Small – 27 May 2026

Robert Montano’s solo show Small chronicles his journey from racehorse jockey to theatre dancer. Most people think the abuse in horse racing primarily happens to the horses, but Montano’s raw, real experience horrifically details the self and industry inflicted abuse experienced by jockeys who must remain unhealthily under weight if they hope to maintain their careers. Lighting (Jamie Roderick) and sound (Brian Ronan) are huge story telling components that match Montano’s stage presence and greatly enhance the audience’s immersion in the sensory experience. With the support of his director (Jessi D. Hill), Montano makes great use of the tools of theatre as a medium and delivers a story that feels tangible and immediate.

All that said, the writing of the script leaves something to be desired. One element that could use improvement is the level of attention to detail. Montano introduces many more characters than are necessary to tell the story effectively, and the lines between some of the men he worked with (and for) become blurred. Many could have been combined for less confusion. Structurally, Small was a classic case of too much exposition. Some of the more unique scenes stood out— his mother’s way of paying for the tiles, Montano’s early experiences at the racetrack when he was young, etc— but other scenes became repetitive or didn’t add much to the story. His parents’ financial woes didn’t seem to fit into his narrative because they seemed not to influence him. Not every race needed to be included, and neither did the story of him (not) losing his virginity as part of a (nonexistent) hazing ritual. Ultimately, Montano’s attempt to capture every single part of every single moment cost him the audience’s attention more than once. Like his horse racing weigh ins, this show comes in as inescapably overweight.

Montano maintains the frame and physicality of a dancer throughout the show. His grace, poise, and commitment make Small what it is. The end of the show had the audience in a markedly different place than when it began, and the pain in his journey becomes overwhelmed with joy as he transitions from riding to dancing. He exudes confidence as he dances his way through Bernardo’s choreography from West Side Story. This part of the story provides hope for people who want to make bold career path changes. Montano’s journey is unique and unusual in a lot of respects, but not this one. As Montano dances his way to Small’s closing moments, he and the audience share a big moment— the realization that it’s never too late to change your life and become the best version of yourself.

I attended this performance on a press pass from The Press Room.