1	WATCH Adjudication Training Training for 2003 v1.2 – 10/29/02 2002 Training Dates 11/3 (Reston Rehearsal Hall) 11/10 (Tapestry – 206 N. Washington) 11/14 (St. Marks Players) 11/17 (Rockville Little Theatre)
2	Welcome (or Welcome Back) THANK YOU! Thank you for volunteering to be a WATCH judge for 2003. How many of you have been a judge before (primary or alternate)? How many of those have been to a training session before? How many new judges?
3	Agenda Introductions What’s New Judging Why you were selected Matrix of assignments E-mail and the Web Tickets and Reservations Using Alternates Adjudication Criteria The Ballot Where to send it. Do’s and Don’ts Special Circumstances Reminders and Dates Q&A Summary
4	Introductions – Adjudication Coordinator Adjudication Coordinator for 2003 Suzanne Fehl Phone: 301-645-0001 & 202-781-3009 E-mail: FehlSL@navsea.navy.mil Suzanne is returning as the coordinator for a second year.
5	Introductions – WATCH Mission Founded in 1999, adjudication began in 2000. The Washington Area Theatre Community Honors (WATCH) is an organization founded for the adjudication and presentation of annual awards recognizing artistic and technical excellence in community theatre throughout the metropolitan Washington, D.C. area, and that these honors will: Foster and encourage the growth of community theater; Promote and enhance the image of community theater; and Educate and inform the general public about the theatrical opportunities provided by the member theaters.
6	Introductions – Charter Groups WATCH Charter Member Groups & Current Reps The Arlington Players (TAP) – John Monnett Castaways Repertory Theatre (CRT) – Mary-Anne Sullivan Elden Street Players (ESP) – Todd Huse Hard Bargain Players (HBP) – Bob Bartlett Little Theatre of Alexandria (LTA) – Chris Kirk Montgomery Playhouse (MP) – Judy Mayer Port Tobacco Players (PTP) – Suzanne Fehl Prince William Little Theatre (PWLT) – Don Wilson Reston Community Players (RCP) – Sue Pinkman Tapestry Theatre Company (TTC) – Kay Martin
7	Introductions – 2001 Groups WATCH 2001 Member Groups & Board Reps Great Falls Players (GFP) – Emily Besuden Silver Spring Stage (SSS) – Leta Hall St. Mark’s Players (SMP) – Christopher Tully
8	Introductions – 2002 Groups WATCH 2002 Member Groups & Board Reps Dominion Stage (DS) – Mary Beth Smith-Toomey Rockville Little Theatre (RLT) – Seth Ghitelman Vienna Theatre Company (VTC) – Angie Anderson
9	Introductions – 2003 Groups WATCH welcomes new members for 2003 American Music Stage – Kye-Won Kopko Kensington Arts Theatre – April Biechler Port City Playhouse – John Downing Springfield Community Theatre – Carl Eisen
10	What’s New New Groups in MD and VA. No changes to the process or criteria. However, for those judges that would like more in-depth criteria training, the WATCH board is attempting to arrange additional sessions to deal with elements which are difficult to judge.
11	Judging Why you were selected Matrix of assignments Tickets and Reservations Using Alternates Adjudication Criteria The Ballot Where to send it. Do’s and Don’ts Special Circumstances
12	Why you were selected… For your experience in theater. On stage and backstage in community theater. We hope you have a background in many areas of theatrical production. And as an audience member of community theater. For your support of all community theater. Regardless of what company you represent, we expect you to be fair and unbiased when judging. For your sense of responsibility We are counting on you to fulfill the commitment you are making to view and fairly judge the shows assigned to you.
13	Why you were selected… As a judge You will be assigned to see 8 to 9 shows during the calendar year of 2003 Fill out a ballot, scoring every identifiable element. Send that ballot to the tabulation mailing address. Being a WATCH judge is a full-year commitment Regardless of problems at your home theater. If you need to be relieved of your commitment, please just ask. We would rather help you out of the commitment rather than have missed shows.
14	Matrix of Judging Assignments The computer randomly generates assignments to all of the judges (5 per company). You will not judge shows produced by your “home” company. You should not be assigned back-to-back shows in the same “region.” Southeast – HBP, PTP, Southwest – PWLT, CRT, SCT, AMS North – SSS, MP, RLT, KAT Central –TAP, LTA, SMP, DS, TTC, PCP West – ESP, RCP, VTC, (GFP) The “region” factor was implemented in 2001 to cut down on the chances of a judge having to go a great distance several times in one month.
15	Matrix of Judging Assignments Next year’s matrix is still being determined, you will have it before January 1. You can also view the current matrix online at http://washingtontheater.org The new matrix will be posted online as soon as possible. The matrix also provides a breakdown of the judges assigned to see a show, so the box office can be ready for the reservations.
16	E-mail and The Web The WATCH program runs on the internet. If you don’t have e-mail, you will be at a disadvantage. You will need to keep in touch with your theater representative about any reminders and schedule changes. Every week (usually mid-week) the Adjudication coordinator sends out the WATCH Report to all judges (primary, alternates and reps) Sample provided Starts with important notices and reminders What is closing this week What is opening this week What is continuing this week What closed last week Looking ahead to future weeks General Info
17	E-mail and The Web All of the judges/alternates/reps will be added to a list server which only the Coordinator will be able to see or use. You will get a “subscription” notice with your password and web link to this list service. If your e-mail address changes, you will be able to unsubscribe the old address and subscribe with a new address. We are very judicious (and protective) with the use of this list. If you receive “test” messages, please disregard them.
18	E-mail and The Web As we go through the rest of the adjudication training you will notice how much we ask you to just keep us posted via e-mail. Why? We must have ten judges see a show. Your keeping us informed helps us to coordinate alternates and emergencies. Realize this is the only meeting you will be asked to attend. All other communication between you and the WATCH program will be via e-mail. We hope that communication will be two-way.
19	E-mail and The Web The ballot, the criteria, the matrix, the guidelines… all of the information you receive here at training will be on the website. (even these training slides) A lot of information is already there, but some of it may need to be updated for the new season. If you need information, please check there. http://washingtontheater.org If you still need more help, start with your company representative, then the adjudication coordinator, then another member of the WATCH board.
20	Tickets and Reservations Each company is different The “Just the Facts” document details how to make reservations at each company. You must make a reservation. Some of the groups have small houses and cannot “squeeze” you in. Your ticket as a judge is free at all theaters Some companies, not all, offer a free, restricted or discounted companion ticket (also listed on the “Just the Facts” document). PLEASE, be kind to the box office staff members. The WATCH program will be new to several groups and the box office staff is often the one that has the biggest adjustment. If you have a problem, contact YOUR representative and it will be addressed.
21	Tickets and Reservations Please think ahead. Don’t wait to make reservations and risk a sold out performance on the “only night you could go” Please, Do NOT make reservations for closing night. Closing night is reserved as an “emergency alternate night”. If you miss a show, we always want to have closing night to send an alternate in your place
22	Tickets and Reservations Consider traffic. Crossing the Potomac on a Friday night across the Woodrow Wilson bridge can take an hour. I-270 is often jammed on a Friday night. Plan to get there 15-30 minutes early. Some groups release reserved tickets at curtain time (including any non-refundable tickets you may have paid for a companion). Some groups have “festival seating”.
23	Tickets and Reservations Make sure you leave extra time for finding a theater that is new to you. Always double-check the venue address and directions before you leave, after all this is community theater and some of our groups change venues. IMPORTANT: E-mail your rep when you make a reservation. It lets us know you are aware and on top of your responsibility.
24	Using Alternates If you know you cannot attend a show… If you are in or working on a show you are supposed to judge… If you have a conflict of interest… If, for any reason, you cannot make an unbiased adjudication of a show (or element of a show)… Ask your company rep to find an alternate to judge the show for you. Yes, alternates are for emergencies also, but most of the time, it didn’t have to be an emergency.
25	Using Alternates Work with your rep to ensure that the alternate understands the responsibility being passed to them. Provide your alternate with your Judge # and contact the box office if any changes to reservations need to be made. IMPORTANT: E-mail your company rep (and/or adjudication coordinator) about the change.
26	Adjudication Criteria Now, what are you looking for when you are sitting in the theater watching a show? The awards can be divided into three types: Overall Production (7 awards) Technical Elements (11 awards) Performances (10 awards)
27	Adjudication Criteria Of these 28 awards, all of them should be evaluated with three overriding principles Each element should Serve the story being told Be appropriate to the piece and the presenting space (in context of director’s vision) Be of consistent quality throughout the piece Regardless of the judges personal likes and dislikes. Judges are encouraged to be familiar with the works that are new to them.
28	Adjudication Criteria With the help of several community theater veterans, additional criteria have been developed for each category.
29	Performance Criteria In judging performances consider: Creative: Character serves the story and is believable – choices are clear, appropriate, consistent. Technical (stagecraft): Maintains focus throughout; projection, diction, dialect (if applicable) are appropriate; movement, physicality appropriate and consistent for development of character. Plays well with others. Additional consideration of musical performances: Vocal/dance abilities consistent and appropriate to the character. Able to maintain focus and character through musical and/or dance numbers as appropriate to the story.
30	Performance Criteria In addition, you will also be asked to determine the lead and cameo performances, but we will discuss those distinctions when we get to filling out the ballot.
31	Technical Criteria When considering technical elements, remember, each element should: Serve the story being told Be appropriate to the piece and the presenting space (in context of director’s vision) Be of consistent quality throughout the piece With the following considerations for each specific element
32	Set Design Criteria Serves the story and the space – flow smooth between and within scenes, entrances appropriate. Appropriate scope to the piece. Creative solutions to obstacles in the presenting space (or inherent in the piece) Period and place appropriate. Aids in defining the mood of the piece (reflects characters). Balances with other technical elements (lights, costumes). Visual interest, style. Sight lines considered – masking adequate as appropriate.
33	Set Construction Criteria Serves the set design and the story. Safe for the performers. Facilitates scene changes (quiet, simple). Difficulty of design should be considered. Creative use of materials in creating the illusion of reality. Attention to detail.
34	Set Painting Criteria Serves the set design and the story. Aids in setting place and time. Balance with other technical elements (lights, costumes). Degree of difficulty – large drops, intricate design, attention to detail. Textures and colors appropriate. Creativity, artistry.
35	Set Decoration/Dressing Criteria Enhance and complement the set design and the story. Helps set place and period, also a reflects the characters or the piece. Degree of difficulty – unusual demands of story or set design, enhances reality.
36	Properties Criteria Enhance the storytelling – placement on stage, ease of use as appropriate. Appropriate to time and place – authentic appearance Degree of difficulty – large numbers, unusual items.
37	Lighting Design Criteria Enhance the story – creates time, place, mood. Creative use in defining space, aiding the flow of the piece. Degree of difficulty – area lights, specials, appropriate effects (gobos, strobes, etc) blend into the overall storytelling without drawing attention to themselves. Works in conjunction with set and costumes. Effective illumination of stage, actors (as appropriate). Shadows intentional.
38	Sound Design Criteria Enhance the story – creates time, place, mood. Creative use in aiding the flow of the piece. Amplification (if applicable) is natural sounding. For musicals: seamless into and out of musical numbers. Orchestra balances with singers. Degree of difficulty – sound effects blend into the overall storytelling without drawing attention to themselves. Overcame obstacles inherent in presenting space or piece itself (large tap numbers on a hollow stage).
39	Costumes Criteria Serve the story – consistent and appropriate period. Compliment the action. Ease of performance. Color palette works with set and lights. Degree of difficulty – unusual period, large cast, many costume changes. Authenticity.
40	Hair Design Criteria Serves the story – aids projection of character. Style is accurate to period and consistent. Consistent with costumes and make-up. Wigs are appropriate to story and stay secure throughout. Degree of difficulty – specialty wigs, large casts, style changes (aging characters during the production)
41	Makeup Design Criteria Serves the story – aids projection of character. Accurate to period and consistent. Incorporates six key elements of character analysis – HEARTH (Heredity; Environment – occupation, geography, etc; Age; Race; Temperament – personality, emotional state; and Health) Consistent with costumes and lights. Degree of difficulty – specialty makeup, large casts, makeup changes (aging characters during the production)
42	Special Effects Criteria Creative and appropriate use (not gratuitous) in serving the story. Ease of use by performers (if applicable). Degree of difficulty – large or unusual effects. FAQ – Define Special Effects- particularly if not “specified in program”. Was it an effect that would have required a “special dedicated technician” to setup and/or run? Pyro, Special Rigging (Peter Pan), Rain, Video Effects
43	Overall Production Criteria Again, remember, when considering overall production elements, each element should: Serve the story being told Be appropriate to the piece and the presenting space (in context of director’s vision) Be of consistent quality throughout the piece With the following considerations for each specific element
44	Direction Criteria Effective storytelling. Continuity, pace, blocking. Blending of technical elements. Effective use of the presenting space. Vision/concept clear to cast and designers, then presented to audience as a cohesive whole. Commitment to this vision evident. Appropriate casting. For musicals: seamless songs and dances in the piece as the story is being told.
45	Musical Direction Criteria Music serves the story – seamless from scenes into songs; sensitive to the theatrical aspects of the music; appropriate use of scene change music; tempos appropriate to flow and pace of the production Degree of difficulty – consider the music, orchestrations, vocals; large chorus, difficult harmonies Vocal – consider intonation, harmonies, diction, phrasing, rhythm, style, integrity to score Orchestra – balance and blend between sections, balance with singers, scale is appropriate to the piece and the space, intonation within and between sections, integrity to the score
46	Choreography Criteria Dance serves the story and is appropriate to the music. Degree of difficulty – should be considered – large production numbers, many numbers, intricate styles (dream ballets, tap, Fosse), creativity and variety of styles, integrity to the score (large cuts?) Composition – appropriate steps, formation work, transitions between formations as well as into and out of dances; style consistent and appropriate to the piece; overall flow within numbers as well is in the piece Execution – clean, appropriate to level of performers, considerate of singing and acting while dancing
47	Combat Choreography Criteria Action serves the story – fits the tone of the scene and motivation of the characters, weapon choice is appropriate to the period/setting. Degree of difficulty should be considered – large ensembles, intricate movements, variety of styles. Safety of both performers and audience considered. Taught by certified individual (SAFD actor/combatant). Natural transitions, realistic movements and reactions. Convincing. Execution – clean, appropriate to level of performers, considerate of singing and acting while fighting.
48	Overall Production Criteria Story told effectively, blending of technical elements and performance elements (continuity, flow, pace appropriate). Impact of the piece overall. Production challenges (degree of difficulty) should be considered (think Fantastiks vs. Follies, or Love Letters vs. Noises Off).
49	Adjudication Criteria The awards are presented for “outstanding achievement,” not for “best”. If you keep this in mind, it makes your job easier. Remain true to your personal experience in theater. What is average to you? Remain consistent. Stay true to your “5” throughout the season and the system will work to present an award to a deserving nominee for their outstanding work. Don’t adjust your scoring, because you feel you were too easy early or too critical early. It is okay if your highest score is a “5” throughout the year. If you are an adjudicator for another theater awards program, please be sure to use the WATCH criteria when filling out a WATCH ballot. Judge the production you see based on its own merits, not on expectations or historical reference of a company or artist. Don’t try to rank the ten shows you saw. Judge everything based on its own merits against your own experience in community theater.
50	Balloting A sample ballot has been provided. If you run out of ballots, you can download and print a ballot from the website (washingtontheater.org) as is the mailing address for tabulation. Please fill out your ballot completely and send it as soon as possible after seeing the show. (10 days maximum) Always keep a photocopy of your ballot. Several have gone missing in the mail. E-mail your rep and the adjudication coordinator to let them know you saw the show.
51	Balloting Your scores will not be divulged to anyone in any context. No feedback is being provided to the theaters or productions. Some people have asked us to consider providing a “composite score” to each element, but the board has continued to reject this request, believing it would only serve to undermine the WATCH mission. Please do not talk about your scores with anyone. You don’t know who is listening. People will know you are a judge and they will be listening. You are not restricted from talking to members of the production about your likes and dislikes, so long as that conversation does not influence the scores you would give. For example, if you did not understand the director’s vision while watching the show, but it was explained afterward and it becomes clear you must score it as if it had not been explained to you.
52	Balloting Scoring Performances PLEASE list the cast in the same order as provided in the playbill. If there is a “character name” please list them on the ballot even if they were “not identifiable” on stage. You do not need to list “groups” or “choruses” Not every munchkin in the chorus needs to be scored, but Mayor of the Munchkins would be.
53	Balloting Scoring Performances How to deal with “one actor” performing “multiple characters”. The rule is “go with the playbill” If all characters performed by an actor are listed together, then list it that way on the ballot and give one score. If the actor’s name appears next to several separate characters, then list each character on a separate line and score each.
54	Balloting Scoring Performances How to deal with “multiple actors” performing “one character”. We have had circumstances where two actors split performances for various reasons (understudy, emergency etc.) Score the performance you saw. The ballots will be tabulated as if only one person performed that character and any “special arrangements” would be made if required during tabulation should the performance get a nomination or award.
55	Balloting Scoring Performances What is the scale? 1 to 10, 10 is the highest. Whole numbers only. 10 – Excellent/Highest Possible Quality 9 – Outstanding/Remarkably High Quality 8 – Superior/Remarkably Above Average 7 – Noticeably above average 6 – Slightly above average 5 – Average 4 – Fair 3 – Noticeably below average 2 – Poor 1 – Did not meet criteria N/I – Not identifiable
56	Balloting Scoring Performances Based on the criteria Based on your experience Score performances in the context of what is “average” to you. Don’t be afraid to give a 1 or a 10 if you feel it deserves it. And if you can’t identify someone, circle N/I for “not identifiable”. But, list them on the ballot if they had a character name.
57	Balloting Also on the ballot… You will be asked to circle the sex of each actor (regardless of the character they portrayed) Circle “L” for all actors in Lead Roles: What is a lead role: Who the story is about or whose presence is primary to the piece. NOTE: There may be multiple leads by gender or none at all – depending on the piece.
58	Balloting Circle “C” for ALL actors in Cameo Roles: What is a cameo? A small but very memorable performances by an performer with limited stage time. For example: in a musical, the incidental character appearing in one scene with a memorable song or production number; in a comedy, the incidental character who appears in, and steals, a single scene; in a drama, the incidental character who delivers a single pivotal monologue. (e.g. Judi Dench’s performance as the Queen in “Shakespeare in Love”) All Performances not designated as a lead or cameo are considered “Featured Actors.”
59	Balloting Why did we add the cameo award? The size of the featured category made it very difficult for a “very small” role to be recognized for an award given the criteria and “level of difficulty.” Only two awards will be presented, Cameo in a Musical and Cameo in a Play. There will not be a division of Actor or Actress.
60	Balloting Scoring Technical Elements and Overall Production Elements Provide a score for every element, whether it is listed in the playbill or not. If the play or musical does not have that element, circle N/A for Not Applicable. For instance, plays do not usually have “Musical Directors” or “Choreography” Many productions will not have stage combat or special effects. If the element exists, give it a score (even if it is not listed in the playbill). Just because someone was omitted from the program, does not mean we should overlook scoring their work.
61	Balloting Scoring Technical and Overall Elements It is the same scale 1 to 10, 10 is the highest. Whole numbers only. 10 – Excellent/Highest Possible Quality 9 – Outstanding/Remarkably High Quality 8 – Superior/Remarkably Above Average 7 – Noticeably above average 6 – Slightly above average 5 – Average 4 – Fair 3 – Noticeably below average 2 – Poor 1 – Did not meet criteria N/A – Not applicable
62	Balloting Scoring Technical and Overall Elements Based on the criteria Based on your experience Score these elements in the context of what is “average” to you. Don’t be afraid to give a 1 or a 10 if you feel it deserves it. EVERY ELEMENT should have a score or N/A circled. Adjudicate each element separately in accordance with the criteria. Do not fall into the trap of scoring all elements high or low based on the overall production.
63	Where to send it… Double-check that every line received a score on the performance, technical and overall elements. Several ballots have arrived without an overall production score. Please circle N/A or N/I for any elements that do not require a score. List “Your Company” in the upper right. Copy your ballot for your records. Copy the cast and crew list from the playbill and enclose it with your ballot This is very useful in deciphering handwriting.
64	Where to send it… Sign your ballot, put it in an envelope, affix postage and Send it to Margaret B. Binning attn: WATCH 6042 Nancy Lane Warrenton, VA 20187-4348 Please keep your ballot copies until nominations are announced in January, 2004. E-mail the adjudication coordinator and your company rep that you have completed the assignment and sent your ballot.
65	Do’s and Don’ts Do Make reservations early Stay true to your “5” throughout the season Send ballots promptly Keep copies of your ballots Give a 1 or a 10, if deserved. Mark all elements, even if it is “not identifiable” or “not applicable” Arrange for alternate judges early, if needed. Keep the Adjudication Coordinator and your company rep informed of your status on fulfilling your commitment.
66	Do’s and Don’ts Don’ts Don’t get frustrated with box office personnel Don’t leave a performance early Don’t be late to a performance Don’t base your scores on your feelings about “the script” or prior association to performers or technicians. Score the production elements you see, not past work or allow yourself to be offended by “the content”. Don’t score productions against each other, score them based on your experience and standards.
67	Special Circumstances What about productions that are compilations of “one-acts”? For example “Plaza Suite” or “Actor’s Nightmare/Sister Mary Ignatius…” The rule is go with the playbill, if characters are listed separately then give each a score. The real quandary is determining “leads.” Does a character that appeared in one-act of a production constitute a leading role in the production? We leave it to you to weigh that in the context of the criteria. If seven of ten judges agree that the character was a “lead” then it would be considered for the lead category. A good rule of thumb, was the character principle to the story for at least 2/3-3/4 of the “entire production.”
68	Special Circumstances The playbill lists “Guard #1 – John Doe”, “Guard #2 – Jane Doe”, “Guard #3 – Jim Dough”, do I need to score them? Yes. Technically, “Guard #1” is a distinguishing name. If you cannot determine which guard is #1 or #2 or #3, then the score would be “N/I” – not identifiable. In the case of the musical “Shenandoah” there is a “Union Lt.” that has a very moving song that not only warrants a score, but might be considered as a “cameo” nominee. If they had been listed as “Guards – John Doe, Jane Doe and Jim Dough” then you would NOT list them on the ballot.
69	Reminders and Dates Training Sessions 11/3 (RCP), 11/10 (TTC), 11/14 (SMP), 11/17 (RLT) Encourage all judges to attend a training session Nominations Announced Evening of Sunday, January 19, 2003 at the Birchmere – FREE event 3rd Annual WATCH Awards Ceremony Sunday, March 2, 2003 at 7:00pm at The Birchmere. (tickets $12.50, festival seating, doors open 5pm) – Jacket Requested
70	Questions? What did we miss? What can we clarify?
71	Summary What’s New in 2003 Judging Why you were selected Matrix of assignments E-mail and the Web Tickets and Reservations Using Alternates Adjudication Criteria The Ballot Where to send it. Do’s and Don’ts Special Circumstances Reminders and Dates