What is a play with only one actor called?

What is a play with only one actor called?

Exploring the art of the one-person show and its impact on theater and performance

(By Carmichael Phillip)

A play with only one actor is typically called a monodrama or solo performance. In theatrical terms, this form is a unique, intimate mode of storytelling that allows a single performer to carry an entire narrative. It may involve the actor portraying one character throughout, or switching between multiple personas using voice, physicality, and minimal props.

Monodramas can be fictional, autobiographical, or documentary-style. Regardless of structure, they rely heavily on the performer’s charisma, vocal dynamics, and stage presence to engage audiences for the full duration.

The term “monodrama” originated in the 18th century and was used to describe a dramatic piece with only one character. Today, the broader term “one-person show” is often used in both theatrical and stand-up comedy contexts.

Though modern solo performances are often associated with contemporary theater, the roots of monodrama go back centuries. Ancient Greek theater included long monologues, and Roman orators like Cicero blurred the lines between rhetoric and performance. During the Renaissance, actors such as Shakespeare’s performers used soliloquies as central narrative devices.

In the 19th century, the form gained popularity as traveling artists began to perform dramatic recitations. One of the most famous was Charles Dickens, who toured with solo readings of his own novels, captivating audiences with his vivid character portrayals.

Later, 20th-century artists such as Ruth Draper, known for her “character sketches,” and Hal Holbrook, famed for his portrayal of Mark Twain, pushed the boundaries of the form. These pioneers inspired generations of actors to use the stage as a personal platform.

There are many celebrated examples of solo plays that have captivated audiences worldwide. These performances range from introspective journeys to powerful political commentaries.

One of the most famous examples is “A Bronx Tale”, written and performed by Chazz Palminteri. The show recounts his youth in the Bronx, blending humor and pathos in a stunning demonstration of narrative control.

Another standout is “Thom Pain (based on nothing)” by Will Eno, a darkly poetic piece performed by a single actor who confronts existential themes with both sarcasm and sincerity.

Anna Deavere Smith’s “Fires in the Mirror” is a groundbreaking example of documentary theater, where Smith portrays dozens of real people affected by the Crown Heights riots. She combines journalism and performance into a compelling monologue tapestry.

Mike Birbiglia’s “Sleepwalk with Me” is another unique one-man show that blends stand-up comedy and memoir, exploring his sleep disorder and its impact on his life.

These examples highlight how the solo play can be both deeply personal and universally resonant.

A one-person show offers creative freedom and personal expression that ensemble pieces may not. Many performers choose this format to tell a story that’s uniquely their own, without compromising on interpretation or direction.

As actress and writer Phoebe Waller-Bridge noted in an interview about her solo show Fleabag:

“When you’re alone on stage, it’s terrifying—but it’s also the most empowering feeling in the world. You’re entirely responsible for what happens.”

This format also allows for flexibility in production. With fewer actors and minimal set requirements, solo plays are easier to tour and more adaptable to unconventional venues like cafes, libraries, or online streaming platforms.

Moreover, the form allows actors to explore multiple characters and perspectives, creating a more immersive narrative experience than traditional monologue or stand-up.

While rewarding, solo performances are extremely demanding. The performer must carry the entire emotional and narrative weight, maintaining energy and audience engagement for the full duration—often 60 to 90 minutes or more.

There’s no one to share the spotlight or rescue a faltering moment. Memory, stamina, and timing become critical. The lack of interaction with fellow performers also means the actor must self-generate dramatic tension.

Critics and directors alike often note that one-person shows can become too introspective or static if not well-written and dynamically performed. Movement, light changes, sound, and pacing are essential tools to maintain theatricality.

As actor John Leguizamo, who has written and starred in several one-man shows, put it:

“You’re exposed. There’s nowhere to hide. But that’s what makes it so raw and beautiful.”

Many acclaimed actors have taken on the challenge of the one-person show to explore deeper artistic territory or personal stories.

Lily Tomlin’s “The Search for Signs of Intelligent Life in the Universe” (written by Jane Wagner) is a prime example. Tomlin plays a multitude of characters, shifting from comedic to poignant in seconds.

Billy Crystal’s “700 Sundays” tells the story of his childhood and relationship with his father, blending humor, tragedy, and heartwarming anecdotes.

Daniel Kitson, a British comedian and playwright, has gained cult status for his one-man storytelling shows, which are filled with philosophical wit and literary elegance.

And of course, Whoopi Goldberg’s 1984 Broadway debut in a one-woman show introduced the world to her immense talent, eventually launching her film and TV career.

These artists have used solo performance not just as a theatrical experiment, but as a signature expression of voice and vision.

The solo performance format has found new relevance in digital and minimalist theater. With the rise of streaming and online performance during the COVID-19 pandemic, many creators turned to monodrama as a way to produce compelling content without large casts or crews.

Streaming platforms, podcasts, and audiobooks now regularly feature dramatized monologues or narrative performances delivered by a single voice. This intimate form of storytelling has become popular in both fictional and nonfictional content.

Examples like Bo Burnham’s “Inside”, though technically a filmed special, exhibit many elements of monodrama: a single performer, confined space, evolving emotional arcs, and artistic experimentation.

Similarly, stage-to-screen adaptations like “Fleabag”, filmed from its stage run, show how solo performances can translate powerfully across media.

Ultimately, a one-person play is more than just a theatrical form—it’s a statement of confidence, vulnerability, and artistic risk. The intimacy between performer and audience in such shows fosters deep emotional connections and lingering impact.

When crafted well, a solo show offers a singular experience—a direct channel between artist and audience, unfiltered by ensemble dynamics or elaborate staging. Whether it’s a story of personal loss, political awakening, or absurd comedy, the solo performer becomes both the storyteller and the story itself.

As playwright and solo performer Spalding Gray once said:

“A monologue is not just about telling your story—it’s about finding something that resonates universally.”

So, what is a play with only one actor called? It’s a monodrama, a solo show, a one-person performance—but beyond labels, it is theater at its most distilled. It is a stage where one voice becomes many, one story becomes universal, and one performer becomes unforgettable.

From Charles Dickens to Lily Tomlin, from A Bronx Tale to Fires in the Mirror, these performances exemplify the power of singular storytelling. They challenge both artist and audience to engage deeply, reflect honestly, and connect intimately.

As the theater continues to evolve, the solo performance remains a timeless testament to the power of the individual human voice.

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