Me Too Monologues: Powerful and thought-provoking

Me Too Monologues presented “In Our Own Words,” the latest iteration of its annual production about identity written, produced and performed by Duke community members, Mar. 1 in East Duke's Nelson Music Room. For the show, students, alumni and faculty anonymously submitted stories about their life experiences (“monologues”) which peers then performed in a theatrical production. By collecting these narratives, the show created a platform for honest and open conversations about struggles between various dimensions of identity.

Despite its name, Me Too Monologues is not dedicated to stories revolving around the #MeToo movement (in fact, it predates the official movement.) Instead, it features pieces on queerness, mental illness, sexual violence, study abroad, family loss, self-deprecation/body shaming and religious beliefs. Most of the stories in “In Our Own Words” were performed as traditional monologues, though one (“Ugly”) was delivered collaboratively by multiple voices. 

Each monologue was emotionally powerful and skillfully performed. In the #MeToo-related pieces — “That is Not Love,” “Ugly” and “Not for Pity, But For Power” — sexual violence was highlighted as an experience with variations, a gradual boundary erosion rather than a sudden event. These works demonstrated how violations can occur even within committed relationships, emphasizing the importance of consent in sexual encounters. They also explored portrayals of eating disorders derived from gendered social expectations, which caused significant physical and mental health issues. 

“Pulling Away,” a monologue about the aftermath of sexual violence, addressed both the mental health aftermath of sexual assault and how depression can prevent victims from reaching out to friends despite wanting connection. The somatic symptoms of mental illness were vividly expressed through words and visuals on stage, making for a powerful monologue performance. The protagonist of “A Voicemail to my Dead Brother” experienced the loss of a family member, exploring the severing of ties to their shared memories, generating a train of sentiments that could never reach their intended recipient.

Some monologues balanced serious themes with lighter performance styles to engage with the audience. “Straightest Person Ever” explored a bisexual woman’s experience coming out and having her identity dismissed by her family and peers. The performance questioned how queer credibility is judged — is affirmation from other queer people necessary to legitimize one’s identity? – and highlighted the challenges of being perceived as a “straight-passing” queer person. 

The protagonist of “Study Abroad” challenged the idealized image of the Duke in Madrid study abroad program through anecdotes of poor housing, transportation problems and significant weight loss. Other performances included “Human Decency,” which explored complicated romantic relationships, and “A Christmas Miracle,” about a Jewish woman faking friendship with her Christian peer.

Each story, distinct yet intertwined, reflected the complexity of personal experience, offering raw and unfiltered glimpses into many different facets of human existence. “In Our Own Words” demonstrated how vulnerability creates resilience through shared experience and builds audience solidarity. At the show’s end, all performers took the stage, repeating their lines in succession. Different tones and textures of voices layered over one another, creating a web interwoven with the aftershock and echoes of trauma — so thin and unyielding that it imperceptibly covers everything, until no overtone hums beneath.