半岛体育

Adapted for Tour by JaMeeka D. Holloway

Photo: Amos Adams

Robert 鈥淪malls鈥� Smalls: Black, male-presenting, 20s-50s
Lydia Polite/Ensemble 1: Black, female-presenting, 30s-50s
Hannah Smalls/Ensemble 2: Black, female-presenting, 20s-40s
The Antagonist/Ensemble 3: White-presenting, any gender expression, Mid 20s-50s
Gourdine/Ensemble 4: Black, male-presenting, 20s-40s

AVAILABILITY REQUIREMENTS:
January 5, 2026 鈥� February 2, 2026

Ideal candidates will also be available for two potential 6-8 week TYA National Tour periods:
Mid-September 2026 鈥� Mid-December 2026
Mid-January 2027 鈥� Mid-May 2027

ABOUT THE SHOW:
is a powerful theatrical experience that reimagines the true story of Robert Smalls 鈥� a young boy born into slavery in Beaufort, SC, who commandeered a Confederate ship to freedom, fought in the Civil War, and served in the U.S. House of Representatives.

Adapted for TYA touring, the production is ensemble-driven, highly physical, and emotionally resonant. The piece invites audiences to explore the often-overlooked history of an American hero.

PREPARATION:
Please submit both a monologue and musical submission as described below.:

• One Contemporary Monologue (Dramatic or heightened language welcome. Please submit a 90-second maximum contemporary monologue that demonstrates emotional range. We encourage selections that showcase your ability to shift tone, embody different energies, or move between humor and gravity, even within a short excerpt.)
• One Musical Selection (30鈥�60 seconds, unaccompanied. Choose music from spiritual, folk, hymn, or soul traditions.)
  (Musicality and connection are prioritized over technical singing ability.)
• Vocal Range 鈥� Please indicate the highest and lowest note that you can sing comfortably.

SELF-TAPE GUIDELINES:
Well-lit, quiet space.
Frame: shoulders up (monologue); optional wider frame for musical selection.
Begin tape with a brief slate (Name, Pronouns, City Based In).
File Name: LASTNAME_FIRSTNAME_FF2025
Submit via video file or downloadable link (Vimeo, Dropbox, or Google Drive preferred; no YouTube).

Submit to:
[email protected]

Subject Line: Finding Freedom Submission 鈥� [Your Name]
**In your submission email, please indicate your preferred in-person callback location as listed below. If selected, you will only be asked to attend one in-person callback.

PREPARATION:
Select candidates will be invited to attend an in-person callback including:
Cold readings from the script
Group movement/musicality workshop
Ensemble-building exercises

Casting Breakdown

(All ensemble members play multiple roles and remain onstage throughout.)

ROBERT 鈥淪MALLS鈥� SMALLS 鈥� A bright, determined Black man (20s鈥�50s) whose journey spans from enslaved boyhood to revolutionary leader. Must have the physical agility to play youthful and aged stages in real time, with strong musicality, breath control, and swift mastery of choreography and movement.

LYDIA POLITE / ENSEMBLE 1 鈥� (30s鈥�50s) 鈥� Robert鈥檚 mother 鈥� A devoted Black mother who adores her son but she鈥檚 tired. Always tired. She鈥檚 enslaved in the Mckee house as a domestic. Her exhaustion is visible but her spirit is not broken. While she鈥檚 inspired by Young Roberts鈥� vibrant spirit, she understands the difficulties her black son will face in the world and wants to prepare him for harsh realities; Drawing from cultural wisdom, she handles the challenge honestly and gracefully. And although forcibly separated from her family at an early age, she holds the Gullah traditions of her upbringing close to her heart and shares them with her son. Must have strong musicality and the ability to swiftly pick up choreography.

HANNAH SMALLS / ENSEMBLE 2 鈥� A spirited and strategic Black woman (20s鈥�40s) Roberts鈥� wife and partner; intelligent and driven woman, serving as a maid at the Planters鈥� Inn where she initially crossed paths with 鈥淪malls鈥�. Having endured the brutalities of her life as an enslaved Black woman, Hannah has formed a deep bond of trust and affection with Robert. Following their marriage, she conspires with him in the audacious plan to commandeer the USS Planter. Must have strong musicality and the ability to swiftly pick up choreography.

THE ANTAGONIST / ENSEMBLE 3 鈥� A white-presenting performer (or any ethnicity embodying systems of oppression, 25s鈥�50s)This character serves as an embodiment of the multifaceted oppression experienced by Black Americans throughout history.Through portrayals of historical figures and personas,this character serves as a potent reminder of the intricate, constantly shifting nature of oppression.

GOURDINE / ENSEMBLE 4 鈥� Robert鈥檚 confidant, peer and the engineer aboard the Planter
(Black man, 20s鈥�40s) Skilled, strategic, grounded, with technical precision and emotional strength. Requires musicality, strong physical agility, and comfort with choreographed movement.

Speical Notes

Gullah-Geechee Heritage Encouraged:
Actors of Gullah-Geechee descent are strongly encouraged to apply.

Language Coaching Provided:
All actors speaking Gullah-Geechee will receive voice and language coaching by Dr. Jessica Berry to ensure cultural and linguistic authenticity.

Musicality & Physicality:
All cast members engage in live music-making, movement, modular storytelling, and direct audience address.

Cultural Care:
Rehearsal and performance processes are rooted in anti-racist, care-centered, decolonized practices. Artists鈥� full humanity and cultural identity are welcomed and honored throughout the creative process.

Sensitivity Warnings

This script and production addresses themes of slavery, systemic oppression, and historical violence. These warnings ensure audiences are prepared to engage responsibly.

Racial Violence and Oppression ~ Depictions of slavery, forced labor, and verbal/physical abuse, including the sound of whips and references to punishment.

Emotional Distress ~ Themes of familial separation and life-threatening danger, including escapes and Confederate checkpoints.

Historical Injustice ~ Systemic racism, voting suppression (e.g., 鈥�8-box law鈥�), and inflammatory racial rhetoric (e.g., Ben Tillman鈥檚 speeches).

Mild Violence ~ Sounds of cannon fire and battle sequences during the Civil War.

Religious Elements ~ Use of Christian prayers and hymns in the Gullah Geechee tradition (e.g., Psalm 23, Wade in the Water).

Death and Mortality ~ Acknowledgment of the dangers faced during escape attempts and war.

Cultural and Historical Language ~ Period-appropriate language and accents, including Gullah Geechee, which may challenge some audiences unfamiliar with it.