Harriet Tubman and the Underground Railroad

HARRIET TUBMAN Take My Hand and Follow Me

A Large Cast Musical Play for Young Performers and Young Audiences

By Kathryn Schultz Miller

ArtReach Children’s Theatre Plays 4047 Pro Am Ave. East Bradenton, FL 34203 Phone: 941-753-3222 Fax: 941-753-5407 www.ChildrensTheatrePlays.com

HARRIET TUBMAN Take My Hand and Follow Me

A Large Cast Play For Young Performers and Young Audiences

Soundtrack: A soundtrack CD is available from ArtReach Children’s Theatre Plays. Please request if interested.

IMPORTANT COPYRIGHT NOTICE

NO COPIES OF THIS DOCUMENT MAY BE MADE WITHOUT WRITTEN PERMISSION FROM THE AUTHOR.

A ROYALTY IS DUE FOR ALL PERFORMANCES, INCLUDING PERFORMANCES FOR NON-PAYING AUDIENCES.

This play is fully protected by copyright. Professionals and amateurs are hereby warned that this play, being fully protected under international copyright laws, is subject to a royalty. All rights including professional, amateur, motion pictures, radio broadcasting, television broadcasting and the right of translation into foreign languages are strictly reserved.

In its present form this play is reserved for personal reading and perusal purposes only. However, authorized productions of this play are encouraged and supported. Arrangements for productions must be made in writing with:

Kathryn Schultz Miller ArtReach Children’s Theatre Plays 4047 Pro Am Ave. East Bradenton, FL 34203 Phone: 941-753-3222 Fax: 941-753-5407 Email: [email protected] Website: ChildrensTheatrePlays.com

HARRIET TUBMAN

Characters: Flexible Cast of 23-32, 7-8 M, 6-13 F, 10-11 M/F Easily adapted for larger or smaller cast

STORYTELLERS (M/F, 19 lines together, plus songs) (Any/all can be M or F, change names in dialogue if appropriate) ELWOOD (17 lines) ELIZABETH (16 lines) ISABELLA (20 lines) MARIAH (18 lines) NELSON (18 lines) ROSA (19 lines) MARTIN (16 lines) SAMUEL (18 lines)

HARRIET (F, 51 lines) HARRIET #1 (7 lines) HARRIET #2 (10 lines, enter page 22) HARRIET #3 (6 lines, enter page 30) HARRIET #4 (18 lines, enter page 33) HARRIET #5 (10 lines, enter page 39)

PREACHER (M/F, 21 lines, plus songs) PREACHER #1 (9 lines) PREACHER #2 (12 lines, enter page 23)

MINTY, Younger Harriet (F, 24 lines) MINTY #1, young child (5 lines) MINTY #2, adolescent (8 lines, enter page 17) MINTY #3 (MINTY/HARRIET), young adult (11 lines, enter page 19)

OLD RIT, Harriet’s mother (F, 25 lines, plus song) OLD RIT #1 (18 lines, plus song) OLD RIT #2, much older (7 lines, enter page 38)

BEN, Harriet’s father (M, 24 lines, plus song) BEN #1 (13 lines, plus song) BEN #2, much older (11 lines, enter page 33)

MASTER BRODESS, slave owner (M, 13 lines) JOHN, Harriet’s brother (M, 9 lines) ROBERT, Harriet’s brother (M, 4 lines) MARY, Harriet’s sister-in-law (F, 8 lines)

ABOLITIONISTS MRS. FRANCIS GARRETT (F, 4 lines, plus song) MR. THOMAS GARRETT (M, 3 lines, plus song) WILLIAM STILL (M/F, 9 lines) FREDERICK DOUGLASS (M, 1 line, speech) WILLIAM LLOYD GARRISON (M, 1 line, speech) SOJOURNER TRUTH (F, 2 lines, speech)

SONGS 1. All the Pretty Little Horses 5. ‘Tis a Gift to be Simple 2. Swing Low, Sweet Chariot 6. Go Tell It on the Mountain 3. Follow the Drinkin’ Gourd 7. Wade in the Water 4. Bound for the Promised Land 8. Amazing Grace

CASTING NOTES

For a Smaller Cast: It is easy to make this cast smaller by reducing the number of STORYTELLERS, distributing more lines to each one. You may also have the multiple roles played by just one performer. There can be just one MINTY and one HARRIET, or the same performer may play both roles. The role of the PREACHER can be given to a STORYTELLER and even the roles of JOHN, ROBERT and MARY may be played by STORYTELLERS. The roles of ABOLITIONISTS may be performed by the same performers who played OLD RIT, BEN and BRODESS. And again, the GARRETTS and WILLIAM STILL may be played by STORYTELLERS. Of course, this will put your STORYTELLERS in constant action on stage so you will want to put your most experienced performers in these roles.

For a Larger Cast: There are so many ways you can add performers to the cast beyond what is listed already! You can add STORYTELLERS and divide their roles according to what you think each child can handle. You may give the youngest the purely narrative lines and the older ones the action lines. The roles of MINTY, HARRIET and PREACHER may be divided among more performers. It might be interesting to add ABOLITIONISTS, performers who appear in the aisles protesting with signs, and protest calls. You may add lines or let them ad-lib these crowd scenes.

If you have a choir in your school or church, they can absolutely be placed prominently upstage on risers or sitting throughout the audience to encourage them to sing. You may add songs and solos if you have this wonderful resource! If you have dancers or even gymnasts in the school you might add choreography to the songs. This will also get Choir Directors and Dance Instructors involved in your project.

Male/Female Roles: It is obvious that some characters are required to be a specific gender but many all-girls or all-boys schools may cast these roles as appropriate for their students.

Disabled Kids: Don’t hesitate to include disabled kids of every kind to the cast! Kids in wheelchairs will surprise you with what smooth moves they can come up with for their performance. Give every kid a chance and you will be amazed at how you will be rewarded.

Multi-generational: What better way to honor our ancestors than to include grandparents in the performance? And don’t forget to cast the principal, teachers, janitors and cafeteria workers in the play as well. It’s a great way to combine education with community involvement.

STAGING NOTES

ArtReach’s new play, Harriet Tubman: Take My Hand and Follow Me, is based on the life and history of the legendary anti-slavery activist Harriet Tubman. The true story is simplified and shortened for young performers and young audiences. Through song, stories and historic recreations, kids may experience her inspiring contribution to the American struggle against slavery.

Playing Area: This play is best staged in a large room such as a gymnasium, fellowship hall or church basement. The audience is seated in a horseshoe shape on three sides around the playing area with two wide aisles at the sides. Performers will use these aisles and the back of the audience as playing area as indicated throughout the script. “Playing area” or “stage” refers to the main space of floor in the center of the horseshoe.

Use a stage if you must! A stage certainly may be used. If so, it is suggested that you provide a safe way for the performers to step off the stage and into the audience at key points in the action. No painted background is necessary and since the action takes place all over the area it may be too confining to have one. But if a background is desired, I suggest free-standing flats much like folding/dressing screens with the following painted pictures: Landscape with antebellum mansion in the distance; dark scene of nighttime in the woods by river; 19th century sepia city street scene; Tubman’s home in Auburn with front porch of whitewashed house. The first may be turned to the audience while the other screens are turned with backs to audience. These may be turned as appropriate scenes begin throughout the performance.

Make room for performance: Remember to keep your aisles wide and leave room behind the audience for performance. It’s okay if they have to turn and strain to see the scene behind them – that will give them the sense that they truly are in a natural setting rather than a theatre. By having the performance move all around the audience you create distance for Harriet’s travels and give the sense she is moving from one place to another.

Church setting: When staging your production consider that the entire area or room of the performance is the setting of the play. At times this area will represent a church interior, much like the one Harriet herself attended as a girl. The benches that Storytellers sit on are reminiscent of pews. The audience will be treated at times as if they are in a church and are its active congregation. This will become clear to them quickly and they are likely to participate enthusiastically when called upon.

Forest/Swamp setting: At other times your performance area should be considered the forest/swamp that Harriet navigated in her many trips from south to north and vice versa. Performers will use simple noisemakers like a dried gourd with seeds and a pole with a steamer on the end to create the creatures of the scene. They may move all around Harriet, crouching, twirling, as creatures and objects that are unseen because it is dark. It is extremely important to create this forest world since this is the dark and dangerous place where Harriet performed her most heroic acts. Her father loved everything in the forest and taught her to not only love and understand it, but to use its gifts for survival. It will be most effective for the Storytellers to create this mysterious atmosphere through movement and

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). 5 sound. The script includes specific lines for these sounds, but performers are encouraged to embellish these suggestions with their own ideas.

Students Ideas: Ask students to spend some time outdoors, preferably at night, and simply listen to the world around them. There are sleepy buzzing sounds, sudden calls of birds, sounds that cannot be identified, etc., and all these can make for a forest/swamp that is at times haunting and other times comforting. Literal costumes and props are not suggested – rather, things like shakers and cloth streamers will give a sense of the forest and the darkness that hides the actual source of noise. Don’t let this description scare you, once your kids get the hang of it, this will be simple and very effective.

Use of clapping: Storytellers set the rhythm of the play by clapping, snapping fingers, slapping thighs, stamping feet etc. throughout as indicated in the script. At times they clap softly and quietly to introduce a gentle scene and at others they clap loudly and quickly to pick up the pace. This is reminiscent of clapping during a song or spiritual to keep the beat. Try to discern the pace and rhythm of the play and direct the Storytellers to use this simple method to enhance the ebb and flow of the action.

Note on sound: There are fewer recorded sound effects and music cues in this play than others because I’d like to see these sounds come from the Storytellers and what they are able to do with their hands, feet and voices. Storytellers may sing/riff a cappella during action to echo the song recently played. Think of the slaves telling a story themselves with no soundboard or fancy props, just their own imaginations and the instrument of their bodies. Also, music is given for the several songs that will be sung by performers and audience. A piano or organ player may replace or enhance this recorded accompaniment.

Percussion instruments: I almost always encourage the use of percussion instruments to enhance the performance. In this play the Storytellers’ clapping takes the place of some sounds that would otherwise be created by instruments. However, if you have the extra cast members and the resource of instruments, by all means use them! In that case you will want to have things like chimes, tambourines, rhythm sticks etc. available during rehearsal. Explain to the kids that they might think about ways these can be used in the production and then give them the chance to try them out as you rehearse.

COSTUMES

Use the library and the thrift store! Take a look at library books and the pictures of Harriet Tubman’s life and take your cue from the old-timey black and white photographs. It is not too hard to replicate the basic costumes using today’s clothing and accessories. Don’t worry too much about getting everything authentic. Just a few pieces like bandannas, shirts, hats, etc., will give the idea you want to convey.

Storytellers: These will wear slightly distressed clothing of the slaves at the time.

Minty & Harriet: Young Minty wears a loose shift, pretty much the standard clothing of a child at the time. I suggest this be made of a specific color or calico that is then carried

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). 6 through each costume as the Harriets progress in age. The next Minty will wear a skirt with a bandana of the same calico. Adolescent Minty/Harriet will wear skirt with apron and same calico etc. Harriet will wear her basic costume until she makes it to Philadelphia. After that she begins to wear men’s pants and hat. Her signature calico may be a scarf around her neck or bandanna just showing beneath her hat.

Mr. & Mrs. Garrett: These two are of the Quaker sect who eschewed adornment in favor of very simple clothing. Mrs. Garrett will wear a wide collar, cape and white bonnet. Mr. Garrett will wear a flat straw hat and plain pants with suspenders.

Abolitionists: Each abolitionist that appears in the play was a famous person of the time. There are many pictures that you can use to replicate their appearance. Douglass, of course, had a shock of wild hair that distinguished him. Garrison was a mild-mannered man who was unlikely to be showy in his dress. Sojourner Truth wore a distinctive bonnet/cap and shawl.

OTHER NOTES

Pre-show Songfest: Some of the songs will be less familiar to some audiences. (See more on the Underground Railway songs in your Teachers Guide.) You might consider having an informal songfest before the show as audience members arrive and take their seats. Use the music that is printed in the Teachers Guide in your program to give them something to refer to as a congregation refers to their hymnals. This informal rehearsal will get the audience warmed up, encouraging their future participation and enjoyment.

Role of Preacher: This part may be played by a young performer or you might consider giving it to an actual preacher from your community. Preacher will sit in the front row of the audience when he/she is not performing (when he “exits” he actually sits). If this person has musical talent and experience, he might become the choir director by conducting the audience as they sing. He may also act as the conductor of audience participation throughout the play by encouraging the audience to respond to what is happening on stage.

Abolitionists suggestion: If you are looking to increase the cast list and lengthen the play, you might add a scene of protesters before or after the speeches of the abolitionists in Philadelphia. They may enter through the aisles and carry signs that declare their opinions for and against slavery. They may address the audience with their protests. You may write lines or have them ad-lib their statements. Here is a place where the performers might do some research themselves to determine what they would like to present. You might consider having an historian from your local college work with them. At the end of the performance you may invite the historian to give a short talk about slavery and effects on history of your locality and the country at large.

Use history to enhance your experience! Use the resources in your community to bring history alive. Ask professional historians and amateur buffs to see your play and even take a part in it. Invite musicians and singers to play and talk with your kids about what spirituals mean to them. Take a trip to visit local memorials and museums. Take time to see some of the famous movies and films about Harriet Tubman and other aspects of the history of the time. See Teachers Guide for many more suggestions!

A NOTE FROM THE PLAYWRIGHT

I have long wanted to write a play based on my hero Harriet Tubman. But the problem always presented itself: how do you truthfully present slavery to a child audience without breaking their hearts? After reading everything I could about Harriet I knew that certain scenes had to be included; they were essential to understanding how she developed her almost unimaginable courage. How could I bear to write them, much less share them with young people?

I found my way in Harriet’s music, the heart, soul and instrument of enslaved and freed Americans. Spirituals are the memoirs of Harriet’s people. These are their letters to us. Although they were forbidden to read and write, they somehow found a way leave us with a library of work that tells us exactly who they were. In the most poignant, beautiful music and lyrics ever written, we understand their strength, struggles and even joy.

It is fitting that we stop from time to time during the performance to sing songs of the Underground Railroad as we navigate our way through the landscape of American slavery. When we lift our voices with those of our brothers and sisters, we are letting them guide us. Harriet says “Take my hand and follow me.” In this way, we put ourselves in her hands and let her tell us how she endured and triumphed.

KSM 5/7/20

HARRIET TUBMAN Take My Hand and Follow Me

CD Sound Cues CD soundtrack available from ArtReach Children’s Theatre Plays All songs are traditional gospel music, spirituals and hymns.

CUE TIME DESCRIPTION* PAGE CUE LINE / ACTION

1 1:37 Music, horses, bloodhounds. Pg 9, Starts the show.

2 0:53 All the Pretty Little Horses Pg 11/12, “Softly, my brothers and sisters.”

3 1:17 Swing Low, Sweet Chariot Pg 15, “All rise.”

4 2:13 Follow the Drinkin’ Gourd Pg 18, “All rise.”

5 1:58 Bound for the Promised Land Pg 23, “All rise.”

6 1:06 ‘Tis a Gift to be Simple Pg 26, HARRIET & MRS. GARRETT exit.

7 1:27 Go Tell It on the Mountain Pg 30, “Go Tell It on the Mountain!”

8 2:18 Wade in the Water Pg 37, “We wait.”

9 2:05 Amazing Grace Pg 41, “Amazing Grace. Amazing Grace.”

10 1:27 Curtain Call, Pg 42, Ends the Show Go Tell It on the Mountain

Cues have ½ second of silence at the beginning and 10 seconds at the end. Times shown include silence. Some cues may be longer than needed so they can play through your particular staging and fade out at the end of the action or when the scene changes.

Start the play with Cue 1, then use Pause/Fwd/Play controls for each cue: • Press PAUSE at the end of the cue or fade out VOLUME then PAUSE. • Press FWD (or SKIP, right arrows) to set at next cue. • Press PLAY to start the next cue at the appropriate line or action as indicated above.

HARRIET TUBMAN Take My Hand and Follow Me

AT RISE: If a background is desired, there may be four freestanding screens with paintings of partial scenes, see Staging Notes for details. PREACHER is seated in the front row. There will be movable benches up on both sides of the playing area. STORYTELLERS will sometimes sit there when their exit is indicated, though they will be up and performing most of the time. Benches will be moved to define scenes. AUDIENCE is seated on three sides of the playing area, separated by two aisles. They will be involved in the play so it is important for them to be seated close to the performers. Action will take place in the aisles and performances will happen in the space behind the audience. Think of the entire area as your performance space bringing the audience into the cast, as performers themselves.

(SOUND CUE #1: Pretty sound of music, Amazing Grace. The music starts to sound off key, the notes discordant, changing into sounds of thunder, rain, bloodhounds barking, horses galloping and then fades into night sounds of crickets, etc.

STORYTELLERS enter, straggling in from various directions behind the audience and from the aisles, looking over their shoulders. Some enter alone and some two by two. Some seem out of breath from running, others sneak in with their heads down, clinging to each other. They look at the audience and gesture for them to get heads down and shush, putting their fingers to their lips for quiet.

SOUND CUE FADES & ENDS.)

STORYTELLERS: (To audience.) Shhhh!

(As HARRIET enters, STORYTELLERS move upstage clinging to each other. HARRIET sweeps the playing area, shushing all, STORYTELLERS and audience.)

HARRIET: (To audience and STORYTELLERS.) Shh! Shush now! You hear the frogs croaking in the marshes? The whippoorwill in the tree? You hear the hoot owl mourning for her babes?

(HARRIET cups her hands to her mouth, throws her head back and hoots like an owl!)

Hah-hoo! Now step along, my brothers, my sisters, my people -- and follow me!

(STORYTELLERS move during the lines around the perimeter of the playing area speaking directly to audience members.)

ELWOOD: Lay low so no one can see you.

ELIZABETH: Step soft so no one can hear.

ISABELLA: Beware the twitching twig!

MARIAH: Don’t step where the pinecones crackle.

HARRIET: You hear the bustle yonder?

NELSON: You hear the bloodhounds yelp?

ROSA: You feel the hoofbeats shake the earth?

MARTIN: And the pounding in your heart?

HARRIET: That’s fear, my children.

SAMUEL: (Stopping, to HARRIET.) I’m froze to the bone with fear, Moses. How can I go on?

HARRIET: (To ELWOOD.) There’s something stronger.

ELWOOD: What’s stronger than fear?

HARRIET: Courage, brother. You got it inside you. You got it here. (Touches his chest.) And here. (Touches his forehead.)

(STORYTELLERS touch their chests, then foreheads, begin to chant.)

STORYTELLERS: (Chanting.) Courage, courage, courage...

HARRIET: Keep your eye on the stars! Have courage!

(HARRIET twirls slowly and seems to drift into a trance as she touches her own forehead. STORYTELLERS move away breaking apart. They pat their hands, a gentle clap, as a transition sound that they will use throughout.)

STORYTELLERS: Courage, courage, courage...

(One by one STORYTELLERS turn to tell the story. They gesture to the cabin and the sky etc., setting the scene.)

ELIZABETH: In 1820 when nobody was looking and nobody cared…

ISABELLA: A babe was born in a tiny cabin.

MARIAH: The cold wind whistled through the logs…

NELSON: The stars blinked in the sky…

ROSA: The doggies cried in the distance…

MARTIN: Mama begged for mercy!

SAMUEL: But that baby was born just the same.

HARRIET: (Eyes closed, reaches hands out above her head as if to embrace the sky.)

Take my hand and follow me.

(HARRIET gestures towards all in audience. She exits grandly as STORYTELLERS speak, her hands above her head, worshipful, trance-like. She passes through the aisle, and exits behind the audience. As HARRIET exits STORYTELLERS respond, clapping, and begin to move to the rhythm of their chant.)

STORYTELLERS: Take my hand and follow me. Take my hand and follow me.

(PREACHER stands in front row where he has been sitting, enters. He's all smiles, clapping)

PREACHER: (To STORYTELLERS.) Now what’d she say?

STORYTELLERS: She said take my hand and follow me!

PREACHER: (Points, to AUDIENCE.) Now what'd she say?

AUDIENCE: She said take my hand and follow me.

PREACHER: (Cupping his ear.) Is that the best can do-hoo?

AUDIENCE & STORYTELLERS: (Louder.) She said take my hand and follow me!

(PREACHER claps to the beat. AUDIENCE and STORYTELLERS clap with him. STORYTELLERS move around perimeter of playing area up to near their benches.)

STORYTELLERS: (Progressively quieter.) Take my hand and follow me. Take my hand and follow me...

(They chant as needed as clapping gets softer. When they are seated...)

PREACHER: (Solemnly, lifts his hands to ALL.) All rise...

(STORYTELLERS stand with hymnals [or programs used as hymnals] and AUDIENCE stands, using programs.)

(To AUDIENCE.) Page one in your programs. Softly, my brothers and sisters.

(PREACHER conducts. During song ELWOOD places a bench center stage as OLD RIT enters. ELIZABETH brings her a baby. OLD RIT sits and sings to baby as STORYTELLERS go back to their places.

SOUND CUE #2: All the Pretty Little Horses; short intro.)

ALL: (Singing, All the Pretty Little Horses.)

Hush-a-bye, don't you cry, Go to sleep my little baby. When you wake you shall have All the pretty little horses. Blacks and bays, dapples and grays, All the pretty little horses.

(BEN has entered and stands, hat in hand. PREACHER gestures for audience to sit, then sits down with audience.

SOUND CUE ENDS.)

OLD RIT: (Continues singing; a cappella.)

Hush-a-bye, don't you cry, Go to sleep my little baby, When you wake you shall have All the pretty little horses.

BEN: (Quietly.) Rit, all the folks are here. They want to see.

(OLD RIT nods. ISABELLA, MARIAH, NELSON enter as slaves on property, acting polite, looking at baby.)

ISABELLA: She looks good, Old Rit.

MARIAH: (Lifting blanket.) Got all her toes.

NELSON: (Smiling.) She'll need those for kicking you around, Ben.

(They laugh as old friends.)

ISABELLA: What's her name?

OLD RIT: Araminta.

MARIAH: Say what?

OLD RIT: It's an old Ashanti name. From Africa.

NELSON: Well, putting on airs won't get her a job in the big house. Best call her Minty.

OLD RIT: That's not what I want.

ISABELLA: Doesn't matter what you want. She'll be called whatever Master wants to call her.

(OLD RIT turns upstage. MARIAH takes baby, NELSON takes bench, they exit scene with ISABELLA and go to benches. ROSA, MARTIN and SAMUEL stand, come downstage and talk to audience.)

ROSA: But Minty didn't get a job in the big house.

(MINTY enters, wearing a loose shift, carrying an axe over her shoulder.)

MARTIN: She was a tiny thing but tough and strong for a young one.

(OLD RIT turns to see her. She takes off apron, shakes it out and folds it as if doing laundry work. SAMUEL brings her laundry basket. There may be unfolded laundry in basket.)

OLD RIT: Young lady, didn't I tell you to wash those feet?

SAMUEL: Minty was a slave in fact, but free in her soul.

OLD RIT: Master Brodess will put you in the fields when he sees you acting so wild.

MINTY: I don't care for that. Don't give me no kitchen work. I hate the roof just covering up the sky!

ROSA: It wouldn't be long before Minty understood all too well what being a slave truly meant.

(MASTER BRODESS enters and stands with fists on his hips.)

BRODESS: Old Rit!

SAMUEL: And it broke her heart.

(STORYTELLERS turn upstage to sit on benches.)

OLD RIT: (Afraid, lowering her eyes.) Yes, sir.

BRODESS: Got a wagon over there, going to take Minty over to the Cook property. They need some help...

OLD RIT: Oh, God, please no.

BRODESS: Now don't make a fuss, Rit.

OLD RIT: Master Brodess, this girl is just six years old. You already took three of my babies. Don't take my Minty. Please God don't take her!

BRODESS: Now quiet down, Rit. I won't have this kind of fuss from you, do you hear? I'm not selling her...

OLD RIT: (Dropping to her knees in relief.) Thank you, Lord!

BRODESS: Just hiring her out to the yonder homestead. As is my right.

OLD RIT: She's too young for that hard work.

BRODESS: Too young? Why look at her playing with that axe. Give me that. (Grabs axe from MINTY.) Time for her to learn woman's work. Now get over to that wagon, Minty.

MINTY: Mama?

BRODESS: Now!

(OLD RIT turns, stands, holds apron to her face, tries not to cry.)

OLD RIT: Go on now, baby.

(MINTY runs to OLD RIT and holds on to her.)

You be good, baby. Do as they tell you.

(BRODESS grabs MINTY and pries her off OLD RIT. He stops, holding MINTY who struggles.)

BRODESS: I don't like this trouble from you, Old Rit. You start bringing your young ones up right now, you hear me? Come on, Minty.

MINTY: (Screaming.) Mama!

(BRODESS carries MINTY by the waist as she struggles. They exit down the aisle as MINTY cries out. OLD RIT falls to the ground. STORYTELLERS stand and move forward to talk to the audience. OLD RIT works at laundry basket folding clothes through next lines.)

ELWOOD: First they took her to work indoors with Missus Cook. Minty sneezed and

coughed all day cooped up inside, winding Missus’ yarn.

ELIZABETH: She ate table scraps for supper and slept in the corner on the floor.

OLD RIT: (Singing; a cappella.) Swing low, sweet chariot...

(STORYTELLERS may hum in sympathy to OLD RIT’s singing.)

ISABELLA: But she was no good at housework, so Mister Cook took her to the water to catch river rats.

OLD RIT: Comin’ for to carry me home...

MARIAH: But little Minty couldn't stand to put those poor animals in cages...

NELSON: So Master sent her to Mistress Susan who just had a new born baby...

OLD RIT: Swing low, sweet chariot…

ROSA: (Putting on Susan’s scolding voice, wagging a finger.) “Now don't you let that baby cry, Minty! If I hear that baby cry I'm going to whip you, you hear me? Can’t you do anything right?”

MARTIN: No. Minty couldn’t do anything right.

OLD RIT: Comin’ for to carry me home...

(OLD RIT carries basket on her hip and walks away turning upstage.)

PREACHER: (To ALL) All rise.

(He opens his program as audience also opens theirs to sing.

SOUND CUE #3: Swing Low, Sweet Chariot; short intro.)

ALL: (Singing, Swing Low, Sweet Chariot.)

Swing low, sweet chariot Coming for to carry me home Swing low, sweet chariot Coming for to carry me home

I looked over Jordan and what did I see Coming for to carry me home A band of angels coming after me Coming for to carry me home

Swing low, sweet chariot Coming for to carry me home Swing low, sweet chariot Coming for to carry me home

(SOUND CUE ENDS. PREACHER gestures for audience to sit.)

MARTIN: When she proved no use to anybody at all, Master let little seven-year-old Minty come home.

(STORYTELLERS, all but SAMUEL move back to benches. MINTY calls from behind the audience.)

MINTY: (Off.) Mama!

(OLD RIT turns, hears.)

OLD RIT: Minty?

(MINTY enters, running to OLD RIT.)

MINTY: Mama!

(They grasp each other and fall to their knees, hugging. BEN enters, sees them and covers them with his arms.)

SAMUEL: She was nearly dead from swamp sickness, measles and half-starved from nothing but table scraps. But at last...

BEN: You're home, Minty. Thank God, you're home.

STORYTELLERS: (Singing; a cappella.) Coming for to carry me home…

(OLD RIT, BEN, MINTY move to exit down the aisle together. STORYTELLERS slowly rise one by one, crouching or squatting around the perimeter of the playing area. Each one makes a different animal or woods sound or movement, setting the woods/swamp scene quietly and slowly. The following will get you started but you and cast may explore possibilities and choose insect/animal sounds and movements as you wish.)

ELWOOD: (Frogs.) Cheer-lip. Cheer-lip.

ELIZABETH: (Water/shore.) Shushhh. Shushhh.

ISABELLA: (Owl.) Hah-hoo! Ha-hoo!

(MARIAH shakes gourd with seeds which may represent snake or rustling leaves. NELSON swoops a streamer on stick above as bird flying. Others make quiet stealthy movements as shadows in the forest. All of this happens with a sleepy slow nighttime atmosphere. MINTY enters.

OPTIONAL TRANSITION: MINTY #2 enters.)

MINTY: (Pointing up.) Look at that, Daddy. Stars so big like to pop in my hand.

(STORYTELLERS swoosh away, scattering to the edges of the playing area, unseen by MINTY and BEN. Minty holds out her hand to catch the stars.)

BEN: (Pointing up.) See the drinking gourd, Minty? White folks call it the big dipper. See the cup, the handle, follow that to the little dipper and…

MINTY: The North Star.

(The STORYTELLERS make a bustle of sounds together and the bird swooshes over them. When they have settled in new positions…)

Daddy? I got to tell you something. I can’t take being owned no more.

BEN: There’s no helping that.

MINTY: I can’t stop thinking on it day and night. Daddy…

BEN: Don’t tell me, child. I don’t want to know.

MINTY: Daddy, I got to live free or die.

BEN: Don’t forget the things I taught you, baby girl.

(BEN cups hands and makes the sound of the owl.)

Hah-hoo!

(ISABELLA as owl echoes back.)

Moss grows green on the north side of tree.

MINTY: It sure does, Daddy.

BEN: River runs north, it runs wild and true.

MINTY: It runs wild and true.

BEN: Bloodhounds can pick up a slave scent from a full mile away…

MINTY: A full mile away.

BEN: But they can’t smell nothing in the water.

MINTY: They can’t smell nothing in the water!

BEN: Keep your eyes on the stars, child. Keep your eyes on the stars…

(As BEN and MINTY look at the stars the STORYTELLERS swoosh around them, in front of them, the bird flies above their heads. STORYTELLERS move upstage, clapping.)

STORYTELLERS: Keep your eyes on the stars, keep your eyes on the stars…

(PREACHER enters. MINTY and BEN exit.)

PREACHER: (To audience.) All rise.

(SOUND CUE #4: Follow the Drinkin’ Gourd; short intro.

During song, JOHN, ROBERT and MARY, HARRIET’S brothers and sister-in-law enter. They pass rakes and bushel baskets, as a chain, to each other in rhythm to the music as they sing. STORYTELLERS may echo the same movements, standing upstage behind these new actors. Imagine they are working in the field and singing as they work.)

ALL: (Singing, Follow the Drinkin’ Gourd.)

When the sun comes back, and the first quail calls Follow the drinkin' gourd For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd

Follow, the drinkin' gourd Follow, the drinkin' gourd For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd

The river bank, makes a mighty good road Dead trees, will show you the way Left foot, peg foot, travelin' on Follow the drinkin' gourd

The river ends, between two hills Follow the drinkin' gourd There's another river on the other side

Follow the drinkin' gourd

When the great big river meets the little river Follow the drinkin' gourd For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd

Follow, the drinkin' gourd Follow, the drinkin' gourd For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd

(SOUND CUE ENDS. PREACHER gestures for audience to sit, he sits.

As song ends JOHN, MARY and ROBERT work bent over with rakes. BRODESS enters.)

MARIAH: But Minty’s life was changed in an instant.

NELSON: One of her brothers was working in the field.

(BRODESS calls out.)

BRODESS: John!

(MINTY enters and watches from the background.

OPTIONAL TRANSITION: MINTY #3 (MINTY/HARRIET) enters.)

JOHN: (Looks up, terrified.) Yes, sir?

BRODESS: Trader man here. You’re to join him down at the wagons.

(ROBERT and others gasp. JOHN keeps head down, working furiously.)

JOHN: No sir, no sir. I got work to do. So much work to do.

BRODESS: Did you hear what I said?

JOHN: Master, I been working as hard as I can. You see how hard I work!

MARY: (Running in front of JOHN.) Master, you can’t take John! You can’t sell my husband!

BRODESS: I can do what I please with my property!

(BRODESS lifts a rake to throw at her and JOHN.)

Out of my way!

ROSA: When Minty saw that rake rising in the air…

MARTIN: She couldn’t let Master take John.

SAMUEL: And she couldn’t let Master hit Mary.

MINTY: Noooooo!

(MINTY runs in front of MARY and JOHN.)

ELWOOD: That rake had barely left the Master’s hand…

(STORYTELLERS gasp and hold arms up in defensive position, just as MARY and JOHN do the same. BRODESS takes rake and arches it in the air…

ALL move in slow-motion, stopping as the metal end comes down on MINTY’S forehead. MINTY falls down.

Slow-motion over, JOHN runs away exiting. OLD RIT enters, screams and runs to her daughter. BRODESS falls back, even he is shocked at what he’s done.)

MARY: She’s dead!

ELIZABETH: Blood poured from her forehead.

(OLD RIT touches her, puts ear to her chest.)

OLD RIT: She’s breathing!

(BRODESS jerks his rake back, and looks around at all as if to call out an excuse, thinks better of it, then he exits. ROBERT and MARY gather around OLD RIT and MINTY. STORYTELLERS bring quilt to cover the mother and child. ROBERT and MARY exit.)

ISABELLA: Minty was knocked out cold.

MARIAH: For two long months, she lay fast asleep, barely alive.

(OLD RIT cradles MINTY’s head, placing a bandage on her forehead, humming a bit of the tune.)

NELSON: Nobody knew if she would live or die.

STORYTELLERS: (Singing, Follow the Drinkin’ Gourd; a cappella.)

For the old man’s awaiting for to carry you to freedom Follow the drinking gourd Follow the drinking gourd

PREACHER: And then one day she awoke.

(MINTY shakes herself, awakening. PREACHER watches and whispers in astonishment.)

Praise the Lord.

(MINTY opens her eyes.)

MINTY: Mama! I had a dream.

ROSA: A wonderful vision!

MINTY: I dreamed I was flying…

OLD RIT: Baby, no. You’re not thinking right.

MINTY: I was crossing a shining river…

MARTIN: The river Jordan!

MINTY: There were beautiful ladies all gathered on the other side…

SAMUEL: Take me away, oh Lord!

MINTY: And oh, what freedom I saw there!

ELWOOD: Minty rose from her bed and declared…

MINTY: (Standing.) I’m Minty no more. My name is Harriet! After you, mama. After your given name: Harriet!

PREACHER: What a beautiful name!

MINTY/HARRIET: Harriet Tubman!

PREACHER: Now what’d she say?

STORYTELLERS: (Clapping softly.) Harriet Tubman. Harriet Tubman. Harriet Tubman.

MINTY/HARRIET: I got new eye up here, everybody see?

(Moves around for all on stage and all in audience to see her mark. She removes the bandage on her forehead and opens her arms as if her head is glowing.)

That’s my Top Eye.

(STORYTELLERS and ALL react in awe.)

I can see things I never did see before. I can see straight through to the other side.

STORYTELLERS: She can see straight through to the other side, she can see straight through to the other side…

(HARRIET cups her hands to her mouth and throws her head back, making the sound of the owl.)

MINTY/HARRIET: Hah-hoo!

(STORYTELLERS echo the sound and twirl into positions, crouched in corners of playing area and out through the aisles. MAMA and PREACHER twirl away, exiting. When all is still, BEN comes running, entering.)

BEN: Harriet, folks are talking. They say you’re fixing to go.

MINTY/HARRIET: Now that I’m well Master’s going sell me, Daddy. I can’t go South. I can only go North. I’ll see you again.

(She hugs BEN, then exits up aisle behind audience.)

BEN: Keep your eyes on the stars, baby. Keep your eyes on the stars.

(BEN exits. STORYTELLERS speak as they take forest positions.)

ELIZABETH: Harriet waited until just past midnight.

ISABELLA: Till old Master was snoring in his bed.

MARIAH: The stars so bright she like to catch them in her hand.

(HARRIET enters, runs in out of breath, holding her stomach, scared. She looks at the stars.

OPTIONAL TRANSITION: HARRIET #2 enters.)

HARRIET: Master won’t know till Monday morning.

(STORYTELLERS move slowly around her like shadows in the swampy forest. HARRIET moves carefully around playing area as if in the dark.)

NELSON: Lay low so no one can see you.

ROSA: Step soft so no one can hear.

MARTIN: Beware the twitching twig!

SAMUEL: Don’t step where the pinecones crackle.

ELWOOD: Harriet believed the Lord spoke to her through the creatures in the dark.

ELIZABETH: The swamp was full of his voice.

(STORYTELLERS quietly make forest sounds and movements as before. They flutter all around her.)

HARRIET: Lord, I can’t make it alone!

ISABELLA: She was froze to the bone with fear.

MARIAH: But she kept on going.

(STORYTELLERS keep making sounds until HARRIET circles around the playing area and exits. STORYTELLERS move to their places on the benches. PREACHER enters.

OPTIONAL TRANSITION: PREACHER #2 enters.)

PREACHER: All rise.

(SOUND CUE #5: Bound for the Promised Land; short intro.)

ALL: (Singing, Bound for the Promised Land.)

On Jordan's stormy banks I stand, And cast a wishful eye To Canaan's fair and happy land Where my possessions lie.

I am bound for the promised land, Bound for the promised land, Oh who will come and go with me? I am bound for the promised land.

O'er all those wide extended plains Shines one eternal day; There God the Son forever reigns And scatters night away.

I am bound for the promised land, Bound for the promised land, Oh, who will come and go with me? I am bound for the promised land.

(SOUND CUE ENDS.

PREACHER gestures for all to sit and exits. STORYTELLERS Move downstage, talking to audience.)

ISABELLA: Harriet walked on through the night.

MARIAH: She hid and slept the day through but something woke her…

NELSON: Hush!

(STORYTELLERS stop, listen. They tap their thighs quietly making the sound of hoofbeats. HARRIET rushes in, looking back over her shoulder, terrified.)

HARRIET: Horses.

(STORYTELLERS tap harder and harder to indicate horses coming nearer. Some of them make yelps like distance bloodhounds…)

ROSA: Whether is was Master Brodess or Government patrollers…

HARRIET: Patty-rollers…

ROSA: …she couldn’t tell.

(HARRIET ducks into audience, hiding as we hear BRODESS off.)

BRODESS: Whoa now!

(STORYTELLERS stop sound abruptly as BRODESS enters as if he just stepped off his horse.)

(Over his shoulder.) Hear that boys? Either that’s a wild hog, or I smell the stink of runaway for sure! Listen! Quiet.

(STORYTELLERS hold a finger to their lips: Shh! HARRIET peeks up as he turns away and then hides herself.)

I sure did hear something just now. (To audience member.) You there! You see anything suspicious round these parts?

(He pulls out wanted poster. He unfolds it and waves it in audience member’s face, poking at it as he talks.)

This is what we’re on the hunt for.

(He shows it to ELWOOD who jumps up from where he was sitting. Speaks to ELWOOD.)

Female, about five feet tall. She’s got a big scar, a gash in her forehead. Can’t miss it. Says right there where to find me. There’s a reward in it for you.

(BRODESS shoves wanted poster at ELWOOD’s chest. Exiting, looks back at ELWOOD.)

Well don’t just stand there. Put it up!

(ELIZABETH stands and turns her back to ELWOOD who tacks it to her back as if it was a post.)

(Over his shoulder.) Come on, boys!

(BRODESS stomps off, exiting. HARRIET comes out of hiding and looks back at where BRODESS exits. She goes to wanted poster, rips it down and puts it in her pocket.)

MARTIN: Harriet kept going…

(HARRIET begins walking around playing area.)

SAMUEL: She followed the river.

ELWOOD: She listened for the owl…

ELIZABETH: The blood pounded in her skull…

ISABELLA: Her belly roared with hunger.

MARIAH: Harriet Tubman kept on going!

(STORYTELLERS circle around HARRIET as she struggles to walk, stumbling, out of breath. They clap in rhythm as she goes.)

STORYTELLERS: (Clapping.) Ten-mile, twenty-mile, thirty-mile more!

NELSON: So many days she couldn’t count.

ROSA: One day long about dusk she heard a wagon on the road in the distance.

MARTIN: She looked through her Top Eye…

ROSA: And drew closer.

(HARRIET hides behind a STORYTELLER. MRS. GARRETT enters with covered basket, looking around, speaking quietly.)

NELSON: The lady was dressed strange and seemed to talk to herself.

MRS. GARRETT: (Speaking in no particular direction.) There are some biscuits here in my basket. Our farm is just up around the next bend to the right. Look for the green shutters.

(MRS. GARRETT puts down the basket and exits. HARRIET comes out of hiding and looks off to where she exited. She carefully opens the basket, smells inside. Biscuits! She’s starving and stuffs them in her mouth. She looks about her, incredulous. HARRIET takes off running after MRS. GARRETT, exiting.

SOUND CUE #6: ‘Tis a Gift to be Simple; short intro.

MRS. GARRETT and MR. GARRETT enter singing.)

MRS. & MR. GARRETT: (Singing, ‘Tis a Gift to be Simple.)

'Tis a gift to be simple ‘Tis a gift to be free 'Tis a gift to come down where you ought to be

(STORYTELLERS hand them props as MR. GARRETT sets benches to suggest a kitchen table and MRS. GARRETT takes bowl to table. They sit, pray and sing.)

And when I find myself in the place just right ‘Twill be in the valley of love and delight.

When true simplicity is gained To bow and to bend I will not be ashamed To turn, turn will be my delight Till by turning, turning, I come 'round right.

(SOUND CUE ENDS. HARRIET runs in. They look up.)

MRS. GARRETT: Thou art welcome, my friend.

(HARRIET falls to her knees in relief. MRS. GARRETT goes to her, brushes the hair back from HARRIET’S face, and puts HARRIET’s head on her chest. MR. GARRETT puts quilt around her.)

MR. GARRETT: (Leading them.) Here is a bed for thee. I’ll light a fire.

MRS. GARRETT: I shall bring thee warm milk.

(HARRIET looks at them with astonishment. GARRETTS lead her as they exit.)

SAMUEL: In the days that followed, Harriet learned of the Underground Railroad.

ELWOOD: Little had she known that there were people all across Maryland and beyond.

ELIZABETH: People who believed that slavery was wrong.

ISABELLA: Lots of folks like the Garretts secretly sheltered slaves in their homes.

MARIAH: They gave runaways a safe place where they could eat and rest...

NELSON: Before they set out on the next leg of their long journey north.

(GARRETTS and HARRIET enter. MR. GARRETT puts a coat around her shoulders and MRS. GARRETT gives her a small package of food.)

MR. GARRETT: (Taking paper from pocket.) This is for you.

HARRIET: Mr. Garrett, you know I can’t read.

MR. GARRET: Never mind. Show this at the next house. When they see this ticket, you’ll be safe.

ROSA: But Harriet was not safe yet.

(GARRETTS wave goodbye as HARRIET sets off. She walks up the aisles and behind audience. It is important to give HARRIET some distance for this journey to illustrate the time and distance.)

MARTIN: She had miles to go if she was to reach freedom’s shining shore!

(STORYTELLERS begin to clap as GARRETTS exit.)

STORYTELLERS: Courage, courage, courage…

(NELSON flys the streamer/bird in front of her, coaxing her on. He may flourish it like a flag that is just out of reach. As HARRIET makes her way behind the audience,

BEN enters. STORYTELLERS stay out, in and beyond audience as HARRIET journeys by them. BEN enters in playing area like a memory.)

BEN: Keep your eyes on the stars, baby!

(PREACHER enters.)

PREACHER: Now what’d he say?

STORYTELLERS: Keep your eyes on the stars, keep your eyes on the stars.

PREACHER & BEN: (Singing, Follow the Drinkin’ Gourd; a cappella.)

When the sun comes back, and the first quail calls Follow the drinkin' gourd For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd…

(During the following lines, HARRIET shows the ticket to STORYTELLERS as they look, take her hand and point her on her way, one by one, sending her along.)

SAMUEL: Every day Harriet walked…

ELWOOD: Her shoes wore clean through…

ELIZABETH: Her mind raced with fear…

ISABELLA: And like angels from heaven…

MARIAH: Underground railroad folks gave her rest and comfort at each stop, as she made her way to the Northern border.

STORYTELLERS: (Clapping.) Forty-mile, fifty-mile, sixty-mile more…

PREACHER & BEN: (Singing, Follow the Drinkin’ Gourd; a cappella.)

For the old man’s awaiting for to carry you to freedom Follow the drinkin' gourd Follow the drinkin’ gourd

STORYTELLERS: Courage, courage, courage.

HARRIET: How far, oh Lord, how far?

STORYTELLERS: (Clapping.) Seventy-mile, eighty-mile, ninety-mile more!

(STORYTELLERS move to forest positions. BEN and PREACHER exit.)

NELSON: Just when she felt she could go no further…

(HARRIET arrives on stage, in the playing area and falls to the ground.)

ROSA: Harriet fell into a deep sleep.

(STORYTELLERS move around her, surrounding her with shadows and hushing forest sounds as before. This is a short repeat of the forest scene they created earlier.)

ELWOOD: Cheer-lip. Cheer-lip.

ELIZABETH: Shushhh. Shushhh.

ISABELLA: Hah-hoo!

(MARIAH shakes gourd with seeds. NELSON flys bird above her.) . MARTIN: She dreamed of the beautiful ladies on the other shore…

SAMUEL: Her Top Eye showed her the way.

(WILLIAM STILL enters, sees HARRIET and points.)

WILLIAM STILL: There she is!

(Suddenly STORYTELLERS snap up and rush away as if startled, back to playing area, benches. STILL goes to her, shakes her.)

WILLIAM STILL: (Shaking.) Harriet! Harriet!

(HARRIET slowly wakes.)

HARRIET: Who are you? How do you know my name?

WILLIAM STILL: Why you’re just about the most famous runaway alive!

(WILLIAM STILL pulls out wanted poster and shows it to her: “Runaway Slave”.)

HARRIET: You a patty-roller?

WILLIAM STILL: I’m William Still. I’m your last stop on the Underground Railroad. Congratulations, Harriet Tubman. You are free!

(HARRIET looks all around her in astonishment.)

HARRIET: Free?

WILLIAM STILL: Free.

(HARRIET looks around at everyone.)

HARRIET: Is this heaven, Lord?

(HARRIET looks at her hand like she never saw it before. PREACHER stands, enters, takes that amazing hand and kisses it.)

PREACHER: Naw, Miss Harriet. It’s Philadelphia.

(HARRIET is stunned. WILLIAM STILL leads astounded HARRIET upstage as PREACHER and others perform song. During song, WILLIAM STILL gives HARRIET decent clothing and arranges benches for Philadelphia.

OPTIONAL TRANSITION: HARRIET #3 enters.)

(To audience.) Ladies and gentlemen! It is time to rise!

(PREACHER is joyous as he leads the audience in song. He may dance, clap, sing solo. STORYTELLERS may also clap and dance, encouraging audience to join in.)

We sure got good news today! Go tell it on the mountain!

(SOUND CUE #7: Go Tell It on the Mountain; short intro.)

PREACHER & ALL: (Singing, Go Tell It on the Mountain.)

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

Oh, when I was a seeker I sought both night and day I asked the Lord to help me And He showed me the way, Oh...

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

Oh, He made me a watchman Upon a city wall And if I am a Christian I am the least of all, Oh....

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

(SOUND CUE ENDS. PREACHER indicates for all to sit.)

ELIZABETH: Philadelphia was like nothing Harriet had ever seen before.

ISABELLA: Black folks were everywhere!

MARIAH: Just walking around free as you please!

(WILLIAM STILL is seated with book and quill pen.)

NELSON: William Still kept records of all the runaways who made it North.

WILLIAM STILL: (To HARRIET.) There are many like you, Miss Harriet, who ran and survived but I must say I’ve never heard of a single woman making it a hundred miles by herself! How did you do it?

HARRIET: My Top Eye.

WILLIAM STILL: That scar on your head?

HARRIET: It knocks me out from time to time. Makes me sleep so I can’t wake up. It gives me dreams. And it also shows me the way.

(ROSA moves a podium into place as she speaks.)

ROSA: William Still helped Harriet get work and earn her own money. He introduced her to many freed men and folks called abolitionists.

(ROSA nods to FREDERICK DOUGLASS as he enters. He is angry and in a huff. WILLIAM LLOYD GARRISON enters behind him and waits.)

MARTIN: These people met regularly in Philadelphia. Some of them were famous and gave great speeches.

(DOUGLASS pounds down his papers on podium as he takes his place behind it.)

SAMUEL: Like Frederick Douglass…

(STORYTELLERS act as abolitionist audience, call-and-response to speeches.)

FREDERICK DOUGLASS: Our goal is to abolish slavery in all its forms and aspects! To promote the moral and intellectual improvement of the enslaved people! And hasten the day of freedom to the three million of our fellow countrymen. Without a struggle, there can be no progress!

(DOUGLASS steps down as a more gentle GARRISON takes his place at podium.)

ELWOOD: William Lloyd Garrison!

WILLIAM LLOYD GARRISON: Be faithful, be vigilant, be untiring in your efforts to break every yoke! And let the oppressed go free! Come what may - cost what it may - inscribe on the banner which you unfurl to the breeze, as your religious and political motto – No compromise with slavery! No Union with slaveholders!

ELIZABETH: And there was another escaped slave there, one who truly knew Harriet’s heart. A woman called Sojourner Truth.

(FREDERICK DOUGLASS and WILLIAM LLOYD GARRISON step away reverentially as SOJOURNER TRUTH enters slowly with cane. All regard her with reverence as she takes the podium.)

SOJOURNER TRUTH: Children, who made your skin white? Was it not God? Who made mine black? Was it not the same God? Am I to blame, therefore, because my skin is black? Does not God love black children as well as white children? And did not the same Savior die to save the one as well as the other?”

(DOUGLASS and GARRISON help her as she descends, they stand together.)

ISABELLA: It was a miracle!

MARIAH: Finally, Harriet was free and safe! Free to live her life! Free of toil and sorrow and bondage and…

HARRIET: (Interrupting, standing.) I got to go back!

(STORYTELLERS and ABOLITIONISTS gasp.)

WILLIAM STILL: What?

HARRIET: It’s not enough for just me to be free. There’s a lot of folks I left behind.

WILLIAM STILL: It’s a hundred mile journey, Miss Harriet! On foot! You’re lucky to be alive!

HARRIET: It’s not enough.

WILLIAM STILL: Harriet, the land is crawling with slave catchers. They’ll grab you and send you back to your old master and it will all be for nothing! (Points to wanted poster.) You’re worth two thousand bucks to old Brodess!

HARRIET: I’m going back and fetch my people out of slavery. Now will you and all these abolitionists help me or not?

(ABOLITIONISTS fall silent, then come forward to shake HARRIET’s hand and encourage her on her way. They exit as SOJOURNER TRUTH comes forward to take HARRIET’s hand. She points up.)

SOJOURNER TRUTH: The stars!

(HARRIET and SOJOURNER look up together. ABOLITIONISTS exit. HARRIET exits upstage with back to audience as she straps on gear for the trip.

OPTIONAL TRANSITION: HARRIET #4 enters.

STORYTELLERS set up for scene as they speak.)

NELSON: Nothing could stop Harriet from going south again. But it would be different this time.

ROSA: She planned every detail of the escape, arranging for wagons and safe houses.

MARTIN: Carefully she followed the Underground Railroad back to the Tidewater plantation that had once been her home…

(OPTIONAL TRANSITION: BEN #2 enters.

STORYTELLERS take their places around playing area, echoing all the sounds and movements they have made before to represent the forest and swamps. There are quiet night sounds as BEN enters. He sits by a fire and whittles. HARRIET enters, sees him and hides behind STORYTELLERS. She makes sound of owl.)

HARRIET: Hah-hoo!

(BEN looks up. Shakes his head goes back to work.)

Hah-hoo!

BEN: Minty?

(HARRIET comes out.)

HARRIET: Daddy, don’t you know my name yet?

(BEN runs to her, they embrace.)

BEN: Baby girl! Harriet! I thought you were dead! And here you are like a ghost before my eyes.

HARRIET: How’s everybody, Daddy?

BEN: Aw. We just got word…

HARRIET: Word?

BEN: Master’s fallen on hard times. Looks like he’s going to sell John and Mary south.

(HARRIET gasps.)

That ain’t all. Mary’s got a newborn babe. Appears she’s going too.

HARRIET: And Mama?

BEN: They can’t sell us, we’re too old. But your Mama’s about to lose her mind with fright about this.

HARRIET: I come to take you all with me, Daddy. Get all together and we’re leaving tonight.

BEN: Not your Mama, Harriet.

HARRIET: Everybody!

BEN: Your Mama can’t make it. I got to stay with her.

HARRIET: Daddy!

(They embrace.)

BEN: Stay here. I’ll bring them.

(BEN exits.)

SAMUEL: They were lucky to have a full moon that night…

ELWOOD: But it was intolerable hot and the swamps buzzed with mosquitos…

(ROBERT, JOHN and MARY with baby enter.)

MARY: Harriet! God in heaven, you’ve come!

(They ALL embrace quickly. ELIZABETH makes the sound of a baby crying.)

HARRIET: You get the Missus’ medicine?

(MARY nods. HARRIET stands back to speak to them.)

Now what’d I ever tell you since the day you been born?

JOHN: Courage.

ROBERT: Courage.

MARY: Courage.

HARRIET: No matter what happens, keep going.

(HARRIET leads them out to the aisles/audience, giving them distance, showing the journey. As STORYTELLERS say next lines they get the river ready, with long streamers of silk fabric.)

ISABELLA: But it was more than they had bargained for.

MARIAH: The baby cried…

HARRIET: Give her the medicine, Mary.

NELSON: Robert groaned from bloody blisters…

ROSA: Their bellies ached with hunger…

HARRIET: There’s a safe house beyond the river.

(STORYTELLERS are ready with fabric streamers; they lift the cloth so that it catches the air/wind and waft the material to make the water seem rougher.)

MARY: You don’t mean for us to cross that do you?

JOHN: That water’s cold as ice!

ROBERT: The rapids will swallow us alive!

HARRIET: What did I tell you?

JOHN: Hang your courage, Minty! This is suicide!

ROBERT: I’m turning back.

SAMUEL: This time Harriet had a gun!

(HARRIET lifts her hand, pointed as a gun, toward the sky.)

MARY: She won’t use it.

(STORYTELLERS go down on their knees.)

HARRIET: Oh, no?

(HARRIET cocks the gun. JOHN, MARY and ROBERT cover their heads. HARRIET shoots!)

STORYTELLERS: Pow!

(STORYTELLERS turn into imaginary birds, startled by their “pow” and swirl away taking the fabric streamers to the center of the playing area, landing there, suddenly still. HARRIET speaks to her band of runaways.)

HARRIET: There’s no going back. You think I’d risk the whole railroad ‘cause you lost faith? If you went back now you’d tell them everything! Master would beat it out of you! For your sake and the sake of every one of us that ever did live like dogs, there ain’t no going back!

JOHN: But…

HARRIET: Ain’t no buts, either! Live free or die!

(Puts gun in her belt.)

Now give me that child.

(HARRIET takes baby and lifts it above her head.)

ELWOOD: The North Star shined like a beacon!

(STORYTELLERS make waves with cloth.)

HARRIET: Follow me!

(HARRIET leads through fabric waves carrying the baby over her head. The waves rise high, higher! HARRIET rises above the waves. JOHN, ROBERT and MARY enter the waters as STORYTELLERS waft the cloth around them, jostling them as they flail, crossing the river.)

STORYTELLERS: (Singing, Wade in the Water; a capella)

Wade in the water Wade in the water children, Go... Wade in the water God's a'gonna trouble the water

ELIZABETH: At last they reached the other side.

(They fall to the ground in the playing area, out of breath. STORYTELLERS waft cloth/waves away and move upstage to the benches. When the travelers begin to sit up, HARRIET stands, stretches to her highest height and falls dramatically before them.)

ROBERT: Is she dead?

MARY: No. It’s her Top Eye.

JOHN: What do we do now?

MARY: We wait.

(HARRIET lies on the floor as ROBERT, JOHN and MARY huddle around her, joining hands around her with their heads down. PREACHER enters.)

(SOUND CUE #8: Wade in the Water; short intro.

This song should be sung in call-and-response style with PREACHER singing the “Who’s that / Must be” call phrases and STORYTELLERS singing the “Wade / Water” response phrases as noted in the first verses.)

STORYTELLERS: (Singing, Wade in the Water.)

Wade in the water Wade in the water children, Go... Wade in the water God's a'gonna trouble the water

PREACHER: (Singing.) Who's that young girl dressed in red?

STORYTELLERS: (Singing.) God's a'gonna trouble the water

PREACHER: (Singing.) Must be the children that Moses led...

STORYTELLERS: (Singing.) God's a'gonna trouble the water

(PREACHER indicates to the audience that they shall sing verse with STORYTELLERS. Singing continues in call-and-response style.)

ALL: (Singing.)

Wade in the water Wade in the water children, Go... Wade in the water God's a'gonna trouble the water

PREACHER: (Singing.) Who's that young girl dressed in white?

ALL: (Singing.) God's a'gonna trouble the water

PREACHER: (Singing.) Must be the children of the Israelite...

ALL: (Singing.)

God's a'gonna trouble the water

Wade in the water Wade in the water children, Go... Wade in the water God's a'gonna trouble the water

(PREACHER indicates audience should sit.

SOUND: Music continues softly during following lines.)

ISABELLA: When Harriet awoke, she knew what to do.

(HARRIET wakes, looks around, adjusts herself, stands.)

HARRIET: This way.

(HARRIET points and leads the runaways down an aisle, exiting. JOHN is the last to leave.)

JOHN: (Looking after HARRIET.) She done gone and become a saint.

(OPTIONAL TRANSITION: OLD RIT #2 enters.

JOHN exits. STORYTELLERS sing quietly as they move about the stage setting up for next scene. MARIAH sets a bench mid stage for OLD RIT and BEN who enter and sit.)

STORYTELLERS: (Singing, Wade in the Water.)

Wade in the water Wade in the water children, Go... Wade in the water God's a'gonna trouble the water

(SOUND CUE ENDS.

OPTIONAL TRANSITION: HARRIET #5 enters.

STORYTELLERS exit to benches. HARRIET enters, hiding. She cups her hands to make the owl sound.)

HARRIET: Hah-hoo!

(HARRIET sneaks up behind OLD RIT and covers her eyes.)

SAMUEL: Harriet did go back to get her parents.

MARIAH: She went back nineteen times to save hundreds of people from slavery. And she never lost a passenger!

OLD RIT: Now who that playing games with me?

HARRIET: It’s me, Mama.

(Moves in front of OLD RIT to be seen.)

OLD RIT: Minty!

HARRIET: Not Minty, Mama. Not Harriet. Guess who I turned into? (She takes off hat.) I’m the one they call Moses.

BEN: Master Brodess offering twenty-thousand dollars for your head, child!

NELSON: In fact, every master in the country round was out to get her.

OLD RIT: You have uncommon talent for getting into trouble, girl.

BEN: I taught her everything she knows.

HARRIET: You sure did, Daddy. It’s my turn now. Take my hand.

(BEN takes her hand. MARIAH shakes gourd with seeds. HARRIET is startled, looks around and motions for BEN and OLD RIT to “Shush!” be quiet and they all crouch down and creep along the perimeter of the playing area as STORYTELLERS watch, speak and sing.)

ELWOOD: First they went to Canada.

OLD RIT: (Shivering.) It’s awful cold, ain’t it?

(As they sing, STORYTELLERS place a bench in playing area which will represent the new house.)

STORYTELLERS: (Singing, All the Pretty Little Horses; a cappella)

Hush-a-bye, don't you cry, Go to sleep my little baby, When you wake you shall have All the pretty little horses.

ELIZABETH: At last, Harriet bought them a nice house in Auburn, New York.

BEN: Look it here, Rit. A sittin’ porch.

(BEN removes his hat and formally introduces OLD RIT to her new sitting place. He bows gentlemanly and gestures to the bench. OLD RIT holds out her skirt and curtseys. They sit side by side and pat hands.)

HARRIET: I still got something I got to do. I’ll see you soon.

(HARRIET starts to go and looks back at them, so pleased at the picture they make, sitting free and happy on their porch. She raises her hand in farewell. They smile and raise their hands, goodbye. HARRIET exits down the aisle.)

ROSA: After Old Rit and Ben were safe up north, a man named Abraham Lincoln was elected President of the United States.

MARTIN: He promised to free the slaves!

SAMUEL: Harriet complained he took his sweet time about it.

ELWOOD: When the Civil War broke out Harriet Tubman did more work than any man alive to help the Union army.

ELIZABETH: She served as scout, nurse, spy and even guided boatloads of soldiers down the Combahee River!

(OLD RIT sings, sitting on her porch enjoying the evening.)

OLD RIT: (Singing, Swing Low, Sweet Chariot; a capella.) Swing low, sweet chariot, Coming for to carry me home…

(HARRIET walks slowly down aisle though audience, entering as old woman with shawl and cane.)

ISABELLA: But folks will always remember her for being the conductor on the Underground Railroad, delivering her people to the promised land.

OLD RIT: (Singing.) Swing low, sweet chariot…

MARIAH: She lived to be more than a hundred years old.

HARRIET: (To audience, pointing her cane.) Almost as old as Moses himself!

NELSON: After her long ride, she looked over Jordan and remembered her dream…

OLD RIT: (Singing.) Coming for to carry me home.

ROSA: Though the river is still wide…

HARRIET: Keep going.

MARTIN: Though the road is still long…

HARRIET: Keep going.

SAMUEL: Though your legs still get weary…

HARRIET: Keep going.

PREACHER: There is a path to grace, my brothers! There is beyond us a land where grace and goodness lie!

HARRIET: (To PREACHER.) I go ahead to prepare a place for you. (Points to ALL on stage.) And you. (Points to audience.) And you.

PREACHER: A land of open minds and open hearts!

HARRIET: Keep going!

PREACHER: If we can find that grace anything is possible. If we can tap that grace everything can change. Amazing grace. Amazing grace.

(SOUND CUE #9: Amazing Grace; music fades in gradually. PREACHER starts singing and gestures for audience to stand during the first verse.)

(Begins to sing.) Amazing grace…

PREACHER & ALL: (Singing, Amazing Grace.)

…How sweet the sound That saved a wretch like me. I once was lost, but now am found Was blind, but now I see.

‘Twas Grace that taught my heart to fear And Grace, my fears relieved. How precious did that Grace appear The hour I first believed.

Through many dangers, toils and snares We shall no longer roam. ‘Twas Grace that brought us safe thus far And Grace that will bring us home.

And Grace that will bring us home. (Repeated as finale to the play.)

(SOUND CUE ENDS. ALL onstage bow to audience.)

END

CURTAIN CALL:

(SOUND CUE #10: Curtain Call, Go Tell It on the Mountain.

Those who have exited and are now behind the audience begin to clap together loudly, and start the song as they enter though the aisle and relating to audience. Preacher encourages ALL to join in. Everybody sings and claps.

The song is raucous, joyful and anyone may improvise dance or singing or calling out. During the song, performers will bow for applause. After each bow, they gesture to the next performers who bow. All remain on stage.

When all have bowed, “old” HARRIET may throw off her shawl and cane and do a spritely solo dance. Have fun, celebrate and give thanks!)

ALL: (Singing and clapping, Go Tell It on the Mountain; short intro.)

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

Oh, when I was a seeker I sought both night and day I asked the Lord to help me And He showed me the way.

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

Oh, He made me a watchman Upon a city wall And if I am a Christian I am the least of all.

Go tell it on the mountain Over the hills and everywhere Go tell it on the mountain To let my people go!

(SOUND CUE ENDS.)

PROP LIST

Programs to be used as Hymnals for audience Swaddled baby Ax for Minty Apron for Old Rit Bucket w/ scrub-board Noise makers for forest Pole w/ feather/cloth for bird Bushel baskets Bow Rakes for John & Brodess Rag to mop Minty’s wound Bandage Wanted Poster Basket for biscuits Bowl & table things for Garretts Quilt Small package of food Ticket for Underground Railroad) Book & quill pen Papers for Douglass Cane for Sojourner Gear for Harriet’s second trip Wood for Ben to whittle Baby for Mary Shawl & Cane for Old Harriet

Kathryn Schultz Miller

Kathy co-founded the professional ArtReach Touring Theatre in Cincinnati and served as Artistic Director and Playwright for over 20 years. Many of her 75+ plays have been published, including A Thousand Cranes which was performed at the Kennedy Center, the Sundance Institute, the International Fringe Festival, and thousands of times the world over. She has won numerous awards including three prestigious National Endowment for the Arts Playwrights Awards, six Ohio Arts Council Playwriting Fellowships, and the Post-Corbett Foundation Excellence in Playwriting Award. Kathy lives in Florida with her husband Barry who creates soundtracks, processes orders, and maintains website design for ArtReach Children’s Theatre Plays.

A Christmas Carol Dicken’s classic story, traditional Christmas songs (SPP) A Christmas Cinderella The classic fairy tale with music – just for Christmas! (SPP) A Christmas Peter Pan Peter Pan Christmas version with Holiday music (SPP) A Christmas Wizard of Oz Wizard of Oz Christmas version with Holiday music! (SPP) A Snow White Christmas The classic fairy tale with music – just for Christmas! (SPP) A Thousand Cranes Story of Sadako, a young Hiroshima victim (SM, EX, SPP) Aladdin (and the Magic Lamp) Magical characters, audience participation! (SM, EX, SPP) Alice in Christmas Land The classic story with music – just for Christmas! (SPP) Alice in Wonderland Lewis Carroll and Alice in Wonderland (SM, EX, SPP) Amelia Earhart Amelia's life and her final, tragic flight (SM) Annie Oakley The true story of an American heroine (SM) Beauty and the Beast A classic tale, beautifully told (SM, SPP) Blue Horses Four children act out their dreams (SM) Choosing Sides for Basketball School friends deal with life and self esteem (SM) Cinderella The world’s most popular fairy tale (SPP) Emperor’s New Clothes, The A rollicking version of the classic tale (SM, EX, SPP) Hansel and Gretel Classic fairy tale, audience participation! (SM) Harriet Tubman Musical play about one of America’s greatest heroes (SPP) Haunted Houses Four children tell haunting real life stories (SM) I Think I Can A young girl gains confidence through imagination (SM) I'm a Celebrity! An unpopular boy dreams of becoming famous (SM) Island Son A Caribbean boy’s adventure on an enchanted island (SM) Jack and the Beanstalk Hilarious version, audience participation! (SM, SPP) Jungle Book, The Rudyard Kipling’s classic comes to life on your stage. (SPP) Kid Frankenstein Hilarious version of kids favorite “monster” story (SPP) Knights of the Round Table King Arthur fights the forces of evil (SM, EX) Laura Ingalls Wilder Voice of the Prairie: Story of the beloved author (SM, EX) Legend of Mulan, The The ancient Chinese legend of a brave female warrior (SPP) Legend of Sleepy Hollow, The Innovative retelling of the classic Halloween tale (SM, EX) Legend of the Trouble Dolls An anciant Central American legend comes to life (SM) Lewis and Clark American explorers, a Bicentennial of Discovery (SM) Little Mermaid, The Classic musical tale of underwater adventure (SPP) Mark Twain Show, The Twain’s writings: Tom Sawyer, Huck Finn and company (SM) Mountains are a Feeling Traditional Appalachian stories and folk tales (SM) Nutcracker Prince, The The famous Christmas ballet for kids to perform (SPP) Peter Pan The popular story that never grows old (SPP) Pinocchio The little puppet who became a real live boy! (SM, SPP) Poe! Poe! Poe! Edgar Allen Poe's classic writings, reader’s theatre style (SM) Princess and the Pea, The Full length version of the classic fairy tale (EX) Red Badge of Courage, The Stephen Crane’s classic Civil War story (SM, EX) Reluctant Dragon, The How to train a dragon in three easy steps (SPP) Robin Hood The classic Medieval adventure tale (SM, EX) Rumpelstiltskin The delightfully rich fairy tale told in a Scottish setting (SM) Shakespeare to Go! Scenes from the Bard’s popular works, playfully told (SM) Shining Moment, The A grandfather's tender story and his final, loving gift (SM) Sleeping Beauty The classic musical fairy tale of the sleeping Princess (SPP) Snow White & the Seven Dwarfs A classic fairy tale and favorite the world over! (SPP) Sword in the Stone, The Merlin teaches Arthur to be a good king (SM, EX) Thomas Edison: Fire of Genius Illuminating review of the great inventor's life and times (SM) Time Machine, The Two children hitch a ride into the future (SM) Trail of Tears Cherokees removal from their homeland (SM) Treasure Island A fun, adventurous adapation of the classic story (SPP) Twas the Night Before Christmas Holiday musical play with famous St. Nicholas poen (SPP) Velveteen Rabbit, The A Christmas Musical. The touching story with songs (SPP) Very Bestest Christmas Present Hilarious holiday fun – great for parties! (SM) We Are The Dream The legacy of Dr. Martin Luther King, Jr. (SPP) Welcome Home A Vietnam veteran shares his memories (SM) Why Do Heroes Have Big Feet? Midwest tall tales and American folklore (SM) Wizard of Oz, The Our most popular play! (SPP, also bilingual Spanish version) Yearning to Breathe Free A Caribbean boy searches for freedon in America (SM) You Don't See Me A young girl deals with the loss of her brother (SM) Young Cherokee Native American culture and myths (SM) *SM=SMall cast (touring), EX=EXpanded (medium) cast, SPP=School Play Package (large cast) 46

PERFORMANCE LICENSE ROYALTY APPLICATION Rights to Copy Script and Royalty for One Performance – $60.00 US

ArtReach Children’s Theatre Plays scripts are protected by U.S. and International copyright laws and are subject to royalty for any and all performances by individuals, schools, theatres or other organizations (profit or non-profit, for paying and non-paying audiences). The Performance License Royalty, which must be paid before rehearsals begin, grants rights to make copies of the script, rehearse the play, and perform the play one (1) time. Two or more performances require payment of the Additional Performance Royalty for each additional performance. THEATRES AND ORGANIZATIONS PLANNING A TOUR (OR MORE THAN 10 PERFORMANCES) PLEASE CONTACT US FOR A SPECIAL ROYALTY QUOTE AND PERFORMANCE LICENSE AGREEMENT.

NOTE: THE QUICKEST AND EASIEST WAY TO OBTAIN YOUR LICENSE IS VIA OUR WEBSITE: www.ChildrensTheatrePlays.com ( Click the ORDER button, then on the Order page click ORDER PERFORMANCE LICENSE )

Yes, I would like to obtain the rights to perform a selection from ChildrensTheatrePlays.com

Your name and position:______

Your school/organization:______

Address:______

City, State, Zip:______

Country (Other than USA):______Phone______

Play Title:______Performance Date(s):______

√ PERFORMANCE LICENSE (Rights to copy scripts and royalty for one performance) $ 60.00

Additional Performances: $45.00 x ______additional performances = $______

Other______TOTAL AMOUNT $______

Payment Method (for TOTAL AMOUNT above):

Check enclosed payable to Children’s Theatre Plays (Foreign checks in “U.S. FUNDS”)

Charge my: Visa MasterCard AMEX Discover

Card Number: ______Exp. Date: Mo._____ Yr.______

Name on Card: ______

I have enclosed a signed Purchase Order with PO number:______

I understand that this document serves as a Performance License Agreement between myself (or school, theatre or organization) and ArtReach Children’s Theatre Plays. I understand that my (our) rights to copy the script and perform the play are limited to the number of performances for which royalties have been paid (per above); and these rights do not extend to other plays or to subsequent productions of the play by other individuals, classes or groups within my school, theatre or organization, or to other schools, theatres or organizations.

Your Signature ______Date ______

Please fill out, sign, return or fax to: ARTREACH CHILDREN’S THEATRE PLAYS ( Fax: 941-753-5407 ) 4047 PRO AM AVE. EAST ( Ph: 941-753-3222 ) BRADENTON, FL 34203