Oh, wow! Are you ready to be swept away on a magical journey through the enchanting world of Disney movies?
In this blog post, get ready to discover the 23 best Disney movie monologues perfect for auditions, ranging from 30 seconds to 2 minutes in length. Featuring iconic films like “Ratatouille,” “Toy Story,” “The Little Mermaid,” “Lady and the Tramp,” and many more, both male and female characters will have their moment to shine with these captivating monologues. Get ready to dive into the world of Disney’s most beloved characters and bring their stories to life on stage or screen!
The 23 Best Disney Movie Monologues For Auditions (Animated Movies)
1. The Emperor’s New Groove
A monologue from the screenplay by David Reynolds
Yzma
He can’t get rid of me that easily. Who does that ungrateful little worm think he is? Does he… have any idea of who he’s dealing with? How could he do this to me? Why, I practically raised him.
That’s it! I’ll get rid of Kuzco. Don’t you see? It’s perfect. With him out of the way and no heir to the throne… I’ll take over and rule the empire. Ah, how shall I do it? Oh, I know.
I’ll turn him into a flea, a harmless little flea… and then I’ll put that flea in a box and then I’ll put that box inside of another box.. and then I’ll mail that box to myself, and when it arrives… I’ll smash it with a hammer!
It’s brilliant, brilliant, brilliant, I tell you! Genius, I say! Or, to save on postage, I’ll just poison him with this.
2. Wreck It Ralph
A monologue from the screenplay by Phil Johnston and Jennifer Lee
Wreck-It Ralph
My name’s Ralph, and I’m a bad guy. Uh, let’s see… I’m nine feet tall, I weigh six hundred and forty three pounds, got a bit of a temper on me. My passion level’s very near the surface, I guess, not gonna lie.
Anyhoo, what else, uh… I’m a wrecker. I wreck things, professionally. I mean, I’m very good at what I do. Probably the best I know. Thing is, fixing’s the name of the game. Literally. Fix-It Felix Jr.
So yeah, naturally, the guy with the name Fix-It Felix is the good guy. He’s nice enough as good guys go. Definitely fixes stuff really well. But, uh, if you got a magic hammer from your father, how hard can it be?
If he was a regular contractor, carpenter guy, I guarantee you, you will not be able to fix the damage that I do as quickly. When Felix does a good job, he gets a medal. But, are there medals for wrecking stuff really well?
To that, I say, ha! And no, there aren’t. For thirty years I have been doing this, and I have seen a lot of other games come and go, how sad. Think about those guys at Asteroids? Boom, gone. Centipede?
Who knows where that guy is, you know? Look, a steady arcade gig is nothing to sneeze at, I’m very lucky. It’s just, I gotta say, it becomes kinda hard to love your job… when no one else seems to like you for doing it.
3. Alice in Wonderland
A monologue from the screenplay based on the children’s books by Lewis Carroll
Alice
“Who am I? Well, I’m not a silly pair of Tweedles who get all bent out of shape and tied up in knots if you don’t know the proper way to say hello! And I’m certainly not a bunch of snooty flower girls who act like they’re better than everybody else and whose only ambition in life is to look pretty.
And I’m not some party animal Mad Hatter who likes to cheat at games and break other people’s things just because he thinks it’s funny. I’m also not a crazy white rabbit who never has time to visit and play and get to know me, when all I wanted to do was be his friend.
And I’m absolutely, positively, categorically, not a big old nasty Queen of Hearts who bosses people around. Quiet! I’ll tell you who I am. I’m Alice.”
ALICE- 2
Well! After such a fall as this, I shall think nothing of tumbling down stairs! How brave they’ll all think me at home! Why, I wouldn’t say anything about it, even if I fell off the top of the house! (Bump. The fall is over. Alice gets up. A key is on the table.)
A glass table. And a key. Now where would…oh! A tiny door with a tiny keyhole! But how could anyone ever fit through there? What’s this? (She finds and picks up a bottle.) “Drink me.” It’s all very well to say, “Drink me” but I will check to see if it is marked “poison” first. (She checks. It isn’t.) No. Well then. (She drinks.)
Curious. Tastes like…roast turkey…toffee…pineapple… buttered toast…OH. I must be shutting up like a telescope. Oh! I do hope I stop soon, or I might go out altogether, like a flame on a candle. There. I’m the right size for the door!
But now I am so small…how will I do anything? I can’t even reach the key.
THE WHITE RABBIT
OH dear, dear, dear! I’m late! Mary Anne, Mary Anne, hurry, I can’t find my gloves—Mary Anne, Ginger, Gilligan, I don’t care what your name is., don’t argue with me. You’re making me later than I already am.
Hurry, hurry my gloves, somewhere in my house, I’M LATE!!! (Announcing the Queen’s entrance) Attention, attention, inhabitants and subjects and all other direct or indirect objects of Wonderland:
fall to your knees and tremble before her majestic majesty, her royal regality, yes, folks, your favorite monarch of mean and mine, The One, the Only, Queen of Hearts! Oh yeah, and the King too.
Watch the movie here – 1951 version|2010 verzion
Check out more monologues here !⬅️
4. Aladdin
A monologue from the screenplay by Ron Clements, John Musker, Ted Elliott, and Terry Rossio
Merchant
“Ah, Salaam and good evening to you worthy friend. Please, please, come closer – Too close, a little too close. There. Welcome to Agrabah. City of mystery, of enchantment and the finest merchandise this side of the river Jordan, on sale today, come on down!
Heh, heh. Look at this! Yes! Combination hookah and coffee maker, also makes Julienne fries. Will not break! Will not! It broke! Oh! Look at this! I have never seen one of these intact before. This is the famous Dead Sea Tupperware.
Listen. Ah, still good. Wait, don’t go! I can see that you’re only interested in the exceptionally rare. I think then, you would be most rewarded to consider…this. Do not be fooled by its common place appearance.
Like so many things, it is not what is outside, but what is inside that counts. This is no ordinary lamp! It once changed the course of a young man’s life. A young man who, like this lamp, was more than what he seemed.
A diamond in the rough. Perhaps you would like to hear the tale? It begins on a dark night, where a dark man waits, with a dark purpose…”
Genie
Genie: Aaaaahhhhh! OY! Ten-thousand years will give ya such a crick in the neck! Whoa! Does it feel good to be outta there! (pretends to have a microphone) Nice to be back, ladies and gentlemen. (to Aladdin) Hi, where ya from?
What’s your name? Aladdin! Hello, Aladdin. Nice to have you on the show. Can we call you ‘Al?’ Or maybe just ‘Din?’ Or howbout ‘Laddi?’ (suddenly is wearing a kilt) Sounds like “Here, boy! C’mon, Laddi!” Do you smoke? Mind if I do?
Oh, sorry Cheetah, hope I didn’t singe the fur! Hey, Rugman! Haven’t seen you in a few millennia! Slap me some tassel! Yo! Yeah! (high-fives carpet) Say, you’re a lot smaller than my last master. Either that or I’m gettin’ bigger.
Look at me from the side, do I look different to you? That’s right, you’re my master! He can be taught!! What would you wish of me, (as Arnold Schwarzenegger) the ever impressive, (inside a cube) the long contained,
(as a ventriloquist with a dummy) often imitated, but never duplicated …. Genie! Of! The Lamp! (as Ed Sullivan) Right here direct from the lamp, right here for your enjoyment wish fulfillment. Thank youuuuu! (back)
You get three wishes to be exact. And ix-nay on the wishing for more wishes. That’s it, three. Uno, dos, tres. No substitutions, exchanges or refunds.
JAFAR
(Speaking to Iago) You think I am PLEASED? “Pleased” to be playing nursemaid to a spoiled princess? “Pleased” to be keeping tabs on every petty thief in Agrabah? While day in and day out that blithering idiot remains Sultan!
I am working on an old document. With a NICE new paragraph I just added. Listen to this: “Should an unmarried Royal Princess, who is sole heir to the throne, fail to choose a husband within the time allotted for such selection,
the Sultan’s highest ranking official –that would be me – will immediately become betrothed to the princess and will himself inherit all the rights. Privileges and powers of the Sultan! (Evil Laugh)
Watch the movie here – 1992 version|2019 version
5. Toy Story
A monologue from the screenplay by Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolow
A meeting with the toys is about to start in Andy’s bedroom. Woody is the speaker for this meeting.
Woody
Okay, (puh, puh – Woody blows on the microphone) everybody here? Up on the shelf – can you hear me? OK, Great. First item today… oh yeah, Has everyone picked a moving buddy? …. You guys think this is a big joke.
We’ve only got one week before the move. I don’t want any toys left behind. A moving buddy…If you don’t have one – GET ONE! Alright, next…ah…oh yes, I though last weeks plastic corrosion meeting was, I think, a big success.
And we want to thank Mr. Spell for putting that on for us. “Thank you, Mr. Spell.” (Clap hands) Ok, uh..yes, One minor note here, Andy’s birthday party has been moved to today. Ah…next we have….(toys grumble)
Well obviously she wanted to have the party before the move. Come on guys, every Christmas and birthday we go through this. Hey, nobody is getting replaced. This is Andy we’re talking about. We’re played with.
What matters is that we’re here for Andy when he needs us. That’s what we’re made for, Right? Ah….meeting adjourned.
Woody 2
Why would Andy want you?! Look at you! You’re a Buzz Lightyear. Any other toy would give up his moving parts just to be you. You’ve got wings, you glow in the dark, you talk, your helmet does that — that whoosh thing — you are a COOL toy.
As a matter of fact you’re too cool. I mean — I mean what chance does a toy like me have against a Buzz Lightyear action figure? All I can do is… (Woody pulls his own pullstring dejectedly) Why would Andy ever want to play with me, when he’s got you?
I’m the one that should be strapped to that rocket. Listen Buzz, forget about me. You should get out of here while you can.
6. Monsters Inc.
A monologue from the screenplay by Pete Docter, Jill Culton, Jeff Pidgeon, and Ralph Eggleston
Mike
We’re banished, genius! We’re in the human world! Oh, what a great idea, go to your old pal, Waternoose. Too bad he was in on the whole thing. All you had to do was listen to me. Just once. But you didn’t, did you.
You’re still not listening! (beat) He is not my friend. Thanks to you, I am stuck in this frozen wasteland! Boo? What about us? Ever since that kid came in, you’ve ignored everything I’ve said. And now look where we are?
We were about to break the record, Sully, we would’ve had it made! “None of it matters” – woah, woah, wait a second. None of it matters? Oh. I, I. No. Great. So now the truth comes out, doesn’t it. Sully, what about everything we ever worked for?
Does that matter? What about Celia? I am never… never going to see her again. Doesn’t that matter? What about me? I’m your pal, I’m… I’m your best friend. Don’t I matter? “We?” Woah. Woah. We? No.
There’s no we this time, pal. If, if you want to go out there and freeze to death, you be my guest. Because you’re on your own.
Yeti
Abominable! Can you believe that? Do I look abominable to you? Why can’t they call me the adorable snowman, or the agreeable snowman, for crying out loud? I’m a nice guy! Snowcone? No, no no, don’t worry – it’s lemon.
Ah, how ‘bout you, big fella? Snowcone? Ah, poor guy. I understand. It ain’t easy being banished. Take my buddy Bigfoot. When he was banished, he fashioned an enormous diaper out of poison ivy. Wore it on his head like a tiara.
Called himself King Itchy. It won’t be so hard for you guys. How lucky can you get? Banished with your best friend. Oh. I just assumed you were buddies, you know, when I saw you out in the snow, hugging and all…
What, wasteland? I think you mean wonderland! How about all this fabulous snow, huh? And wait till you see the local village. Cutest thing in the world. I haven’t even mentioned all the free yak’s milk. Eh, yak’s milk?
Milking a yak ain’t exactly a picnic, but once you pick the hairs out, it’s very nutritious. What, kids in the village? Sure. Dumb kids, sissy kids, kids who climb on rocks – it’s at the bottom of the mountain. About a three day hike.
Ok, ok, rule number one out here: Always – no. Never go out in a blizzard. …Oh, would you look at that? We’re out of snowcones! Let me just… go out… and.. make some more…
7. The Little Mermaid
A monologue from the screenplay by Ron Clements and John Musker (Based on the fairy tale by Hans Christian Andersen)
URSULA
Flotsam my pet! Jetsam my darling! Come to me my little sea spies! Mama’s feeling…woebegone – banished to the nether regions of the sea. No food, hardly any company…I’m simply wasting away!
Use a little black magic to help out a few merfolk, and this is the thanks that I get! Well now it’s time to turn the tides on Triton. We just need to find his Achilles heel…a weakness that will crack his armor…Of course! Ariel!
You two find out what that girl really wants then lure her here to my lair. Once we have her trapped, Triton will rush to her rescue. And then the trident, crown, and throne will be all mine!!
SEBASTIAN
Out of the frying pan and into the fire! The things I do for you, young lady! Now I should march you right back home to your father…so that you can be miserable the rest of your life…it’s true, I got no backbone. Alright child, I’m in.
But we got to get that boy to kiss you before it’s too late! Now, a few pointers from a clever crab to a little mermaid. You gotta bat your eyes – like this. Then you gotta pucker your lips – like this…Oh, that’s good!
You put those two things together tomorrow and you got that boy in the palm of your hand!
ARIEL
Shhh . . . (Seeing a fork.) Oh my gosh! Oh my gosh! Have you ever seen anything so wonderful in your entire life, Flounder? What is it? I don’t know. But I bet Scuttle will. (Puts fork in bag.) (Sees a pipe.) Hmm, I wonder what this one is?
Flounder, will you relax. Nothing is going to happen. Sometimes you’re such a guppy. Scuttle! Scuttle! Look what we found. This is very, very unusual. What is it? A dinglehopper! How lovely, a dinglehopper. Do either of you hear Music?
Oh, the concert! Oh my gosh, my father’s gonna kill me! The concert is today! Now! I’m sorry, I’ve gotta go. Thank you Scuttle!
Scuttle
(Looking through the telescope the wrong way, shouting.) Whoa! Mermaid off the port bow! Ariel, how you doin’ kid? What a swim! So show me what you found in this sunken ship – Was it really creepy? Ohhh! You got human stuff, huh?
Hey, lemme see. (Picks up fork.) Look at this. Wow – this is special – this is very, very unusual. It’s a dinglehopper! Humans use these little babies . . . to straighten their hair out. See – just a little twirl here an’ a yank there and – voi la!
You got an aesthetically pleasing configuration of hair that humans go nuts over! And what about this one? (Holding pipe) Ah – this I haven’t seen in years. This is wonderful! A banded, bulbous – snarfblat.
Now, the snarfblat dates back to prehistorical times, when humans used to sit around, and stare at each other all day. Got very boring. So, they invented the snarfblat to make fine music. Allow me.
( blows into the pipe; seaweed pops out the other end.) (Still contemplating pipe.) Maybe you could make a little planter out of it or somethin’. Oh, you gotta go? Well you’re welcome! Anytime sweetie, anytime.
Triton
Ariel, you went up to the surface again, didn’t you? DIDN’T YOU? Oh, Ariel, How many times must we go through this? You could’ve been seen by one of those barbarians – by – by one of those humans!
They’re dangerous. Do you think I want to see my youngest daughter snared by some fish-eater’s hook? Don’t you take that tone of voice with me young lady. As long as you live under my ocean, you’ll obey my rules!
Not another word – and I am never, NEVER to hear of you going to the surface again. Is that clear? (Ariel leaves, crying.) Teenagers. . . . They think they know everything. You give them an inch, they swim all over you.
Do you, er, think I – I was too hard on her?
Watch the movie here – 1989 version|2018 version
8. Beauty And The Beast
A monologue from the screenplay by Linda Woolverton (based on the fairy tale by Jeanne-Marie Leprince de Beaumont)
MRS. POTTS
Try to be patient, sir. The girl has lost her father and her freedom all in one day. Lumiere, it’s not that easy. These things take time. Master, you must help her to see past all that.
Well, you could start by trying to make yourself more presentable. But be gentle. And above all…you must control your temper Deep breaths, Master. Deep breaths.
(After Belle refuses to come out) Well, what did you expect? Would you have us give up? I like the girl. I like her spunk. (To Belle) Hello, Dearie.
I hope the Master didn’t frighten you too much. He can be a little temperamental.
BELLE
Hello? Is anyone here? Please, I’m looking for my father. (sees papa) Papa! (runs to him) Your hands are like ice! Who has done this to you? (Beast appears) I won’t leave you here!
(says to Beast) Who’s there? I know someone’s there. Who are you? (sees Beast) Then, you’re the one who’s responsible for this! Release my father at once! (reacting to angered Beast) No!
Wait! Forgive me. Please, let him out. Can’t you see he’s not well? But he’s an old man. He could die! Wait, please…take me instead. If I did, would you let him go? (Beast agrees)
Come into the light. (Belle cringes) You have my word.
Watch the movie here – 1991 version|2017 version
9. Ratatouille
A monologue from the screenplay by Brad Bird & Jim Capobianco
ALFREDO LINGUINI
Don’t look at me like that! You aren’t the only one who’s trapped. They expect me to cook it again! I mean, I’m not ambitious.
I wasn’t trying to cook. I was just trying to stay out of trouble. You’re the one who was getting fancy with the spices! What did you throw in there?
Oregano? No? What? Rosemary? That’s a spice, isn’t it? Rosemary? You didn’t throw rosemary in there? Then what was all the flipping and all the throwing the… I need this job.
I’ve lost so many. I don’t know how to cook, and now I’m actually talking to a rat as if you… Did you nod? Have you been nodding?
You understand me? So I’m not crazy! Wait a second, wait a second. I can’t cook, can I? But you… You can, right? Look, don’t be so modest. You’re a rat, for Pete’s sake. …
Whatever you did, they liked it. Yeah. This could work. Hey, they liked the soup! They liked the soup. Do you think you could do it again?
Anton Ego
In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read.
But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.
But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations, the new needs friends.
Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement.
They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto: Anyone can cook. But I realize, only now do I truly understand what he meant.
Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau’s, who is, in this critic’s opinion, nothing less than the finest chef in France.
I will be returning to Gusteau’s soon, hungry for more.
10. The Incredibles
A monologue from the screenplay by Brad Bird
Syndrome
See? Now you respect me, because I’m a threat. That’s the way it works. Turns out, there are a lot of people, whole countries, who want respect, and they will pay through the nose to get it.
How do you think I got rich? I invented weapons, and now I have a weapon that only I can defeat, and when I unleash it, I’ll get… You sly dog! You got me monologuing! I can’t believe it.
It’s cool, huh? Zero-point energy. I save the best inventions for myself. Am I good enough now? Who’s super now? I’m Syndrome, your nemesis and…Oh, brilliant
11. Up
A monologue from the screenplay by Bob Peterson and Pete Docter
Russel
The wilderness isn’t quite what I expected. It’s kinda… wild. I mean, it’s not like they made it sound in my book. My dad made it sound so easy. He’s really good at camping and how to make fire from rocks and stuff.
He used to come to all my Sweat Lodge meetings. And afterwards we’d go get ice cream at Fenton’s. I always get chocolate and he gets butter brickle.
Then we’d sit on this one curb right outside, and I’ll count all the blue cars and he counts all the red ones, and whoever gets the most wins. I like that curb. (beat)
That might sound boring, but I think the boring stuff is the stuff I remember the most.
12. Lady And The Tramp
A monologue from the screenplay based on the story “Happy Dan, The Cynical Dog” by Ward Greene
Tramp
Just a cute little bundle…of trouble. Yeah. They scratch, pinch, pull ears. Aw, but, shucks, any dog can take that. It’s what they do to your happy home. (to Jock) Move it over, will ya, friend?
Home wreckers, that’s what they are. Why, just wait till junior gets here. You get the urge for a nice, comfortable scratch and… “Put that dog out! He’ll get fleas all over the baby”.
You start barking at some strange mutt. “Stop that racket! You’ll wake the baby”. And then, then they hit you in the room and board department. Remember those nice, juicy cuts of beef?
Forget ’em. Leftover baby food. And that nice, warm bed by the fire? A leaky doghouse.
13. E.T.
A monologue from the screenplay by Melissa Mathison
Elliot
Coke. You see, we drink it. It’s a , it’s a drink. You know, food. These are toys, these are little men. (showing him Star Wars action figures)
This is Greedo, and then this is Hammerhead, see this is Walrus Man, and this is Snaggletooth and this is Lando Calrissian.
See. . . and look, they can even have wars. Look at this. (He play-acts with two characters who both shoot and kill each other, making appropriate noises) Look fish.
Fish eat fish food, and the shark (a toy) eats the fish, and nobody eats the shark. See, this is PEZ, candy. See you eat it. You put the candy in here and then when you lift up the head, the candy comes out and you can eat it.
You want some? This is a peanut. You eat it, but you can’t eat this one, ‘cause this is a fake. This is money. You see. You put the money in the peanut. You see? It’s a bank. See?
And then, this is a car. This is what we get around in. You see? Car. (E.T. takes the car and child-like putis it in his mouth to eat it.) Hey, hey wait a second. No. You don’t eat ‘em.
Are you hungry? I’m hungry. Stay. Stay. I’ll be right here. Okay? I’ll be right here.
14. The Lion King
A monologue from the screenplay by Irene Mecchi, Jonathan Roberts, and Linda Woolverton
Zazu
Oh, just look at you two. Little seeds of romance blossoming in the savannah. Your parents will be thrilled… what with your being betrothed and all.
{trying to explain} Betrothed. Intended. Affianced. One day you two are going to be married! {beat} Well, sorry to bust your bubble, but you two turtle doves have no choice.
It’s a tradition… going back generations. {beat}
Oh, you can’t fire me. Only a king can do that. You’re not a king yet. And with an attitude like that, I’m afraid you’re shaping up to be a pretty pathetic king indeed.
If this is where the monarchy is headed count me out! Out of service, out of Africa, I wouldn’t hang about!
OLDER SIMBA
Well, I just … needed to get out on my own. Live my own life. And I did. And it’s great! No one needs me. { pause } Nala, we’ve been through this.
I’m not the king. Scar is. { pause } I can’t go back. You wouldn’t understand. It doesn’t matter. HakunaMatata. It’s something I learned out here.
Look, sometimes bad things happen… and there’s nothing you can do about it! So why worry? { pause } Listen! You think you can just show up and tell me how to live my life?
You don’t even know what I’ve been through. You’re wrong . I can’t go back. What would it prove, anyway? It won’t change anything.
You can’t change the past. { pause } { He looks up at the stars, speaking to his father } You said you’d always be there for me!… But you’re not.
And it’s because of me . It’s my fault…. It’s my … fault .
NALA
Simba? {pause for realization} Whoah!!! Well how did you.. where did you come from … it’s great to see you.. Wait ‘til everybody finds out you’ve been here all this time.
And your mother… what will she think? Everyone thinks you’re dead. Scar told us about the stampede. You’re alive. What else matters? And that means… you’re the king! {Quietly}
It’s like you’re back from the dead. You don’t know how much this will mean to everyone. {Pained expression} …What it means to me. I’ve really missed you.
Watch the movie here – 1994 version|2019 version
15. Frozen
A monologue from the play by Jennifer Lee
Anna – 1
Hello. I am Princess Anna of Arendelle. I’m looking for my sister. She went all ice-crazy and I guess it was my fault. I got engaged to Prince Hans, but then Elsa freaked out because I only just met him, you know, today.
Yes I got engaged to someone I just met! Why is everyone so hung up on that? What can I say? I’ve got good instincts.
Anyway, can you tell me the way to get up the North Mountain, or not?
Anna – 2
Goodness. That was awkward. (TO HANS) Not that you’re awkward, but just because we’re- I’m awkward. You’re gorgeous. Wait, what?
Oh, Princess Anna of Arendelle (HANS bows). Oh, no. You don’t have to do that. I’m not that princess. No, my sister Elsa is the Queen. I’m just me.
I mean, I’m not the heir, I’m just the spare. (feeling foolish) Forget it. I’m not making any sense. How embarrassing.
Olaf
Hi! I’m Olaf, and I like warm hugs! Isn’t winter so beautiful? I love it! But it’s so white. You know, how about a little color? Must we bleach the joy out of it all?
I’m thinking like maybe some crimson, chartreuse… How ‘bout yellow? No. Yellow and snow is a no go. Am I right? Oh, and summer?!
I don’t know why, but I’ve always loved the idea of summer, and sun, and all things hot. Sometimes I like to close my eyes and imagine what it’d be like when summer does come…
16. Moana
A monologue from the screenplay by Jared Bush
Moana
(Timid) I am Moana of Motunui. You will board my boat, sail across the sea and restore the heart of Te Fiti. The ocean is a friend of mine…next stop Maui!
(Brave but not confident) I am Moana of Motunui, you will board my boat! So Maui, (Brave) Maui! Demigod of the wind and sea, I am Moana of Motunui.
(Confident) You will board my boat! No! (Strong) You will board my boat! Yeah! (Proud and Powerful) I am Moana of Motunui!
Gramma Tala
In the beginning. There was only ocean. Until “Mother Island” emerged. Te Fiti. Her heart has greatest power ever known. It could create life itself. And Te Fiti share it with the world. But in time, some begin to seek Te Fiti’s heart.
They believe the faith could possessed. The great power of creation would be vast. And one day… The most daring of them all… Voyage across the vast ocean to take it. He was Demigod of Wind and Sea.
He was a warrior … A trickster. A shape shifter who could change form. With the power of his magical fish hook. And his name was Maui. But without her heart. Te Fiti began to crumble.
Giving birth to a terrible darkness. Maui fright escape. But was confronted by another, who saw the heart. Te Ka, a demon of Earth and Fire. Maui was struck from a sky. Never to be seen again.
And his magical fish hook … And the heart of Te Fiti, were lost to the sea.
17. Fantastic Mr. Fox
A monologue from the screenplay by Wes Anderson and Noah Baumbach (Based on the children’s novel by Roald Dahl)
Mrs. Fox
Just on the other side of this mineral deposit. Follow me. I’m going to lose my temper now. Right now.
Twelve fox-years ago, you made a promise to me while we were caged inside that fox-trap that, if we survived, you would never steal another chicken, goose, turkey, duck, or squab, whatever they are.
I believed you. Why did you lie to me? You’re a husband and a father. I don’t care about the truth about yourself. This story is too predictable.
In the end, we all die. Unless you change.
Mr. Fox
Badger’s right. These farmers aren’t going to quit until they catch me. I shouldn’t have lied to your face. I shouldn’t have resigned slash gotten fired from the Gazette.
I shouldn’t have pushed these farmers so far and tried to embarrass them and cuss with their heads. I enjoyed it, but I shouldn’t have done it — and now there’s only one way out.
Maybe if I hand myself over and let them kill me, stuff me, and hang me over their mantelpiece Darling, maybe they’ll let everyone else live. I don’t know how i got myself into this, but I have a possible theory.
I think I have this thing where I need everybody to think I’m the greatest — the quote-unquote fantastic Mr. Fox — and if they aren’t completely knocked- out, dazzled, and kind of intimidated by me, then I don’t feel good about myself.
Foxes traditionally like to court danger, hunt prey, and outsmart predators — and that’s what I’m actually good at! I think, at the end of the day, I’m just — We’re wild animals.
I guess we always were. I promise you: if I had all this to do over again, I’d have never let you down. It was always more fun when we did it together, anyway.
I love you, Felicity.
18. A Bug’s Life
A monologue from the screenplay by Andrew Stanton, Donald McEnery, and Bob Shaw
Hopper
Guys! Order another round because we’re staying here! What was I thinking going back to Ant Island? I mean we just got here, and we’ve got more than enough food to last us through the winter, right?
Why go back? But, there was that ant that stood up to me. Yeah, you’re right! It’s just one ant! Hmmm, puny. Hey, let’s say that this grain is a puny little ant. Did that hurt? Well, how ’bout this one?
Well, how about this. You let one ant stand up to us and they all might stand up. Those puny little ants outnumber us a hundred to one, and if they ever figure that out there goes our way of life!!
It’s not about food! It’s about keeping those ants in line. That’s why we’re going back!… Does anybody else want to stay?
19. Winnie The Pooh
A monologue from the screenplay based on the novel by A. A. Milne and E. H. Shepard
Pooh
Did somebody say something? (Pooh bends his head to his tummy) Oh. It was you! (Looks skyward) Looks like it’s about half past breakfast. I suppose it’s time for a little snack…
Maybe I have some honey!… Empty. Oh, bother….Someone has to have some honey lying around. Just enough for a small snackeral. Or maybe a large morsel…
It’s practically a quarter to lunchtime now! I bet Christopher Robin has some honey. He always has a snack or two for Pooh. Christopher Robin?
Yoo hoo, it’s Pooh!
Watch the movie here – 1977 version|2011 version
20. Raya And The Last Dragon
A monologue from the screenplay by Qui Nguyen & Adele Lim
RAYA
I know what you’re thinking.
A lone rider.
A dystopian world.
A land that’s gone to waste.
How did this world get so broken?
Well, that all began 500 years ago.
Kumandra.
This is what we used to be.
When our land was whole, and we lived harmoniously alongside…dragons.
Magical creatures who brought us waterand rain and peace.
It was paradise.
But then, the Druun came.
A mindless plague that spread like wildfire, multiplying as they consumed life and turned everyone they touched into stone.
The dragons fought for us the best they could, but it wasn’t enough.
That’s when the Mighty Sisudatu, the last dragon, concentrated all her magic into a gem and… …blasted the Druun away.
Everyone that was turned to stone came back.
Except the dragons.
All that was left of Sisu was her gem.
It should have been this big inspirational moment, where humanity united over her sacrifice.
But instead, people being people, they all fought to possess the last remnant of dragon magic.
Borders were drawn, Kumandra divided.
We all became enemies, and the gem had to be hidden.
But that’s not how the world broke.
That didn’t truly happen until 500 years later, when I came into the story.
21. Tangled
A monologue from the screenplay by Dan Fogelman (based on the German fairy tale Rapunzel by the Brothers Grimm)
Rapunzel
For every minute of the rest of my life I will fight! I will never stop trying to get away from you. But if you let me save him, I will go with you. I’ll never run, I’ll never try to escape
– just let me heal him, and you and I will be together forever just like you want. Everything will be the way it was. I promise. Just like you want. Just let me heal him. (beat) Eugene!
Oh, I’m so sorry. Everything is going to be okay, though. I promise, you have to trust me. Come on, just breathe… I can’t let you die
Rapunzel 2
I can’t believe I did this. I can’t believe I did this! Mother would be so furious. But that’s okay. I mean, what she doesn’t know won’t kill her, right? (beat) Oh my gosh. This would kill her. (beat)
This is so fun!! (beat) I am a horrible daughter. I’m going back. (beat) I am never going back! (beat) I am a despicable human being. (beat) WOO-HOO! Best day ever! (Breaks down crying.)
22. Inside Out
A monologue from the screenplay by Pete Docter, Meg LeFauve, and Josh Cooley
Bing Bong
Hey. That’s weird. Graham Cracker Castle used to be right here. I wonder why they moved it? (He walks on, concerned). Wow, that’s not…
I would have sworn Sparkle Pony Mountain was right here. Hey, what’s going on? (A wrecking ball hits a pink castle. Glitter dust plumes.)
Oh no! The Stuffed Animal Hall of Fame!
My rocket! (running after them) Wait! Riley and I, we’re still using that rocket! It still has some song power left!! (sings) Who’s your friend who likes to play?
Nooo!!! No! No! No! You can’t take my rocket to the dump! Riley and I are going to the MOON! Ahhh! Riley can’t be done with me. (Bing Bong sits, stunned.).
(still stunned) I had a whole trip planned for us. It’s all I had left of Riley. Once we flew back in time. We had breakfast twice that day.
We were best friends. (Bing Bong puts his head on Sadness’ shoulder and CRIES.)
I’m okay now. (stands) C’mon, the train station is this way. Hey, there’s the train!
23. Coco
A monologue from the screenplay by Adrian Molina and Matthew Aldrich
Hector
Amigo? (verklempt) Oh, that’s so nice, to hear you say that, because… (misty) I’ve just had a really hard Dia de Muertos, and I could really use an amigo right now.
(Hector leans gratefully toward the officer, overwhelmed with mock emotion.) And amigos, they help their amigos.
Listen, you get me across that bridge tonight and I’ll make it worth your while. (Hector spies a de la Cruz poster at the officer’s workstation.)
Oh, you like de la Cruz? He and I go way back! I can get you front row seats to his Sunrise Spectacular Show! I’ll — I’ll get you backstage, you can meet him! (beat)
You just gotta let me cross that bridge! Can I at least get my costume back? (In a huff, Hector marches out of the room.)
Hector 2
I always hoped I’d see her again. she’d miss me… maybe put up my photo. But it never happened. (beat) You know the worst part? (beat) Even if I never got to see Coco in the living world…
I thought at least one day I’d see her here. Give her the biggest hug… (beat) But she’s the last person who remembers me. The moment she’s gone from the living world…
You know, I wrote her a song once. We used to sing it every night at the same time, no matter how far apart we were. What I wouldn’t give to sing it to her… one last time.
I didn’t write “Remember Me” for I’m a pretty sorry excuse for a great-great grandpa.
De La Cruz
It was hard. Saying goodbye to my hometown. Heading off on my own… Si. But I could not have done it differently. (beat) One cannot deny who one is meant to be.
And you, my great-great grandson, are meant to be a musician! You and I, we are artists, Miguel! We cannot belong to one family. The world is our family! Ooo, the fireworks have begun!
Soon, the party will move across town for my “Sunrise Spectacular!” (beat) Miguel, you must come to the show! You will be my guest of honor! Oh, I really do need to get you home.
It has been an honor. I am sorry to see you go, Miguel. I hope you die very soon. (beat) You know what I mean. (beat) Miguel. I give you my blessings.
Conclusion
In conclusion, incorporating powerful monologues from beloved Disney movies like Ratatouille, Toy Story, The Little Mermaid, Lady And The Tramp, and many more can truly elevate your audition performance. Whether you’re looking for a monologue that showcases bravery, humor, love, or determination, Disney movies offer a treasure trove of memorable lines for both male and female characters.
By selecting the perfect monologue that resonates with you and practicing it with passion and authenticity, you can captivate casting directors and leave a lasting impression in your auditions. So go ahead, unleash your inner Disney magic and shine on stage!
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These are great! I have always wanted to go to a play, and finally-My mom just signed me up for one! I am so excited, and then I saw this website. These monologues are great!! I used the one from Ratatouille, and I am so excited!!
Glad you enjoyed the article Katie. Have fun acting!