Five More Minutes (A Masterclass)
- Elementary (K–5)
- Comedy
- Very short
- Humorous Interpretation
A pajama-clad tactical genius walks us through the ancient art of not going to bed: water, one more story, and a mysterious noise.
Filter the library · five dimensions · free to perform
Narrow the library by age band, genre, length, gender flexibility, and forensics eligibility. Every piece is free to read, print, and perform; attribution is the only requirement. Filters return only pieces that actually match -- no algorithmic guesses.
A pajama-clad tactical genius walks us through the ancient art of not going to bed: water, one more story, and a mysterious noise.
A kid rises at the dinner table to deliver a full courtroom closing argument prosecuting the broccoli on their plate.
A kid makes a full, impassioned campaign speech to the teacher for the right to take the class hamster home for the weekend.
On the morning of the first day of school, a nervous kid whispers a pep talk down into their backpack -- to the stuffed animal they smuggled in, and really to themselves.
A kid proudly introduces their imaginary friend Gary to a skeptical grown-up -- and defends him with total conviction and increasingly specific details.
A kid who just lost the board game tries, out loud and against all odds, to be a good sport about it.
A kid narrates the epic, tragic, heroic quest to find one lost mitten as if it were the greatest adventure ever undertaken.
A kid with a very wiggly tooth is thrilled, terrified, and ready to make a deal -- with the Tooth Fairy, tonight, on their terms.
A big sibling sorts through the tangled-up feelings about a new baby who gets held all day while nobody claps for THEM anymore.
A kid delivers a fully-prepared, airtight, slightly desperate presentation to a parent explaining why the family NEEDS a puppy immediately.
A teen paces the hallway, coaching themselves to finally say one normal sentence to the person they like by the water fountain.
A teen recaps a catastrophic first job interview at a frozen yogurt shop, reframing every disaster as valuable personal growth.
On her final night at the hardware store where she has worked since sophomore year, an eighteen-year-old hands off the keys and tries to explain to the new kid why a small place can be a big thing to leave.
A straight-A perfectionist cheerfully insists she is completely fine about her first A-minus, one twitch at a time.
Outside the coach's office, a sixteen-year-old swimmer rehearses the hardest sentence he owns -- that he is quitting the sport he loves, because somewhere in the winning it stopped belonging to him.
A graduating senior gives a cheerful tour of why leaving high school does not affect them at all, right up until it does.
At the kitchen table, a seventeen-year-old finally tells the parent who has planned his whole future that he does not want to be a doctor -- he wants to teach -- and asks to be seen instead of steered.
Three days too late, a teen re-litigates a debate they lost, armed with all the devastating comebacks they only just thought of.
At the first family dinner since her grandmother died, a fifteen-year-old stands to say the blessing no one else can manage -- and finds a way to keep the empty chair full.
Alone in her room, a senior reads aloud the rejection from the one school she built her whole plan around -- and, somewhere between the shock and the shame, starts figuring out how to stand back up.
A starter who got benched for the biggest game of the season fights the urge to sulk and figures out what kind of teammate to be.
A middle schooler gives a brand-new kid a deadly-serious guided tour of the entire unwritten social geography of the cafeteria before they sit in the wrong place.
A middle schooler delivers a wildly over-the-top class-president campaign speech built entirely on promises they have no power to keep.
A middle schooler recaps, in horror, the school dance their parent volunteered to chaperone -- and then treated like a personal concert.
A kid who did the entire group project alone presents to the class while smiling so hard it hurts, refusing to throw their teammates under the bus out loud.
A middle schooler whose phone was confiscated conducts a full hostage negotiation with the teacher who is holding it in a desk drawer.
Frozen in the wings and shaking, a kid about to go on stage for the first time argues themselves out of running and into the light.
A kid whose best friend has drifted into a cooler new group works up the nerve to say the friendship still matters, even if it is ending.
A student who has switched schools too many times stands with a lunch tray, deciding whether it is worth trying to make friends one more time.
A kid who has been quietly overhearing tense grown-up conversations at home tries to sort out worry from hope, and decides to stop pretending everything is fine.
Jaques, a melancholy nobleman in the Forest of Arden, sizes up the whole of human life as a play in seven acts -- from squalling infant to toothless old age.
Bottom the weaver wakes from a very strange night, still half-asleep, and tries -- hilariously -- to describe a dream too wonderful for words.
At Caesar's funeral, Mark Antony works a hostile crowd with cunning, turning them against the assassins while pretending to praise them.
Helena, left alone and heartsick, puzzles over why the boy she loves prefers her friend -- and decides love is blind.
Duke Orsino, lovesick and dramatic, calls for more music -- then tires of it in the same breath, showing how quickly a mood can change.
King Henry rallies his exhausted soldiers at the broken wall of a besieged town, calling on them to charge one more time.
Prospero stops a magic show mid-scene and, shaken, reflects that all the world -- towers, temples, life itself -- is as fleeting as a dream.
Left alone on the empty stage, the mischievous sprite Puck asks the audience to forgive the play and think of it as nothing more than a dream.
Disguised as a young lawyer, Portia stands in a Venice courtroom and pleads with a man to choose mercy over the harsh letter of the law.
Rosalind steps out of the play to charm the audience directly, teasing them into loving the show and sending them home with a smile.
Badly outnumbered on the morning of battle, King Henry turns fear into pride, promising his soldiers they will be remembered forever as a band of brothers.
Hamlet, alone and weighed down, thinks aloud about why people endure hard times instead of giving up -- and why fear of the unknown keeps us going.
Told his wife is dead, Macbeth answers not with grief but with a bleak, exhausted vision of life as a brief, meaningless candle.
Viola, disguised as a boy, realizes the lady she was sent to woo has fallen for her instead -- and untangles the impossible knot she is caught in.
Richard opens the play alone on stage, turning from talk of peace to a cold confession that he means to make trouble.
Little Red tells her mother about a very strange walk to Grandmama's -- the huffy wolf, the three little pigs, a huntsman with a dented axe, and a surprise waiting at the end. A comic solo monologue for one performer.
The same story from the Big Bad Wolf's side: brunch plans, a nap in Grandmama's bed, the huntsman's axe, and a very warm place to wake up. A punchy comic monologue that pairs with The Red Monologue.
A director's set of vocal and diction warm-ups -- tongue twisters, vowel drills, and rhythm exercises to run with your cast before a read-through or a show. A rehearsal resource, free to use.
Forensics eligibility classifications are illustrative only -- not official NSDA, NCFL, or UIL certifications. Always verify with your event's published rules before competing. Length is estimated at roughly 150 words per minute from the source text; actual performance time varies with pace and blocking.
The five filter dimensions
Elementary (K–5), middle school (6–8), high school (9–12), or all-ages. Every piece carries an age recommendation from the FSP editorial review.
Comedy, drama, dramatic comedy, verse, classical adaptation, contemporary, or warm-up exercise. Genre tags come from the structured script metadata, not from algorithmic inference.
Under 2 minutes, 2–4 minutes (audition-standard), 4–7 minutes (full), or 7+. Estimated at roughly 150 words per minute from the source text — actual performance time varies with pace and blocking.
Fully gender-flexible (works for any performer without rewriting), gender-specific as written, or either (the text specifies gender but adapts cleanly without changing meaning).
Classified for Dramatic Interpretation, Humorous Interpretation, Prose, Poetry, Platform, and related events. These classifications are illustrative only and are not official NSDA, NCFL, or UIL certifications. Always verify with your event's published rules before competing.