Crissy, from Trans/Actions by K. Woodzick and Ayla Sullivan

CRISSY. I feel more comfortable choreographing for the girls now. (Beat.) I went to the hardware store the other day, to get an extra set of keys made and the clerk gave them to me and said, “Here you go, sir.” (Beat.) And I corrected her and said “My pronouns are she, her and hers and I actually go by miss.” And she said “Well, good for you,” and walked away. (Beat.) I told the management of the store and they kept asking me to give them more information. And I eventually got to the point where I was done. I choose to be an advocate, but I don’t have to put myself in a position to educate others all the time. (Beat.) Just once, I would like someone to ask, you know? To go into a store and have a clerk ask “What are your pronouns?” That would be…that would be…. I feel more comfortable choreographing for the girls now. (Beat.) I went to the hardware store the other day, to get an extra set of keys made and the clerk gave them to me and said, “Here you go, sir.” (Beat.) And I corrected her and said “My pronouns are she, her and hers and I actually go by miss.” And she said “Well, good for you,” and walked away. (Beat.) I told the management of the store and they kept asking me to give them more information. And I eventually got to the point where I was done. I choose to be an advocate, but I don’t have to put myself in a position to educate others all the time. (Beat.) Just once, I would like someone to ask, you know? To go into a store and have a clerk ask “What are your pronouns?” That would be…that would be….

(There are no words. The Song of the Roasted Swan from Carmina Burana starts to play. CRISSY begins to dance.) 

Playwrights: K. Woodzick and Ayla Sullivan

Context: This monologue happens in the last scene of the play. Crissy, a ballet dancer, is reflecting on the ways in which she moves through the world.

Website: www.woodzick.com

Contact: nonbinarymonologues (at) gmail (dot) com

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