the chaotic energy of live performance.
“He arrived after the half with no rehearsal, though he hadn’t done the show in over a year and a lot had changed. Different blocking, different rhythms and a very different Blanche in the shape of me. Marlon and I looked at each other thinking, ‘This is crazy,’ but we heard the audience over the Tannoy, and we couldn’t let them down, so on we went, just knocking it backwards and forwards between us and we were... we were pretty damn good.”
Commentary: Uta reflects on her collaboration with Brando, highlighting their shared professionalism. The phrase “knocking it backwards and forwards” evokes a rhythm and spontaneity. Actors can explore the pride in overcoming a seemingly impossible scenario, emphasizing the joy of mutual artistic respect.
“Then we got to the scene where Stanley has to rape me. [...] Whenever I’d done that scene before, it was easy to feel afraid, because the actor was so undisciplined that he would beat me black and blue without meaning to. But looking at Marlon, I saw an actor in complete control. I knew there would be no accidents, no fumbling, nothing clumsy. Simple genius.”
Commentary: This shift introduces vulnerability. Uta juxtaposes past trauma with the safety Brando’s precision brings. Actors should explore the relief and admiration she feels, letting the audience experience this complex emotional shift.
“I thought, ‘Where the hell am I gonna find my fear?’ Then I remembered you. [...] I remembered your fury. I remembered feeling quite certain that I was gonna get killed. I put you, Paul Robeson, onstage as Stanley and the scene went right like never before.”
Commentary: Uta’s admission of channeling past fear into her art is the monologue’s emotional core. This is a moment of revelation and empowerment—actors can emphasize her ability to transform personal pain into professional triumph.
“When we came off after the call, Marlon said, ‘Did you ever have such a good time onstage in all your life?’ He was right. I hadn’t.”
Commentary: This is a triumphant reflection on the transformative power of theatre. Actors can use this moment to radiate pride and satisfaction, balancing it with the lingering heaviness of what inspired her performance.
“I’m not saying that what you did in Seattle was forgivable, because it was not forgivable, and it never will be. But you gave me something that I could use. And now you really do have to go.”
Commentary: Uta’s closure is firm yet bittersweet. This final line should carry a mix of catharsis and finality as she reclaims control over her narrative. Let the audience feel her strength and resolve.
Journey Keypoints
Hook: The shock and chaos of running out of actors for Stanley Kowalski.
Turning Point: The moment Uta draws from her traumatic past to heighten her performance.
Climax: The unparalleled artistic synergy between Uta and Marlon Brando onstage.
Resolution: Uta’s cathartic confrontation with Paul Robeson, both releasing and reclaiming power.
Performance Tips
Channel Vulnerability and Strength:
Uta’s monologue balances vulnerability and resilience. Let the audience see the scars of her past but also her triumph over them.Use Specificity:
Picture the dressing room, the audience’s murmur, and the stage under the lights. Ground your performance in these sensory details to make it vivid.Dynamic Shifts:
Honour the text’s tonal shifts—from humour to intensity to closure—ensuring each section flows naturally into the next.
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