Mentor

TABLE OF CONTENTS

TABLE OF CONTENTS
THE CAPPIES
The Cappies Mission Statement:
THE CAPPIES MENTOR
Following the Rules
Getting Started as a Cappies Mentor
TRAINING
SCHEDULES
SANCTIONS FOR ABSENCE
GUESTS
Preparing for a Cappies Show
Mentoring a Cappies Show
ARRIVAL
CAPPIES ROOM
MATERIALS
TICKETS
Supervising Critics at a Cappies Show
BEFORE THE SHOW
DURING THE SHOW
CRITIC DECORUM
Leading Discussions
PRE-SHOW DISCUSSION
INTERMISSION DISCUSSION
POST-SHOW DISCUSSION
Determining Critics' Choices
POST-SHOW EVALUATION FORMS
CRITICS' CHOICES
VOTES
SCORES
CONFIDENTIALITY
EXCUSING CRITICS
COLLECTING (AND FORWARDING) FORMS
Ensuring Critic Safety and Security
Reading and Selecting Reviews for Publication
RECEIVING REVIEWS
SELECTING REVIEWS
MAKING SELECTIONS BY THE RULES
Editing Reviews Selected for Publication
DOUBLECHECKING FOR CORRECT SPELLING
Editing All Reviews
ENFORCING THE RULES ON CRITICISM
EXAMPLES OF CRITICISMS THAT ARE WITHIN THE RULES
EXAMPLES OF HOW TO EDIT CRITICISMS
Submitting Edited Reviews
Scanning for Internet Copying
SHOW DIRECTOR (Excerpts)
CRITIC (Excerpts)
REVIEW WRITING
Seven Paragraph Plan
Making Criticisms
BEING FAIR AND ACCURATE
SAMPLE REVIEWS
Guide to Critics' Choices and Scoring
Scoring Issues
Critics' Choices: Q & A's
Lighting
Sets
Costumes
Make-Up
Stage Crew
Orchestra
Creativity (Play Writing)
Creativity (Musicianship)
Featured (Actress / Actor)
Dancer (Female / Male)
Rule:
Vocalist (Female / Male)
Comic (Actress / Actor — Play / Musical)
Supporting (Actress / Actor — Play / Musical)
Lead (Actress / Actor — Play / Musical)
Song
Play
Musical
CAPPIES INFORMATION SERVICES
GETTING STARTED
LOGGING IN
How to Learn Your Username
How to Learn Your Password
How to Change Your Password
What to Do If You Forget Your Username or Password
How to Log In
MAIN MENU
How to Find Show Schedules and Maps
How to Find Your Personal Information
How to Change Your Personal Information
How to Use C.I.S. to Send an Email
USING C.I.S. AS AN ADVISOR
How to Track the Performance of Your School's Critics Team
USING C.I.S. AS AN MENTOR
How You Will be Reminded of Assigned Shows
What If You Can't Attend an Assigned Show?
How You Can Reach the Other Mentor
How to Report Critic Attendance
How to Enter Critics' Choices
What Are the Critics' Review Deadlines?
How to Receive Reviews from Critics
What Is the Mentors' Submission Deadline?
What Happens If You Miss the Submission Deadline?
How to Select Reviews for Publication
How to Edit Reviews
What to Do with Unacceptable Reviews
How Mentors Can Share or Switch Editor Mentor Tasks
What to Do If C.I.S. Is Down
NOTIFICATIONS
About Your Show
About Your Critics
CONFIDENTIALITY OF CAPPIES DATABASE
QUESTIONS OR COMMENTS
AWARD VOTING
HOW CRITICS VOTE
HOW RESULTS ARE DECIDED
HOW CRITICS AWARDS ARE DECIDED
HOW A "SPECIAL AWARD" IS PROVIDED
HOW RESULTS ARE AUDITED
NEW RULES
CONSEQUENCES
MENTOR CHECKLIST
CAPPIES INTERNATIONAL THEATER
GOLDEN RULES OF THEATER REVIEWS
WELCOME

We welcome all the students, teachers and parents who are taking part in the Cappies.
We are immensely proud of what everyone has accomplished over the years, from the excitement of Cappies Show nights, to the student-Critic bylines in major newspapers, to the drama and glamour of Cappies Galas.
The materials in this binder reflect our ongoing commitment to provide a learning program with very high standards, in theater and in writing. There's quite a bit of material here, only some of which you need to read carefully. The rest is for you to use for reference, when you're at Cappies Shows.
For those who are Mentors, and have been Mentors before, three points we're stressing this year are:

• The need for Critic discussions to be a little less critical, and reviews a little more so (within the usual rules), with published reviews more closely reflecting the consensus of Critic opinion,
• The prohibition against reviews including anything copied from the Internet. Note: A Critic will be removed from a Critics Team for an act of plagiarism within a submitted review.
• The responsibility of each Critic to keep everything said in discussions, including Critics' Choices, totally confidential. However, Critics Choices may be published online if the Cappies chapter has chosen this option.

Judy Bowns, Co-Founder  

Alecia Lewkowich, Katie Lewis-Prieur, Co-Presidents

Janie Strauss, Vice-President     

MENTOR BINDER

 
To begin with, you should know that every participating school must have:

• An Advisor (to oversee Critics, and to make sure a school complies with rules)
• One or more Mentors (to supervise Critics, lead discussions, and handle reviews)
• A Show Director (of the school's own Cappies-reviewed show)

Often, these functions are done by the same teacher. What a teacher needs to know about the Cappies, and the binder that a teacher gets, depends on the roles. Some schools have more than one Mentor. If so, please make sure the other Mentor has a binder with these materials.
This Mentor Binder contains several sections. Please read "The Mentor" section carefully. You can glance through the other sections more quickly, and use them as reference when needed.
After you have looked through these materials, you might want to meet with your school's Lead Critic, to make sure you understand how to use C.I.S.
The materials in this binder cover the rules you need to know—but not all the rules. If unusual things occur, you can consult the complete Rules can be found as a link on the "Rules & Forms" page of www.cappies.com.
Please take this Mentor Binder with you to Cappies Shows. You never know when you might need it to solve a problem or answer a question.

THE CAPPIES

The Cappies is a nationwide learning program for theater and journalism students.
Students are trained as theater Critics and organized into Critics' teams. They attend other schools' plays and musicals, and write reviews. Mentors (teachers) Lead Critic discussions and select the most accurate and well-written reviews, which are forwarded to local newspapers for publication.
At the end of the year, Critics serve as award judges and vote for Cappie nominations and awards. Each program holds a Cappies Gala, where awards are presented.
The program is managed by a Governing Board, based in the National Capital Area. Each regional Cappies program is managed locally.

The Cappies Mission Statement:

•      to provide a unique collaborative learning experience for high school theater students,
•     to encourage, and advance the training of, student writers, performing artists, and technical crew, 
•     to inspire creativity and critical thinking,
•     to offer constructive critical feedback for student theatrical endeavors,
•     to foster more community recognition of student achievement in theater arts, and
•     to enhance, celebrate, and add excitement to high school theater across America.

THE CAPPIES MENTOR

This is a basic introduction to the Cappies for a Mentor.

Following the Rules

As a Mentor, you are responsible for making sure everything done during and after Cappies Shows, by the host school, by Critics, and by you and your fellow Mentor, follows the rules.
Please read (and, when requested respond to) Cappies emails. Through the year, please make sure your school's database is complete and accurate, with correct names, phones, and emails.
Here are the key things you should know. The complete rules are provided, in these materials, for reference purposes only. Some key rules are set by the Steering Committee of your Cappies Program. They will advise you of those.

Getting Started as a Cappies Mentor

Each participating school must have one or two mentors. Each must be either a high school teacher or administrator currently employed, full-time or part-time, at the school, but some exceptions are allowed. (See the rules.)
The Cappies program has a number of very clear rules, developed over years of experience in programs across the nation. It is very important for you to follow those rules.

Please learn and know the basics before Mentor your first Cappies Show.

TRAINING

If you are a new Mentor, you must attend a training session. If you've been a Cappies Mentor before, you must also attend a training and review rule changes with the Lead Critic at your school. Check with your regional program as more training may be required.  

SCHEDULES

At the start of the year, you'll need to learn which shows you'll mentor. You can always check your schedule on C.I.S. If your Cappies program allows one Cappies Show per school, you will need to be a Mentor twice during the school year. If your program allows two Cappies Shows per school, you will need to be a Mentor four times. (If your school has two mentors, you can split this.)

Each Cappies Show has an Editor Mentor and a Discussion Mentor. If you have two Mentor assignments, you will probably—but not necessarily—be each of these once. You may, if you wish, switch roles with the other Mentor at a Cappies Show. If you desire to do this, please alert the Program Director.

The Program Director sets the Mentor schedule, and makes Mentor assignments, after the initial Critic Team schedule has been set. The Program Director may add one more Mentor for a Cappies Show, especially if large numbers of Critics are expected.
Whoever submitted your school's on-line application was required to indicate your "unavailable" dates through the school year. If no such dates were entered there, and if you know of such dates, you should alert the Program Director—if possible, before the Mentor schedules are set.
If you wish, you may request preferred dates and Cappies Shows. The Program Director will try to honor those requests, but is not required to do so.

Once you are assigned to be a Mentor at a Cappies Show, please try to hold that date. Mentor switches can be complicated to do, especially during the busiest weeks of Cappies Shows.
If necessary, you may ask the Program Director to change your Mentor date, not later than three weeks before a Cappies Show.
If you have a sudden illness or personal emergency, you may decline a show at any time, by emailing and telephoning the Program Director. This will be considered an excused absence, but please do not request this lightly. Realize that it will probably result in the other Mentor having to carry the entire workload, as Editor and Discussion Mentor both. The Program Director will try to find a replacement for you, but this is not always possible, at short notice. When declining or requesting a change, please give the Program Director a complete list of dates through the remainder of the year on which you cannot be a mentor. You will then receive a new assignment—possibly as a third Mentor at a Cappies Show.

SANCTIONS FOR ABSENCE

It is quite important that every Mentor honors his or her Cappies commitments. It's not good when a Critic on an attendance list fails to show up, but it's far worse when this happens with mentors. If you are absent from an assigned show, this can create serious problems—at a minimum, extra work for the other Mentor.
At a minimum, you will be assigned another Cappies show.

Under the rules, the Steering Committee of your local Cappies program may ask your school to replace you as Mentor. In persistent cases of Mentor absence, the Steering Committee may disqualify your school's Cappies Show from top award categories, or even bar your school from participating in the Cappies in later years.

GUESTS

You may bring one or more guests (spouse, friends, or colleagues) to a Cappies Show, but your guests must purchase tickets from the school box office. To be safe, in case the show is a sellout, your guest should call the performing school to reserve a ticket. If there are Critic no-shows (and there often are some), your guests can use those tickets, but should offer to pay for them.
Your guests may sit with you in the theater. (Please note that Critics may not sit with their guests.) Your guests may enter the Cappies Room, and share in the refreshments, if they have no connection to the performing schools and agree not to disclose anything discussed in the Cappies Room.

Preparing for a Cappies Show

The number of Critics who attend a show will depend on the size of your program, the week of your show, and other factors. In small programs, during busy periods, the number may be ten or fewer. In large programs, especially at year end and during weeks when not many schools have shows, the number of Critics in some chapters could swell to more than fifty.

Two weeks, one week, and two days before the show, you'll get an email telling you about your Mentor assignment, and indicating how many Critics are expected.
On your C.I.S. page, you can find the name, phone number, and email address of the other Mentor, and you'll see who will be Editor Mentor and who will be Discussion Mentor. If you wish to share the Editor Mentor load, you may want to do this before the Cappies Show. (The Editor Mentor can do this on C.I.S.)
If you're the Discussion Mentor, you can help serve the learning purposes of the Cappies if, before you come to the Cappies Show, you do a little on-line research about the history (the original show, story, and creative team) of the show being performed.
Both mentors should bring their Mentor Binder to the Cappies Show.

Please plan on a very long evening, when you're the Mentor at a Cappies Show. Leave for the show early enough to enable you to arrive at least 45 minutes before curtain, giving allowance for traffic. That's when Critics are asked to arrive, which gives them plenty of time for getting lost and getting settled. Please plan on staying until the last Critic leaves or is picked up. That's usually about 45 minutes after a show is over, but often there's a Critic whose friends or parents are a little late picking them up. If so, you will need to stay until the ride gets there. We don't want any teenager stranded at an unfamiliar school, ever.

If you are a Discussion Mentor, plan on spending at least one hour (possibly longer) on Sunday, shortly after the review deadline, reading reviews and making selections with the other mentor.
If you are an Editor Mentor, plan on spending roughly three hours (possibly longer) on Sunday, editing reviews and submitting them prior to the Mentor deadline.
If you are the Editor Mentor, please bring a list you can use to take attendance. The best list to use is a print-out of the Cappies Show's attendance list on the Editor Mentor's C.I.S. page. As a less up-to-date alternative, you could also use the final (two-day) pre-show reminder email you received.

MENTOR CHECKLIST
As you prepare to Mentor a Cappies Show, while at the show, and afterwards, you may wish to keep handy the four-page "Mentor Checklist." Two copies are provided in this Mentor Binder. This is especially helpful when you are doing this for the first time.

Mentoring a Cappies Show

When you're the Editor Mentor, you're the Cappies supervisor at the event—in theater parlance, the house manager. You're in charge of everything, except leading the discussions. Most items here are tasks for the Editor Mentor, but the two mentors should work as a team. If a third Mentor is present (which may happen, especially during shows where many Critics are expected), the mentors can share tasks in any way decided by the Editor Mentor.

ARRIVAL

Both mentors should arrive at the school 45 minutes, remain approximately 45 minutes after curtain—or as long as it takes. One must remain at the school until the last Critic has left for home. You must attend the entire performance, and remain present during the pre-show, intermission, and post-show discussions and evaluations, except as necessary to attend to other matters
When you arrive at the performing school, please say hello, and express thanks, to any parent boosters, or anyone else from the performing school that is helping out.

CAPPIES ROOM

Find the Cappies Room. It can be a school room, chorus room, cafeteria, or something like that. If it's possible, set the room up in a way that best promotes discussion between whatever number of Critics you're expecting. If you're expecting fewer than 30, you might do it in a large circle, or all around one very large table. Make sure directions are clear on the walls and doors, so Critics can find the Cappies Room easily when they arrive.

Check in with the Show Director and parent booster of the host school and find the usher. See if a microphone and speaker have been provided. (They're recommended for Cappies Shows expecting 20 or more Critics, if the school has the equipment available.)

The performing school is required to provide complimentary refreshments in the Cappies Room—something to drink, perhaps some chips and cookies, something comparable to what the audience can buy at intermission. Many schools' boosters provide far more than the minimum, which is greatly appreciated by mentors and Critics. Please thank them, on behalf of the Cappies, if they do. Please advise whoever is handling refreshments that they cannot be in the room during intermission and after the show, when the Critics are discussing anything. Those conversations are highly confidential. This means that parents will have to wait until the Critics are finished before they can start cleaning up.

The school should provide at least one student usher, to stand outside the door of the Cappies Room and escort the mentors and Critics to their seats right before the show starts, and again after intermission. While the Critics are in the Cappies Room, the usher should stay by the door, in case there are any questions. However, please make sure they are not able to listen in on the Critics' conversation. Please confirm with the usher that the stage manager will not start the show, or resume after intermission, until all Critics and mentors have been seated.

Make sure the Cappies Room will be secure, and locked, during the Cappies Show. If it is not, you will need to advise Critics to take all valuables with them into the theater. Students can sometimes be careless with their belongings—and they (and their parents) can understandably get quite upset if anything is lost or stolen.

MATERIALS

Before starting work on your Cappies Show, please consult the Award Category Eligibility Form. On it, pay particular attention to the eligibility rules for non-performing categories, like Costumes, Props & Effects, Choreography, Orchestra and Creativity. For students to be eligible for award consideration in some of those categories (see the Form), the performing school must provide specific information (for example, about the extent of adult involvement) prior to the show.

Under the Rules, the performing school must provide the Mentors with a completed Award Category Eligibility Form not later than 30 minutes prior to curtain. On this Form, any item marked with an asterisk (***) must be answered, prior to a show, for a student who does that work to be considered for award eligibility in that category. This is required for categories (i.e., Costumes, Props & Effects, Orchestra, Choreography, Creativity, Dancer) where it is helpful, and sometimes essential, for Critics to know what to consider, as they watch and listen to a show.
If the performing school does not provide you with an Award Category Eligibility form, give a blank form to the Usher and ask that it be completed immediately by the Show Director or Stage Manager and returned to you before the show. (You have one in your Binder. Note that it is two pages.) If you do not receive this information in time to tell Critics before the Cappie Show, it will be up to you to decide how necessary it was for Critics to have it in advance, and whether the show should be declared eligible or ineligible in that category.

For each non-performing category that involves a group of more than four persons (like an orchestra), the Show Director should provide a name for the group. No more than four individual names may be listed in any one category.

The performing school may provide Critics with other materials, but may not offer any guidance on whom the Critics might consider for the performing categories. That is for Critics to decide on their own.

The school must provide show programs to all mentors and Critics. Confirm with the usher that all student and character names are spelled accurately there—and spelled the same, every time they appear. It does occasionally happen that programs misspell (or inconsistently spell) student or character names. If you notice this, ask the usher for clarification. If, later, names are misspelled by Critics in published reviews because of errors in the program, the Cappies cannot take responsibility for those errors.

TICKETS

As soon as you arrive, make sure enough tickets are being provided. Under the rules, the performing school must provide complimentary tickets to Critics and mentors. The school is encouraged, but not required, to provide excellent seats—preferably center section, about rows five to seven. The Critics need to sit where they can see and hear well (even if sound and light problems arise), appreciate the intensity of the performances, and feel the energy of the audience response. At a musical, it's best if Critics are not seated too close to the orchestra, to make sure they can hear the vocalists well. Even in a black box theater, it's best not to seat Critics in the first row or two—that can distract your performers.

Make sure the location where the Critics are going to sit is reserved and make sure your ushers enforce this until the Critics arrive. It can be quite awkward when Critics enter the theater, right before curtain, and do not have enough seats, or have to sit around others in their seating area. Unless there is full house and every seat is needed, it's a good idea not to have parents of students at your school, or anybody else, sitting next to Critics. The Critics like to write down notes during shows, and they don't like to do it when somebody from the school is sitting next to them, peering onto what they may be writing.

Under no circumstances can a performing school fail to provide tickets to all Critics who are present and who were on the final (48-hour) attendance list, and to the designated mentors and program officials. Failure to do so can result in sanctions for the show, including possible disqualification from awards. If a show is oversold, you will face the awkward but necessary circumstance of having to ask the Show Director to ask others to relinquish their seats.

The school must hold tickets for Critics only until five minutes prior to curtain. If it's a sellout, the school can sell any tickets set aside for any Critic who arrives later than five minutes before curtain. Late-arriving Critics can, therefore, be denied admission and sent home—but only if the show is a sellout.

Supervising Critics at a Cappies Show

BEFORE THE SHOW

You must take attendance as the Critics arrive. This is very important. Right before the Critics enter the theater, you should confirm that everyone has checked in with you. (You might need to do this at the start of intermission, as well.) Make sure that friends or family members of Critics are not in the Cappies Room at any time.

Hand out the show programs, and make sure everyone has an evaluation form. If any Critic does not have an evaluation form, another Critic might be able to share one. (You might bring along a few as extras, just in case.)

Confirm the review deadline with the Critics. It is always on Sunday. Ordinarily, it is 10 AM Sunday for Cappies Shows on Friday evenings or before, noon Sunday for Cappies Shows on Saturday afternoons, 2 PM Sunday for shows on Saturday evenings, and 9 PM for Cappies Shows on Sunday evenings. (You may, if you wish, extend that deadline to as late as 11 PM, but you must submit all review selections and all edited reviews within three hours after the new deadline. Please notify the Program Director when you do this.)

Make sure all Critics know how to use C.I.S. and know their usernames and passwords (especially early in the year). Anyone can get that information by going onto the log-in page, clicking on to the "I forgot something" link, and typing in an email address. (You should know how to do this yourself.)

Before entering the theater, instruct Critics to turn off , cell phones, and other noise-making devices before entering the theater. Cell phone noise can be particularly embarrassing when others in the audience hear it coming from the Cappies seating area.
Remind Critics not to reveal their opinions of the Cappies Show, by comment or gesture, while in the theater, except in the manner of normal applause, laughter, and end-of-show ovations. Remind them to be careful, when walking to and from the Cappies Room, not to discuss the show in any way, even quietly to another critic, since those conversations might be overheard.
The usher will notify you when it's time for the Critics to enter the theater. The usher will lead the Critics to their seats. Make sure that the show doesn't start until the Critics and mentors are all seated. (The Show Director should know this rule.)

DURING THE SHOW

Critics may sit anywhere in the Cappies section. They may sit with other Critics from their school, if they wish. Their friends and family members may not sit in the Critics' seating area.
Watch the show with the Critics. It helps if you sit in the furthest back of the rows provided for the Cappies, so you can observe the Critics as well as the show.
Make sure Critics do not reveal their opinions of the Cappies Show while in the theater, except as normal members of the audience might do—and do not openly discuss any aspect of the performance within earshot of any member of the audience.
Also, make sure Critics do not socialize with any friends at the performing school while at the Cappies Show, whether before, during, or after the show. They may not greet or even gesture to anyone in the performing cast or crew.
Make sure Critics exit the theater promptly, at intermission, and after final bows.

CRITIC DECORUM

Critics are required to show good decorum, and represent the Cappies well, at all times. It is the mentors' responsibility to make sure this happens. If you feel that a Critic is dressed inappropriately, say so. If a Critic is using vulgar language that can be overheard by others, or littering, or acting rudely in some other way, please ask that Critic to stop.

The Cappies works best when mentors do not speak sharply with Critics. The Cappies is a learning program, not a custodial one. Try to help keep it fun for the Critics. If difficulties arise, try to maintain an upbeat overall tone. It works best to handle any individual problems privately, without raising your voice.

In case of serious misbehavior, you may reprimand a critic. If the misbehavior persists, you may ask that Critic to give you his or her name and school name. Afterwards, please advise the Program Director of the incident, by an email report through C.I.S. The Program Director and the Advisor at the critic's participating school will determine whether any disciplinary action is warranted.
If you notice a pattern of rudeness, other misbehavior, or persistently negative tone from any one group of Critics, they are probably from the same school. Find out the name of the school, and notify the Program Director.
Do not order a Critic to leave the Cappies Room, or the school, unless the Critic is engaging in misbehavior so disruptive that it would require substantial disciplinary action in a school setting.
Please encourage Critics to help clean up the Cappies Room.

Leading Discussions

A Discussion Mentor is part teacher, part mediator. The best way to lead a discussion—before the show, during intermission, and after the show—is to do it the way you would lead a class.
The rules require you to lead discussions of at least 10 minutes before the show, during intermission, and after the show (not including time spent with Critics' Choices).

PRE-SHOW DISCUSSION

From 45 minutes before curtain until 20 minutes before curtain, your task will be to take attendance and make sure all arrangements (Cappies Room, usher, tickets, seating area, materials) are satisfactory. Try to answer any possible question about award eligibility for any category. During this time, the Critics are free to socialize, have refreshments, look through materials and tech boards. 
The pre-show discussion should begin promptly, 20 minutes before curtain. Spend 10 minutes (1) discussing the history (the original show, story, and creative team) of the show being performed, (2) identifying any aspect pertaining to award eligibility for any category, and (3) reviewing materials provided by the Show Director.

The director of the Cappies Show may speak to the Critics during this pre-show discussion. During and after the show, however, the director may speak to them only if invited, to answer specific questions mentors or Critics might have.

INTERMISSION DISCUSSION

Nearly all Cappies Shows have an intermission. Confirm with the Show Director (or usher) that the intermission will be not less than 15 minutes, to give the Critics time to have a good discussion. If a show has more than one intermission, it's fine to have discussions during only one of those intermissions. If a show has no intermission, the post-show discussion should be 20 minutes, before starting Critics' Choices.

During intermission, do not start discussions until you are certain no one is present from the performing school. Sometimes a parent might be adding another tray of cookies, so you have to watch for that. And please make sure no one (including the usher) appears to be listening outside the door. That can sometimes be a problem.
Two minutes after the end of the first act, close the door, and start the discussions. Do not wait until all Critics have returned to the Cappies Room. (Some may be still in a restroom, in which case the usher can let them enter.)

Take charge. Make sure there's only one conversation going—yours. Ask Critics to raise hands, so you can call on them before they talk. Ask them to stand when making comments. Keep their comments brief, so as many Critics as possible can make their points.

Invite brief comments from as large as possible a number of Critics, and make sure they are respectful of other opinions. Encourage Critics with contrasting points of view to speak out. Take firm action to prevent anyone from dominating, "showing off" their knowledge of theater in an intimidating manner, or belittling any other Critics who may disagree with them.
Welcome comments from Critics who may be new at this, or who may not be theater students. Critics should not be reluctant to ask questions if they are confused about a rule, or about some technical aspect of theater. (Experienced Critics can sometimes help answer those questions.)

Do your best to guide the Discussion in a fair, balanced, and constructive direction.
Keep the tone as upbeat as possible. It's best to start each discussion with an open-ended question like, "What's working in act one?" What do you like best about the show, so far?" And then, after a few minutes, ask "What's not working quite as well, so far?" "What could be a little better?"

You should allow critical comments, as long as they are stated fairly, reasonably, and constructively. It's fine for Critics to make any comments they want, and be as critical as they want, as long as things don't get out of hand—too harsh, too belabored, or in any way sarcastic. Critics can mention performers by name, or (better) by character name, during discussions.
You may need to remind some Critics that this cast, crew, and director may do theater a little differently from the way their own school does things—and to respect that difference. You might at times need to point out how differences in budgets can influence the quality of the tech work.
If the comments start taking an overall negative tone, try to steer the conversation back in a more constructive or balanced direction.
If any Critic makes a comment that is grossly unfair or unreasonably harsh, you might gently urge that Critic to keep things within bounds, and ask that no further comments of that kind be made.
You can raise issues, ask questions, provide expertise, and request contrasting points of view, but please do not do anything that might be perceived by Critics as an attempt to shape or alter Critics' opinions.

Try to say as little as possible about what you thought of the show. If the Critics are overlooking something you think is important—good or bad—ask a pointed question. If the orchestra was terrific, don't say "Wasn't the orchestra terrific," but instead ask "How did you like the orchestra?" Or, if some of the costumes were out of period, don't say that, just ask the Critics "Were the costumes in period?"

During discussions, the Critics might have some questions. They might want to know the name of a particular dancer, or who painted a backdrop—things like that. If so, the Editor Mentor should try to get the answer, either from the usher or (if necessary) from the Show Director.

POST-SHOW DISCUSSION

The post-show discussion and choosing the critics' choices should last about 45 minutes. If it's much shorter than that, you're not having enough discussion. If it's much longer than that, you're keeping the Critics from returning home in a timely way.

If the host school has any post-show recognitions, Critics should exit the theater before those start. (This is a rule, and the Show Director should alert you in advance if this is planned.) If these recognitions start without Cappies Critics being excused, you should signal to the Critics to stand and leave as quietly as possible. Afterwards, please apologize to the Show Director for having done this, but remind the Show Director that this is a Cappies rule, to enable Critics to have a post-show discussion and still return home at a reasonable hour.

Before starting the post-show discussion, once again make certain no one is present from the performing school, and that no one (including the usher) appears to be listening outside the door.
Two minutes after final bows, close the door, and start the discussions. Do not wait until all Critics have returned to the Cappies Room. (Some may be still in a restroom, in which case the usher can let them enter.)

Spend the first 5 minutes discussing the second act, much as you did with the first act during the intermission discussion. Ask the Critics, "What worked in the second act?" "What did you like best?" And then, after a few minutes, ask "What didn't work quite as well in the second act?" "What could have been a little better?"
Spend the next 5 minutes discussing the entire show. "What worked really well through the entire show?" "What did you like best?" And then, after a few minutes, ask "Where did the entire show fall a little short?" Try to end the post-show discussion with a final round of very quick words of praise, something like, "OK, real fast, let's go around the room, what did you like best about the entire show?"

Please note a mentor or program official may request verification of publisher permission for any changes in a production which might otherwise violate the publisher's contract.

Then it's time to do the evaluation forms—"Critics' Choices." People sometimes call these "nominations," but they're not. What you're doing is deciding what will be on the nomination ballot.

Determining Critics' Choices

Do not start Critics' Choices until you have had at least ten minutes of discussion. Your goal should be to enable Critics to depart for home not later than 45 minutes after final bows, but no one can leave (except in case of emergency) until all the Critics' Choices are selected.
Be prepared for some people—most often Critics' parents, but also possibly some parent boosters from the performing school who would like to clean up, and school custodial personnel—becoming a bit impatient as they wait outside the Cappies Room for the discussion to end. If so, please remind them that the rules require a discussion, careful selection of Critics' Choices, and preliminary award scoring—and that this usually takes about 45 minutes.

POST-SHOW EVALUATION FORMS

Start by asking all Critics to get out an evaluation form. (They should have these in their Critic Binders.)
Tell them that they will use these evaluation forms to select Critics' Choices and to give preliminary scores and points to these Choices. Tell them that the Choices will appear on the year-end award ballot, but that these post-show scores are preliminary only, and may be freely changed by them when they cast their award votes at the end of the year. (Partway through the year, Critics will know this.)
Through the fall season, it's a good idea to read the ten-point scoring scale, at the bottom of the form. (In time, Critics will know this scale well.)

CRITICS' CHOICES

A Critics' Choice is not a nomination, but rather a decision to place a candidate on the year-end award ballot. Mentors often like to ask Critics, "Who would you like to nominate for" a category, but that expression is a little misleading—and can cause Critics to refuse to select someone who is "best in show" but whom they do not believe deserves a Cappie nomination. It's more correct to say "Who would you like to select as a Critics' Choice for" that category.

When Critics decide their Critics' Choices, you may first have to confirm that a candidate qualifies for a category, under the rules. In the non-performing categories, you can rely on information provided by the Show Director. If this wasn't provided you when you arrived, you must ask the usher to help get it. (Try not to wait until the post-show discussion to do this, or you could cause everyone to stay later than would otherwise be necessary.)

Sometimes, especially with the performing categories, you may need to consult the eligibility rules for a category. If any eligibility question arises, you are required first to consult with any Lead Critics who may be present. They should each have the Award Category Guide with them (as you should). At the top of each category is the rule. Ask a Lead Critic to read it aloud, and ask other Lead Critics to comment. If there is disagreement among Lead Critics, you may wish to summon them to the front of the room and have a brief conversation, just with them. In the end, the decision is made by you as the Discussion Mentor. If there is a shade of doubt, decide in favor of declaring the candidate eligible for the category.

If, after you make an eligibility determination, you are not sure you were correct, email the Program Director after you return home, to ask for clarification. If any Lead Critic strongly disagrees with your determination, invite him/her to email a brief statement to that effect to the Program Director. Procedures exist for revising Critics' Choices, if rules have not been applied correctly.
You can do Critics' Choices in any order. Usually, it works best to do all the non-performing categories first. For the performing roles, it's important to draw correct distinctions among performers who qualify for featured, supporting, and lead categories. The Critics then decide who their "Critics' Choices" are for each award category for which the show qualifies. They do this by consensus, or if necessary by vote.

To make a Critics' Choice, Critics will select whomever they would score the highest in that Category—the "best in show" in that category. Even if the Critics have a low opinion of that person's work, and intend to give that person a low score, if that person is "best in show," he or she should be named as a Critics' Choice. There is no minimum evaluation score to become a Critics' Choice, and there need be no expectation that a Critics' Choice will later be voted a Nominee.

For any category except Play, Musical, and Song (in a Musical), Critics may decide by consensus or vote to select no Critics' Choice. Critics may only do this if the mentors determine that, under the rules, no candidate qualifies for this Category.
There can be only one Critics' Choice per Category.
There is no limit to the number of times any one individual can be named a Critics' Choice in any Cappies Show. Do not allow Critics to "spread things around," and name different people as Critics' Choices in different categories—unless each of them was, in fact, "best in show" in that category.

VOTES

When there is disagreement among Critics about who the Critics' Choice should be for a particular category, have a very brief discussion—not to exceed one minute. Then take a vote.
Critics will decide Critics' Choices by consensus or vote, as required. If there's any disagreement, hold a vote (by hand). If there are multiple suggestions being voted upon, do an initial vote to narrow it down to two final choices, and then have a vote between those two.
If the vote ends up as a tie, take another vote. If that second vote ends up as a tie, the two mentors will decide. If the mentors disagree, the Editor Mentor will decide.

After each Critics' Choice is selected, the Editor Mentor should read the cast or crew member's name (or names), and spell them. Groups of more than four students (and the orchestra) should be listed by the group's name, which can be provided by the Show Director (or usher).

SCORES

Critics then score all the Critics' Choices, using the ten-point evaluation scale noted on the forms. All Critics should score each Critics' Choice, and all Critics have to score the same Critics' Choice in each Category. When scoring them, Critics must do so independently, and may not consult with other Critics.
On their forms, Critics should make notations about whether they might think of giving any candidate an award or nomination point when they vote, at year-end. They can make any other notes they wish on their forms.

CONFIDENTIALITY

 
Remind the critics that what was discussed in the critics room must remain confidential. Mentors likewise may not reveal the critics comments to anyone other than the Cappies Program Director or Program Manager or Chairperson.

EXCUSING CRITICS

When the discussion is over, Critics can be excused to leave for home. Ask the Critics who finish a little early to help clean up the Cappies Room while the others are still marking their forms.
Please remind Critics to take their show programs home with them, for them to use when writing reviews and confirming the correct spelling of performer names and character names. (Please take your show program home, also, so you can double check the correct spelling of performer names and character names.)

If you're the Editor Mentor, you must do attendance on C.I.S. as soon as you get home. If you have a smartphone or access to a computer you can take attendance online. That's important. If you forget, or wait too long, Critics can be marked as absent, and automatic emails to that effect will go to their teachers, causing the Critics some undeserved embarrassment.

COLLECTING (AND FORWARDING) FORMS

As Critics leave, collect their Post-Show Evaluation Forms. If a program official is present, the official should take the forms. If no program official is present, you must (1) log in to C.I.S. and enter the Critics' Choices for that show, and (2) mail the forms to your Program Director within three days. Please do not delay doing this. If the Critics' evaluation forms are lost or mislaid, it creates a major problem.

Ensuring Critic Safety and Security

Please don't let any Critic leave early, before the post-show discussion has concluded, unless there's a real emergency. If a Critic leaves before a Cappies Show ends, that Critic may not review (or score) the show.
The safety of Critics is of paramount concern. No Critic may be left alone, late at night, at an unfamiliar school. Under the rules, one Mentor is required to remain at a performing school until the last Critic has left for home. This is an absolute rule—no exceptions. If it's inconvenient for both mentors to stay, the Editor Mentor should be the one to stay.
Critics are told to alert a Mentor if they have to wait for rides, but mentors should keep an eye out for Critics who are lingering by a school door, after the post-show discussion is over.
Please help Critics take care of their valuables. If the Cappies Room is not secure, and locked, during the performance, ask Critics to keep valuables with them at all times.

Reading and Selecting Reviews for Publication

RECEIVING REVIEWS

All Critics who attend a show are required to submit a review. In most Cappies programs, somewhere between 90% and 95% of all Critics who attend a show do submit a review before the final deadline (the Wednesday following a show—three days after the original deadline, which is Sunday).

Unless you're told otherwise by the Program Director, the Critics' review deadlines will be on Sunday—at 10 AM for a Cappies Show that takes place on Friday (or before), 12 noon for a Saturday afternoon show, 2 PM for a Saturday night show, and 9 PM for a Sunday afternoon show.
If, for a good reason, you need to accelerate the Critics' deadline, please contact the Program Director no later than two weeks before the show. This can sometimes, but not always, be done.
You will receive all reviews via C.I.S. (See the C.I.S. Instructions.)

After the Critics' deadline, you should read all the reviews that were submitted on time, get in touch with the other Mentor, and together decide which ones will be forwarded for publication. C.I.S. will tell you how many to select. It's OK to select a late review, if you both feel strongly about that, but we recommend that you only select reviews that were submitted on time. The late ones will appear in red on C.I.S., so you'll know which ones they are.
Whether you wish to consider late reviews for publication is up to you, and may depend on when you read them. However, you must edit all reviews, including late ones, for compliance with the rules on criticism.
Critics are encouraged to write reviews of between 350 and 450 words. Reviews shorter than 200 words are not acceptable. While there is no upper word limit, you should normally try not to select reviews that have fewer than 250 or more than 500 words in length.

SELECTING REVIEWS

After the Critics deadline, the Editor Mentor and Discussion Mentor will read all reviews and jointly select those to be submitted to the media. (Your C.I.S. review editing page will tell you how many reviews you are to select.) The two of you should select these by consensus. If, for any reason, you cannot agree, the Editor Mentor's choice will prevail.
You need to make these choices carefully, consistent with the rules. Critics should not be given the impression that the way to get their reviews published is to make the show sound better than it was. At every Cappies Show, it is an important responsibility of the Mentors, in fairness to everyone, to make sure this is not the case.

When selecting reviews for publication, you are determining which reviews will be "of record," and shared with the public. It often happens that a Mentor is a friend or professional colleague of the show director whose Cappies Show is being reviewed. Having two mentors gives each of you what a politician calls "wiggle room" to make the right choice. And it gives the Cappies some integrity.

Of course, the director, cast, and crew at the performing school will want you to pick reviews that are totally positive about everything. Newspaper editors call those reviews "letters to grandma." Editors want real-world reviews, with a little edge to them—and criticisms, where warranted.
Selecting the right reviews is more an art than a science, but over time, the Cappies will work better, and be respected more, if every Mentor team makes sound choices. We do not want people saying that all published reviews sound the same, no matter how good the shows were. You should not select reviews that lie about a show. People at the school—and Critics—will see through that, and it will hurt the Cappies.
Under the rules, no one at the performing school may express any objection to selections after they are published. This happens extremely rarely, and never in most Cappies programs.

MAKING SELECTIONS BY THE RULES

The rules require you to select reviews that (1) accurately and fairly describe the show, (2) are well written, (3) reasonably reflect the Critic consensus, as revealed during discussions, and (4) spell all names correctly.

Do not necessarily pick the most supportive reviews, or the most interesting or literary ones. Instead, look for the best-crafted, most readable descriptions that reflect what you and the other Mentor feel is the right judgment about the show, being mindful of what you heard the Critics say during discussions.

The first factor is accuracy and fairness. Look for an honest description of what actually happened on stage. The praise and criticism should be proportionate, within the range of fair comment. The review should include solid analysis of theater.
Think like a Critic yourself. Was it an A-plus show? Then the published reviews should sound like an A-plus. Rave worthy shows deserve rave reviews. Was it a B-plus show? Then you should pick reviews that don't use words like "amazing," "fantastic," or "incredible." The praise should be slightly hedged, and the review should include some mild criticism.

Was it more of a B-minus show (or worse)? If so, the published reviews should include praise for what was good, but criticism of what could have been better—and, perhaps, might include more description of the history of the show, or a lengthier summary of the story. Please do not be reluctant to select reviews that include criticisms, as long as the points are justified and stated in ways that are within the rules.

The second factor is quality of writing. The review should be in an engaging and creative style, of interest to readers who did not see the show. It should include a succinct background of the play, and a brief synopsis of the story. To understand what is good writing in a Cappies review, read through the "Review Writing" section of your binder. Critics are asked not to write in certain ways (for example, mixing their tenses, or putting themselves too much in the review, or praising performers in a list of names, or using theater clichés)—and the obvious corollary is that Mentors should not select for publication any reviews that are written in those ways—or, if you do, you need to edit that.

The third factor is that a published review should reasonably reflect the consensus of Critic opinions during the discussions. The reviews you select can and should express a Critic's own point of view, but if the Critics as a group broadly praised a show, then you should ordinarily select reviews that do the same. If the critics were a little lukewarm (or highly critical), then—unless both Mentors believe that their opinions were plainly wrong—you should select reviews that are measured in their praise and include criticisms that reflect the gist of what was said in the Cappies room.

The fourth factor is correct spelling of all cast, crew, character, and other names. If name spelling is sloppy in any review, please do not select it for publication.
If your major newspaper publishes two reviews, you might want to pick two well-written reviews that cover different items, or reflect slightly different points of view.

Your Mentor Binder includes some useful examples of well-written reviews of two hypothetical shows (South Pacific and Hamlet). For each show, four reviews are provided—for an outstanding show, a good show, an average show, and a below-average show. Please note the measured differences in the praise and criticism about various aspects of each show. These sample reviews provide you with some implicit standards you can apply, when selecting reviews for a Cappies Show.
Once you've made the selections, the Discussion Mentor is done—unless both Mentors have agreed to share the editing task.

Editing Reviews Selected for Publication

If you're the Editor Mentor, you need to edit very carefully all the reviews you've selected for publication.

DOUBLECHECKING FOR CORRECT SPELLING

Make sure all names are spelled correctly—that's very important. Performer names, character names, composer and playwright names. Use your show program to do this.
This name spelling point is so important, let's state the issue directly: The number one worry that newspapers have about Cappies reviews is that names may not be spelled correctly. When this happens, they often receive a complaint from the parent of the kid whose name was misspelled, and they have to post a correction in a subsequent edition. Everyone looks bad—the critic, the Mentor, the Cappies, and the newspaper itself. One way to stop a newspaper from publishing Cappies reviews is to send them reviews with names misspelled.

EDITING REVIEWS
You selected this review to be published, so it's now your job to make sure it reads clearly and intelligently. Correct for grammar and punctuation. Edit for style.  (If a review is written like that, perhaps you should not select it for publication.)   The mentor should not be re-writing a review to this extent as it does not reflect the writing of the critic. 

Make sure praise isn't given without explanation. A publishable review shouldn't just say what was good, it should say why it was good. Praise should not be given in the form of a list. Newspapers do not like to print passages like: "Also giving commendable performances were A, B, C, D, and E."
You can tone down criticism—or praise—if you think the Critic went a little overboard. If a review says a lead performer is "Broadway-bound," you might want to change that to "outstanding," unless you really can imagine going to Broadway in a few years to watch that performer. Please do not change a critic's basic opinion of a show, or add anything to a praise or criticism. You can delete, or de-hype, a comment—but you cannot add, or hype up, what the Critic has written.

Especially for reviews submitted to a major daily newspaper, be careful about the quality of the writing. Make sure the writing will engage a reader who has not seen the show. The plot needs to be presented in an interesting way. The words of praise need to say not just that some aspect of a performance was good, but how and why it was good.

You do not need to edit all reviews to this extent. You must only do so only for those you select for publication. For these, please take the time to edit them carefully. If you do not do so, you are passing on that work to program officials—or to the newspaper editors, who will think less of the Cappies as a result.

Editing All Reviews

For all reviews, you need to do something simpler and less time-consuming— You need to make sure every criticism is stated in a way that follows the rules. It's very important to read all reviews with real care. If you let harsh criticisms slip through, that can cause hurt feelings, create a problem for the show director at the school, or even cause a school to want to stop participating in the Cappies.

ENFORCING THE RULES ON CRITICISM

Critics are encouraged to include criticisms in reviews. A review should normally raise at least one point of criticism, unless a show is so good that it warrants nothing except praise—which is true for some shows, but not many.
Here are the rules on criticism:
In a review, a Critic may make criticisms that are:

• Within the range of fair comment.
• Stated constructively.
• Combined with praise, to the extent an honest description will allow.
• Presented as observation, not as advice. (A Critic should not tell a performer, or director, what he or she should have done.)
• Not longer than necessary to state a point. (Criticisms cannot be harsh, sarcastic, or belabored.)

Criticisms may not be directed toward

• Any named student or character. (This is very important.)
• Any unnamed student, or group of students, in grade 8 or below. (They can be praised, but not criticized.)
• Any adult in any performing or non-performing role, including an adult director, choreographer, or tech designer. (They can be neither praised nor criticized.)
• Any composer, playwright, or lyricist, except to the extent necessary to introduce or provide context for the Cappies Show.

The real bottom line on editing for criticisms is this. If you wonder about any particular item, think how kids at your own school would feel if they read something like that about their show. But at the same time, you have to let the Critics have their say. It's all a matter of balance, and being sensible.

The most important rule is that no cast or crew member can be criticized by name. If a singer was way off-key, it's within the rules to say "some singers were off-key," but not to say "so-and-so was off-key." If the sound is criticized, the review should not mention the name of the sound person.

If a review is so negative, or so contrary to the rules, that it cannot be edited—or if it is less than 200 words—the Editor Mentor needs to flag it to the program director, who will not forward it to the performing school, but to the critic's own theater director instead.

EXAMPLES OF CRITICISMS THAT ARE WITHIN THE RULES

Here are samples of criticisms that appeared in reviews that were selected by mentors for publication in newspapers, here in the National Capital Area Cappies. Some were edited, and others were not. Some are mildly critical, others more so, but all are stated in a manner and tone consistent with the rules. All these criticisms were reasonable, and well-stated. Some of them were the only criticism made in the entire review—the one point the Critic felt had to be made, in a fair and balanced review.

Overcoming a few irregularities in costume and pantomime, and a few lost high notes, the entire cast gave a focused performance, maintaining composure throughout.
Despite a few slipped-up lines and some visibly unsettled nerves, the cast settled down and handled a long and difficult script nicely.
Though the show lacked polish, the cast conveyed the message of the play joyfully.
Unexpected set glitches threw a show into moments of chaos, but the cast handled these with poise and grace.
Although there were lines lost from actors speaking too quickly or the orchestra overpowering them, the performers kept their energy constant and strong.
Despite some physically demanding dance numbers that had a few slip-ups, the cast's drive to entertain the audience always prevailed.
While the set consisted only of a few painted flats with no levels, it left it to the actors to step up and bring the stage to life.
Some of the actors performers seemed unsure onstage early on, but, thanks to a great audience, they warmed up by the second act.
Even if the cast and crew did not have the best of luck in their opening night show with all the technical problems, they accomplished the job they set out to do, to win the hearts of their audience—and by the look in the smiles and cheers of the crowd, they did a very good job.
The show was filled with fun songs, but the majority of the performers never quite reached the energy level that they should have through physical movement, aside from the screaming and squealing.
The difficult, sitcom-like nature of dialogue was sometimes lost in the brisk delivery required by the fast-paced story.
The characters had such high energy that sometimes they had too much, talking all at the same time or not clearing space for someone else to come forward with a line.
Although some sound cues were a bit loud, they were nothing compared to the audience's laughter.
The cast had good comic timing for the most part, but neglected to hold for laughs a few times.
Some of the performances were forced and distracting, but the cast, as a whole, handled the difficult material well.
Despite a few slipped-up lines and some visibly unsettled nerves, the cast nicely handled a very long script.
Though the upstage movie detracted slightly from one sonorous solo, it definitely added humor to another song.
Modern music that was incorporated into the scenes sometimes was effective in creating atmosphere and enhancing the show, but at times separated the audience from the story.
The set, though lacking the technicolor zest of most comic book-based productions, included a well-defined newsroom studio complete with camera man and graphic effects.
Every flubbed line was covered nicely.
Handling technical problems with professionalism and poise, the cast proved to be cool and collected.
The exaggerated style in which some actors performed sometimes prevented them from believably sinking into their characters.
Although the cast was very amusing, some of the townspeople made sudden comments that sounded too intelligent for fit their characters.
Despite a disruptive audience and problems with lighting in the first act, the cast was very animated.
Overcoming some stumbling on lines, most performers warmed up to their parts as the play progressed, and their articulation improved throughout the play.
Some characters seem contrived, and awkward transitions broke up a few tender moments, but the performers nicely expressed high level of emotion and held focus throughout the show.
While the language of Shakespeare can and sometimes did sound arcane, and a few lines were rushed the cast demonstrate a solid understanding of the words.

Please note how criticisms work best when combined with praise—and, even so, a few critical words can carry plenty of punch, when read by students at the performing school.

EXAMPLES OF HOW TO EDIT CRITICISMS

Here are five examples of how reviews should be edited, to conform with the rules on criticism. The Editor Mentor always has the option of simply deleting a criticism. As your time permits—and, especially, in any reviews you select for publication—it's a good idea to help the Critic make a point the right way.

Example 1: The production was unfortunately marred by several technical difficulties, and a few characters could have used more time to learn their dances correctly.
This is an example of grinding in a valid criticism a bit too much. A review should simply state a criticism, and move on. It should not include words like "unfortunate," or state (beyond just making the point) that it marred the show. The Critic had no idea how long the dancers rehearsed—and should never try to tell the director what should have been done. Instead, the Editor Mentor could rewrite this to read: The production had several technical difficulties, and a few characters did not execute their dances properly.

Example 2: Michael Givens had low energy in act one, and had some trouble reaching the high notes, but came on strong in act two, when his deep baritone rocked the house.
A Critic cannot criticize by name, even when combined with praise. The Editor Mentor should fix it by splitting the comment. At one point, the review could say: Michael Givens came on strong in act two, when his deep baritone rocked the house. Elsewhere, the review could say: Early in the show, some moments had low energy, and some of the high notes didn't quite land.
The point would be made. In all likelihood, the director (and Michael Givens) will know who missed those high notes, but it's inappropriate to make that connection directly, in a review of a high school performer.

Example 3: The lighting, done by a crew led by Helen Smithies, was generally effective, but appeared to miss some important cues.
The Critic might have thought she was being nice by mentioning the head of the crew, but as with performers, a review should refer to the problem only, not to anybody by name. The Editor Mentor could rewrite this as: The lighting was generally effective, but appeared to miss some important cues.… Or: The lighting, done by a crew led by Helen Smithies, was generally effective… and, elsewhere in the review, to be honest about the show, the review could say: Some important tech cues were missed.

Example 4: The show was brilliantly directed by Blue Ridge High School's theater director, Robert Green. The emotional climax might have been more successful, though, if it had not included so many elementary school children.
The purpose of Cappies reviews is to comment on the work of high school cast and crew. A review cannot praise an adult, either by name or by function, can only comment on the quality of the direction if the show has a student director. A review can praise performers younger than high school students, but cannot criticism them, even in gentle ways, and even if names are not mentioned. The Editor Mentor should delete comments like this.

Example 5: In three years as a Cappie critic, I have never seen such an embarrassingly weak scene as the end to act one, in which the acting was incredibly pathetic.
This is clearly a flagrant violation of the rules on criticism. When you get something like this, don't edit it. Instead, alert the program director, who can forward the review to the critic's theater director, who can speak to the Critic about this.

The real bottom line, as you're editing reviews, is: Suppose these reviews were about students you know, in your school. Are they fair and accurate? Are they constructive? Will reading them be a useful learning experience for the cast and crew?

Submitting Edited Reviews

Being an Editor Mentor takes time. It can require two or three hours to read all reviews, select the ones for the papers, edit those, and lightly edit all the others. The length of time will vary, from show to show, depending on the number of reviews and on the quality of the show itself. It can take more time when the reviews contain more criticisms.

If a large number of Critics attended a Cappies Show, and there are a lot of reviews to edit, the two mentors may wish to share this task. One could edit the reviews for publication, and the other could scan all the reviews to make sure they meet the rules. If the Program Director has added a third Mentor, that person can help spread out the editing load.

Please realize that one hurtful review, if it slips through, can overshadow all the good work done by other Critics (and by mentors).

When you've done all your editing, you'll forward the reviews to the program director. Normally, the Editor Mentor's deadline for submitting reviews is 8 PM Sunday, except for Sunday afternoon shows, in which case the Editor Mentor's deadline is 12 midnight on Sunday evening. Please don't miss that deadline. If you do, you're adding greatly to the work of your local program officials—and creating the risk that reviews won't be sent to major newspapers on time, as promised.

After you have submitted the reviews, a Cappies official in your local program will take one last look at them. If you don't complete your work, editing carefully all selected reviews and making sure all reviews comply with the rules on criticism—you'll be creating extra work to program officials. That work could extend late into Sunday night or the early hours of Monday morning, as they do what the mentors should have done. They're volunteers too, so please help them out by taking care with your editing work.

Your selections can be altered only if a program official determines that a review selected for a major daily paper would be rejected by the editor there. This is done very seldom.
Being a Cappies Mentor involves several hours of volunteer work, on the show date and again on Sunday. Thank you for that. Those hours are bringing a lot of learning, and excitement, to a lot of students.

Scanning for Internet Copying

In recent years, Cappies officials have uncovered two examples of Critics copying sections of reviews posted on the Internet. We don't think this happens much, but it shouldn't happen at all. There's a way to spot-check for Internet copying, and it only takes a minute or two per review.

Each Cappies program is authorized to set its own rules for mentors spot-checking for internet copying, alias plagiarism. The Governing Board recommends that before the top-ranked reviews are forwarded to major dailies, the Editor Mentor should scan those reviews (and only those reviews) for Internet copying.

Here's how to do it: Look through the review's description of the story, its history, or a character. Find a brief phrase that's somewhat unusual. Copy it. Click onto www.google.com. In the search box, type the title of the show, with quotation marks around it. Then paste (or type) the phrase you are testing, also with quotation marks around it. Click enter. Look through the first page of links. See if you can find any matches. If you do, click onto that link, and compare what's there with the Critic's review.

For practice, try an actual example of a plagiarism by a Critic that was in fact discovered. Go to Google. Click on "Arms and the Man". Then try any of these phrases:

• "a spirited quirkiness"
• "an air of charm and level-headedness"
• "a jolly, rotund officer"
• "bluster and bark"
• "a smooth, sly manner"

For any review you're spot-checking, do this twice, with two separate phrases.
If both phrases result in no match, then you can reasonably conclude that the review has not been copied from the internet.
If you find a match, look closely at the Critic's review and whatever link you found that matched. If a Critic's review includes more than one phrase identical to phrases in the other linked item, do not select that review for publication—and notify Cappies officials.

When Critics are aware that Mentors are spot-checking for Internet copying, they are far less likely to plagiarize. This helps teach them an important lesson about standards applied in the real world of professional writing, while maintaining the integrity of Cappies reviews.
 

SHOW DIRECTOR

Selecting and Scheduling a Cappies Show
SHOW ELIGIBILITY
Your Cappies Show must be at least 75 minutes long, of one scripted show—or two scripted shows with a similar theme. (No festival of one-acts.) If the show you're planning to do is quite lengthy, you may need to set an early start time. Under the rules, if a show has final bows that start after 10:30 PM, it can be disqualified from some awards. (The goal is to enable student Critics to have a good post-show discussion and return home by midnight.) It helps to have an intermission of 15 minutes or more, to enable the Critics to have a good mid-show discussion, but the rules allow exceptions to this.

The performing cast must be at least half drawn from students in grade 9 through 12. There can be younger or older cast members in the show, or helping with the orchestra or tech aspects, but this will affect qualification for awards.

If you would like to have your Cappies Show reviewed but not considered for awards, the rules allow that. If you would like your school to have a Critics team but no Cappies Show, the rules allow that too.

Please be sure to secure performance rights for your production.  Cappies may request verification of publisher permission for any changes in a production which might otherwise violate the publisher's contract

ELIGIBILITY FOR AWARD CATEGORIES
The Cappies have 35 award categories (some regional chapters have more) that are determined by the votes of the Critics. Each of these categories has eligibility rules, along with guidelines for the Critics to use when watching and scoring shows. Please read these pages carefully. If you wish, you are welcome to share them with your cast and crew, so they will know what Critics are being encouraged to observe or hear.
Before starting work on your Cappies Show, please consult the Award Category Guidelines. Note, for example, that if an adult sings a full song (or is otherwise in a supporting role), the show cannot be considered in the "musical" (or "play") categories.

Pay particular attention to the eligibility rules for non-performing categories, like Costumes, Props & Effects, Costumes, Choreography, Orchestra, and Creativity. If you wish to qualify your students for award consideration in those categories, you must provide information prior to the show. For your students to be eligible for the tech award categories, it's important to take care not to have too much adult participation. (See the rules, as stated in the Award Category Guidelines.)

For each non-performing category to be eligible, a tech board must be in the Cappies room and a tech form/Award Category Eligibility Form must accompany each category. See your regional program for specific guidelines. These forms are in the binder and must be signed by the Show director, student(s) in the category and the lead critic. 

Please read carefully, and complete, the Award Category Eligibility form. You must give this form to the Editor Mentor not later than 30 minutes prior to curtain. This is required for categories (i.e., Costumes, Props & Effects, Orchestra, Choreography, Creativity, Dancer) where it is helpful, and sometimes essential, for Critics to know what to consider, as they watch and listen to a show. If that information is provided after that, the Mentors will decide how necessary it was for Critics to have it in advance, and whether the show should be declared eligible or ineligible in that category.

For each non-performing category that involves a group of more than four persons (like an orchestra), please provide a name for the group. You can list no more than four individual names in any one category.

If you wish, you may share the Award Criteria Guide with your cast and crew. That would enable them to see what the Critics are being asked to keep in mind, look and listen for, and consider when scoring.

In preparing for a Cappies Show, and in the show itself, a cast and crew can feel a (gentle) taste of what it feels like to prepare and perform a critically-reviewed show in a professional theater environment. Some directors use the prospect of Cappies reviews as a way of encouraging performers and tech workers to take direction and rehearse seriously—and to focus on aspects of their work that might be improved, as the date of the Cappies Show approaches.

SHOW UPDATES AND SCHEDULE CHANGES
If your school application did not list the name of a Cappies Show, please alert program officials as soon as you know its name. If at any point you change the Cappies Show you'll be doing, that's all right, but you need to alert program officials right away.. If you need to change the show date or time (e.g., to change a matinee to an evening performance), you'll need advance approval from program officials. Usually, that can be arranged.

If, for any reason, including weather, your Cappies Show is canceled—or if you learn that there is a substantial risk that your Cappies Show may be canceled—you must inform the Program Director immediately.

SHOW PUBLICITY
Your Program Director may ask you and your students to participate in pre-show publicity, or to provide JPG photos to accompany published reviews. The Program Director may also ask your school to assist in regional publicity campaigns, for the Cappies or high school theater in general. If so, please work with your school's Show Director (and, perhaps, Critics) in providing what the Program Director may request.

Presenting a Cappies Show
Please plan ahead for your Cappies Show, and make sure you know what is expected. Each participating school is asked to designate a parent Booster, and that person can help—as can your school's Critics team.

A CAPPIES SHOW
If you and your students (and boosters) wish, you can treat your Cappies Show as a major event, with decorations, hallway entertainment, alumni receptions, the presence of administrators and faculty—or you can treat it as just another show, except with Cappies Critics present.

Don't forget to give your completed Award Category Eligibility form to the Editor Mentor, not later than 30 minutes before curtain.

If you "double cast"—and intend to do a show with different casts on different nights—you need to decide which cast will perform the Cappies Show. You can do this any way you want—by drawing straws, going with seniors, using your strongest cast, or some other criterion, but no school's show will be reviewed, or considered for awards, more than once.

If you intend any post-show recognitions, please wait to start that until after the Critics have left the theater. (You may want to make an announcement about that.) The Critics may not take part in any post-show audience discussion of the Cappies Show.

If you plan any other special recognitions, whether at the start of the show or before intermission, please excuse the Critics from those, as well. (If possible, you may wish to schedule those for a performance other than the Cappies Show.) 

CAPPIES ROOM
Please provide a "Cappies Room" for Critics and mentors. It can be a school room, chorus room, cafeteria, or something like that. You'll need to make that room available 45 minutes before curtain and up to 45 minutes after final bows. It probably won't take that long, but it might. Make sure your school's security force realizes this.

In the Cappies Room, set the room up in a way that best promotes discussion between the Critics, in a circle or all around one big table, depending on the number of Critics expected.
Your school will need to provide free refreshments in the Cappies Room—something to drink, perhaps some chips and cookies, something comparable to what the audience can buy at intermission. Your Booster can coordinate this, but please make sure it is done. If your boosters want to provide more than the minimum, that's fine, and (especially on week nights) it's often appreciated, but it's really not necessary—and, over the years, no one has ever felt that the quality of the food influences Critics, one way or the other.
Whoever handles the food needs to know that they can't be in the room during intermission and after the show, when the Critics are discussing anything. Those conversations are highly confidential, to ensure that nobody's feelings will be hurt. This means that parents will have to wait until the Critics are finished before they can start cleaning up. (Critics are encouraged to help clean up the Cappies Room.)

If more than 20 Critics are on the attendance list, and if you have it available, please try to provide a simple microphone and speaker for the mentors to use. This aids greatly in discussions.
You'll need to provide at least one student usher, to stand outside the door of the Cappies Room and escort the mentors and Critics to their seats right before the show starts, and again after intermission. Please make sure your stage manager doesn't start the show, or resume after intermission, until you know that Critics and mentors have been seated. It works well if they're the last ones seated, and then you start the show.

While the Critics are in the Cappies Room, the usher should stay by the door, in case there are any questions. It helps if the usher knows who's who on the cast. You, as Show Director, should be reachable, in case the mentors have any questions.

Please arrange for the Cappies Room to be secure, and locked, during the performance. If this is not possible, please alert the mentors, so they can advise Critics to keep all valuables with them at all times.

CAPPIES TICKETS
Under the rules, your school is required to provide complimentary tickets to Critics and mentors. You are encouraged, but not required, to provide excellent seats—preferably center section, about rows five to seven. Do not seat Critics in the first row or two—that can distract your performers—but make sure they are where they can see and hear well (even if sound and light problems arise), appreciate the intensity of the performances, and feel the energy of the audience response. At a musical, try not to seat Critics too close to the orchestra, to make sure they can hear the vocalists well.
If you seat the Critics elsewhere—on the sides, in the back, or in a balcony—you run the risk that they may not see and hear well enough to give full credit to all aspects of the show.
Please reserve wherever the Critics are going to sit, and make sure your ushers enforce this until the Critics arrive. It can be quite awkward when Critics enter the theater, right before curtain, and do not have enough seats, or have to sit around others in their seating area. Unless you have a full house and need every seat, it's a good idea not to have parents of students at your school, or anybody else, sitting next to Critics. The Critics like to write down notes during shows, and they don't like to do it when somebody from the school is sitting next to them, peering onto what they may be writing.

The number of Critics who attend your show will depend on the size of your program, the week of your show, and other factors. In small programs, during busy periods, the number may be ten or fewer. In large programs, especially at year end and during weeks when not many schools have shows, the number of Critics could swell to more than fifty.
It's true that these tickets are, in one sense, lost revenue to your school's theater program—especially if the show is a sellout. Over time, however, the Cappies will sell far more seats than you're being asked to provide. Many Critics also bring parents and other friends (often to help with driving), and they must purchase tickets.

Two weeks, one week, and two days before the show, you'll get an email telling you how many tickets are being requested. The count in this last email is usually (but not always) slightly smaller than the final ticket count. Please note that you will be asked to provide two tickets for Mentors (in unusual cases, three tickets for mentors) and two for Cappies officials. The officials' tickets may or may not be used.

Some Show Directors like to have as many Critics attend their show as possible. Others would rather limit the number. You may do so, within limits—and those limits vary with each Cappies program. In no case may you request a Critic limit of less than 30. (For most programs, the minimum limit will be 50.) If you think you might want to limit Critic attendance, you should do so as soon as possible.

You can request that a limit be placed at the start of the year, or at any time during the year—but you may not ask that Critics be removed from your show's attendance list. If you wait until 60 Critics have signed up for your show to request a limit, the limit cannot be set any lower than 60.

When you consider the number of free tickets you are providing for your Critics, please remember that other schools' Show Directors are providing free tickets to Critics from your school.
Under no circumstances can you fail to provide tickets to all Critics who are present and who were on the final (48-hour) attendance list, and to the designated mentors and program officials. Failure to do so can result in sanctions for your show, including possible disqualification from awards. If you are oversold, you will have to ask others to relinquish their seats.

You need hold tickets for Critics only until five minutes prior to curtain. If you have a sellout, you can sell any tickets set aside for any Critic who arrives later than five minutes before curtain.
If you anticipate that providing sufficient Cappies tickets could be a problem, you might think about adding an additional show, or scheduling a special Critics' performance, perhaps a dress rehearsal. Those might not be ideal performances to schedule as your Cappies Show, but this is allowable under the rules.

CRITICS MATERIALS
You'll need to provide show programs to all mentors and Critics. You can give them any other materials you'd like, about anything you think they should know about your show.
Make sure your show program spells all student and character names accurately—and spells them the same, every time they appear. Please proofread carefully, to prevent easily avoidable misspellings of names in published reviews. It helps Critics reviewing your show if you post a board displaying the photographs and names of cast members. Your school's Booster and Critics can help with these items.

If you wish, you can provide all Critics with a copy of your Award Category Eligibility form. This is not required, but it is helpful.

You may not give Critics any guidance on who to pick for the performing categories. That is for them to decide on their own.
If you wish, you may speak to the Critics before the show. During and after the show, you can only speak to them if you're invited, to answer specific questions they might have.

CRITICS DECORUM AND SAFETY
Please remind your cast and crew that, before or after the show, they may not socialize with any critic. Nor may they do so—including phoning, texting or emailing—until the Critic has submitted a review (or the final deadline has passed). Afterwards, they may have social contacts with a Critic who may be a friend, but should never discuss anything said in the Critics' discussion, including Critics' Choices and scores.

Critics may not openly discuss any aspect of the performance within earshot of any member of the audience. If you notice this occurring, please alert s mentor. And, of course, please do not allow any parent to ask any Critic for his or her opinion of the show.

The safety of Critics is of paramount concern. No Critics may be left alone, late at night, at an unfamiliar school. Under the rules, one Mentor is required to remain at a performing school until the last Critic has left for home. If you see a Critic left alone, waiting for a ride, with no Mentor in sight, please remain with that Critic until someone has arrived with a ride home.

Please remind your Booster to help you prevent flash photos during a Cappies Show, which can sometimes be a problem. You might want to make a pre-show announcement, and usher enforcement of the rule if anyone takes a flash photo. This is not a Cappies rule—just a strong suggestion. It is well-known to any theater director that flash photos can be very distracting to performers, causing them to break concentration and keeping them from doing their best onstage. Flashes can also interfere with the concentration of (and be annoying to) the audience—and Critics. Video cameras can also distract performers and Critics, and you might consider only allowing them in locations where they do not affect the performers' concentration and the audience's view of the show.

Cappies Reviews
Program officials will forward reviews of your Cappies Show directly to you, usually on the Sunday night or Monday after your show.
All Critics who attend a show are required to submit a review. In most Cappies programs, somewhere between 90% and 95% of all Critics who attend a show do submit a review before the final deadline (the Wednesday following a show—three days after the original deadline, which is Sunday).
It can be quite an exciting moment when the Cappies reviews arrive. Usually, it is also quite a happy moment for the cast and crew. Reading the reviews can also be a good learning experience for them, and a useful feedback mechanism for you, as the Show Director.
Cappies reviews are, on the whole, warmer than reviews of professional shows, and that is as it should be. Nearly always, there are many positive mentions of students. However, these are real reviews, and Critics are told not write "rave" reviews only for rave-worthy shows. They are encouraged to make criticisms, and they usually do. Those criticisms must follow the rules, the key aspects of which are (1) no criticisms by name (or character name), and (2) no sarcasm or negative tone.

Also, Critics are not allowed to praise or criticize adult theater directors, by name or by implication. They may not praise or criticize other adult by name. They may not criticize any work done by students younger than 9^th grade. They are encouraged to mention an adult playwright or composer, but their task is not to critique the work, but rather a school's production of that work.
To learn more about what is and is not allowable in Cappies reviews, you can see the rules—or look through the Critics' training materials, which offer numerous examples.
You should expect that some student work will receive critical comments, some students will be praised more than others, and some students may be disappointed in not being praised or mentioned.

The spirit with which the reviews are received by a cast and crew can depend on how you present the reviews to them. Encourage them to take whatever useful things they can from the reviews, while keeping in mind that each review is one person's opinion, nothing more nor less.

By agreeing to host a Cappies Show that will be reviewed, you are agreeing to post the reviews for your cast and crew to read, subject to this exception: You may choose to withhold a review for any reason—if, for example, you consider a comment to be blatantly unfair, or if you know a particular review will be received very poorly by one or more students—but you can do so for no more than one to three reviews. (See the rules.) Most Show Directors prefer to let their Critics see all the reviews, regardless what they say.
You may, if you wish, share Cappies reviews with parents and others, but you are not required to do so. You may wish to select a few of them for that purpose.
You are welcome to use Cappies reviews for promotional purposes. You may quote any portion of any Cappies review, as long as you credit it to the Critic and the Cappies.

The mentors will select the reviews to be published. In some programs, the reviews submitted to major newspapers will not be forwarded to the performing schools, because those reviews are likely to be edited further.

When selecting reviews for publication, mentors know they are determining which reviews will be "of record," and shared with the public. They are encouraged to give equal weight to their accuracy and the quality of the writing. Therefore, they have the responsibility of determining which reviews are the best-written descriptions of what did in fact happen on stage. It often happens that a Mentor is a friend or professional colleague of the Show Director whose Cappies Show is being reviewed. One of the reasons two mentors are scheduled for each show is to provide two professional judgments about which reviews should be published.

It is important, for many reasons, for Show Directors not to express any objection to the selections after they are published, to a cast or crew or anyone else.
It is against the rules for a Show Director, or any other teacher, parent, or student from the performing school, to discuss any review (published or not) with a critic.

Critics' Choices
A Critics' Choice is not a nomination, but rather a decision to place a candidate on the year-end award ballot.
To be a Critics' Choice, a student (or group) must be eligible in an award category. For information about that, or to see what other guidelines the Critics are following in selecting Critics' Choices, please see the Award Category Guide.
After a Cappies Show, during their post-show discussion, the mentors determine the award categories for which a show qualifies. In the non-performing categories, they base this on information provided by the Show Director. The Critics then determine who their "Critics' Choices" are for each award category for which the show qualifies. They do this by consensus, or if necessary by vote.

Between 7 and 10 days prior to award voting, (earlier in some programs)  the Program Director will send you an  email, listing the Critics' Choices for that year's Cappies Show (or shows). This is to confirm name spellings and correct obvious errors only. You will be asked to email any corrections.

REVIEW WRITING

These materials are provided to Critics, in their binders. They are also provided to you, to help you select and edit reviews.


Cappies reviews are real theater reviews.
When Critics write them, they are encouraged to:

• Meet the deadline.
• Do the best writing they can.
• Be accurate and honest.
• Follow the rules on criticism.
• Reflect overall critic opinion, as well as their own.
• Not copy from the internet, without attribution.
• Spell names correctly.

The following materials are intended to help them as writers:
WRITING TIPS
SEVEN PARAGRAPH PLAN
MAKING CRITICISMS
BEING FAIR AND ACCURATE
SAMPLE REVIEWS
REVIEW WRITING EXERCISE
NEW! THE GOLDEN RULES OF THEATER REVIEWS BY MARIO ONA, THE WASHINGTON POST (END OF THIS BINDER.)
WRITING TIPS
The Cappies is not only a theater program. It's all about writing, too. Critics have to write quickly and well, use words efficiently, and edit their own writing—under tight deadlines.
The following are some specific tips you to use when you write reviews, and some general tips for you to use when writing about anything and everything.
Please see The Golden Rules of Theater Reviews by Mario Ona, The Washington Post for the most recent take on writing reviews that will catch the editor's eye!
TIPS FOR WRITING CAPPIES REVIEWS

1. Start by writing down a one-sentence description of your overall commentary of the show. Think of it as the last sentence of your review. Doing that first will help focus your thinking.
2. Next, write a strong, interesting opening sentence that will command the reader's attention and set the stage for a review that will culminate in that last sentence you just wrote.
3. Fill out the first and last paragraphs. (See "J. Koli's Seven Paragraph Plan" for pointers here.) Try not to make those paragraphs longer than three long sentences or four short ones.
4. For your first two or three reviews, closely follow J. Koli's plan. Once you get comfortable with review writing, you'll probably find creative ways of varying from that structure. If so, fine.
5. Craft a good topic sentence to start every paragraph—and limit paragraphs to four sentences.
6. Use the past tense. Nearly always, a show has closed by the time a Cappies review is published. However, you may wish to describe the story in the present tense. Except for that, be careful not to go back and forth from past to present tense.
7. Never put yourself in the review (I, we, this critic). That's actually a "nearly never" suggestion, because there may be the odd circumstance where it might make sense for a critic to do that—but wait until you've written several reviews.
8. Avoid words that declare themselves to be praise (commendable, praiseworthy) or criticism (unfortunate, detracted, marred, plagued). Instead, describe specifically what was good or what the problem actually was.
9. Never use double-negatives (which that sentence was, if you look closely). Don't say that something "did not disappoint." Say that it delighted.
10. Use descriptions that are original and specific. Avoid theater clichés, like "stole the show," "brought the house down," "had the audience rolling in the aisles," or even "had great chemistry."
11. You may find it helpful to use spell-check or grammar-check. Even good writers use them to find typos. To do that, write your review on your word processing program. When you're done, copy it with a right mouse-click or keystroke command, and then paste it onto the review box on C.I.S. Remember, though, that spell-check misses quite a few misspellings (like "there" where you mean "their").
12. Make sure your review looks good when the mentors read it. On C.I.S., remember these key formatting rules: (1) Don't indent paragraphs. (2) Don't hit the "return" bar at the end of each line. (3) Put a space between each paragraph. (4) Don't include your name.

GENERAL WRITING TIPS

1. Learn to keyboard as quickly, correctly, and comfortably as you can. Your goal should be to type as quickly as you speak in normal conversation. (This could be the single most important skill for a writer.)
2. Be comfortable when writing, with good sitting posture, and be careful of repetitive stress injuries. Sit in a good chair, with wrist guards and a hand-friendly mouse. Carpal tunnel is no joke.
3. Focus when you write. Multi-tasking is fine for some kinds of work, but not for this. If you listen to music, it should be wordless.
4. Outline before you start writing—even if informally, through a "brain dump" that you can sort and use as a template for whatever you are writing.
5. Work on the start and end of a piece (in either order), and then fill in the middle.
6. Learn how to edit your own work—and how to listen to suggestions from others.
7. Make sure your writing sounds good when read aloud. Alternate between short and long sentences, and sentences with different structures.
8. Try to "boil down" your writing to eliminate redundancy, "throat clearing," and other fluff. Look at each sentence, and see if you can cut it by a third or half and still say the same thing, in more concentrated prose. Do that through a whole piece that you've written, and you'll be surprised how much sharper it will read.
9. Focus on nouns and verbs ahead of adjectives and adverbs—and use active (not passive) voice with your verbs.
10. Find a nice mix between short, blunt words (the Anglo-Saxon kind) and the longer, mellifluous (Latinate) ones. Some of both makes for the best style.
11. Keep sentences clear, not convoluted, with active subject nouns close enough to the main verbs so your reader won't get lost in mid-sentence.
12. Keep to a reasonable minimum your use of linking verbs (is, are, was, were), especially when used with flavorless nouns (there, that, this, it).
13. Find and use flavorful words, but make sure they say exactly what you mean. Use a thesaurus and dictionary, but be careful not to misuse words you've never used before.
14. Use spell-check and grammar-check, but realize the limits of both. Be as good a natural speller and grammarian as you can.
15. Use punctuation smartly, to help make your prose more readable. Try not to use colons or semi-colons. They slow readers down. Instead, use short sentences—or dashes, which are always good for suggesting a pause, followed by a tag line. Use commas generously, giving readers cues for where to pause or change vocal direction.
16. Make sure your final product looks great, in readable layouts and fonts. Learn how to use all the options on your writing program. Desk-top publishing is a terrific tool, so take advantage of it.
17. Become skilled on how to write in different dimensions, levels of detail, and voices—for example, how to write a footnoted research paper, a speech, a news article, an executive summary, a sound bite, or even just a title, all about the exact same subject.
18. Be adaptable in your writing style. To learn to do this, practice retooling your message around various specific styles. For example, find a paragraph somewhere, and try to write it in the styles of your four favorite novelists.
19. Develop your own style. Good writers do that too, over time.
20. Get that "free lance" attitude. To be a good writer, you have to have something to say. Observe things carefully, and analyze them in new ways.
21. Take creative chances. The best writers try to do unusual (even hard) things, succeeding sometimes and failing other times. Professional writing is not like school, where students are inclined to avoid mistakes and often too inclined to play it safe.
22. Improve your spoken conversational style. Speak in complete sentences, with correct grammar and good word choices. When you talk, try not to use "word weeds" (like, you know, I mean). Over time, this will improve your writing.
23. Find ways of making writing fun—and purposeful. When you have an idea, or feel strongly about something you've read or seen, write it down. Send it to a local newspaper. They might publish it. You never know.…

Seven Paragraph Plan

I'm Jason Kobielus, alias J. Kobi, and I was a Cappie critic for three years. I remember back when I was just getting started, how I wondered how to write a review. They told me about a Seven Paragraph Plan. It's not a rule, and you don't need to follow it, but it's a useful way to write a review of about the right length, covering all the most important aspects of a show. Based on my own experience, I encourage you to write your first review or two this way, and then maybe use this as an outline for reviews you do after that.
Here's what to do:
Paragraph 1: Lead
Two types of leads can really catch a reader's attention.
Number out: the zinger. The zinger is a catchy, one-sentence grabber that plays off the production or content of the script. This type of lead has tons of room for creativity; however, it must be extremely clear and extremely concise (don't go above one sentence).
Nikki's parents ran away, Luis's hooked on cocaine, Jackie's a child prostitute—and you thought your neighborhood had issues! Last weekend, Pauly Shore High School paid tribute to the abandoned children of America's ghettos in their production of "Runaways."
And number two: the dramatic describer. If a show has a very captivating opening moment, or one that is perhaps definitive of the play on-hand (i.e. the ballet fight-dancing which opens West Side Story), the dramatic describer works well. This is oftentimes good for plays of a more serious content.
A procession of silhouetted actors filed listlessly through the auditorium, as projectors and television screens displayed slide after slide of familiar images – protesters, candlelight vigils, men in orange jumpsuits and the voices of newscasters repeating the name "Matthew Shepard." So began Harold & Kumar High School's recent production of "The Laramie Project"…
Whatever you choose, make sure it's clear, concise, correct, and grabs the eye.
Paragraph 2: The Story
Before detailing into the plot of the play, add a tidbit about the history of the show. When was the play written? How long was it on Broadway? Has it won any notable awards? If the play, performing school, or writers/composers/lyricists have not been mentioned before or in this section, do so.
For the story synopsis, write two or three well-crafted sentences that covers the major plot elements of the script (and only the major plot elements). Mention major characters, and key settings and timeframes as well as what happened in the plot. Keep audiences interested in the play/musical on-hand—for example, use a cliffhanger to finish out a synopsis rather than cover every major plot element until the final curtain. Perhaps with more weighty shows, finish off the synopsis by mentioning some of the major themes in the production.
Paragraph 3: The Overall Production
Make some broad observations here. What production element anchored the show? An inventive or unusual concept? The cast's energy? The choreography? Technical elements or effects? A specific actor or ensemble? Write two or three very considered sentences about this, but only if you considered the show to be a success.
Quentin Tarantino High school's production was anchored by the exceptional talent and versatility of the ensemble. Every member of the 38-person cast helped convey the riveting truth behind the intricate script, making each of the characters clear-cut, complex, and captivating.
If the show fell short in key areas, describe it without praising it too much. Mentors will see right through any great proclamations about a show's success if it wasn't that good. If there were major problems, don't put them here. Include them further down, or merge them with another paragraph.
Paragraph 4: The Leads
There are three options for writing about leads: (1) Mention each of them separately (if there are more than one), (2) Combine mentions (if in your opinion their performances were of equal standing), or (3) Not mention them at all. If you feel you should criticize the leads—and if they were weak, you should—it's best not to do it here, where it would be totally obvious who you're criticizing, but later in the review, where you can state in a more indirect manner. Everybody who saw the show may realize you're criticizing the leads, but it's a little easier for performers to take that way. Remember not just to say something was good. Say how and why it was good.
Paragraph 5: The Supporting Characters and Ensemble
Haven't gotten to the featured actors yet? Really liked that vocalist, dancer, or Featured performer? What about an ensemble you really enjoyed? Or that great choreography? This section has the most freedom concerning your ability to write about specific performance elements you enjoyed. Criticisms about all aspects of performance—ensembles, minor characters, and leads—are appropriate here. Do not hesitate to criticize performers, when warranted, but justify all criticisms with specific and persuasive examples.
Paragraph 6: Tech
Sets. Costumes. Lights. Sound. Props and Effects. Stage Crew. Makeup. Pick two or three technical elements which were most integral in the success (or problems) of the production, describe their major facets (for example, what costumes were most notable), and explain why they was successful (or problematic). Realize that tech aspects can be easy or hard in any given show. It's a lot harder to do sound for a full-scale musical than for a black-box play, and your words of praise or criticism should reflect this. Try not to criticize the techies more than the performers unless you feel that is justified.

Paragraph 7: Closer
Like your lead, there are many different styles of closers, some more appropriate for different types of shows/productions than others. Some options to consider: if the emotional content of the script was particularly difficult, commend the performing school on a successful production; if the production has social, political, or emotional implications attached to it, mention those. Using references to the show (i.e. puns) can be extremely helpful here. Try to write a punchy "squib" lines, a strong "sound bite" phrase of the kind you often see quoted in newspaper ads for shows. Have fun with your closer, but make sure you don't go over the top.
Two rules: (1) Any negative criticism mentioned here should be combined and overshadowed by a positive criticism, and avoid all criticism about specific elements of the show. (2) Try to measure your praise here, using "rave" language only for rave-worthy shows, and using only those words that actually do describe what you saw on stage.

FINAL TIPS
This seven-paragraph format is just a guideline, and it's fine to vary the structure of your review, especially if you "suit your review to the show," so to speak. As you become experienced at this, you should try to make your reviews special, enjoyable, and (perhaps) a useful learning experience for each cast and crew about whom you write.
Use lots of rich nouns and verbs, and refrain from using extraneous adjectives and adverbs. They make the review sound phony.
Don't say how the audience felt, because you don't know—but it's fine to say what the audience actually did.
Oh, and spell everybody's names correctly—performer names, character names, and the names of the playwright and composer. The best single way not to get your review selected for publication is to spell even one name wrong.
Good luck!

Jason Kobielus
Critic Alumnus, Thomas Edison High School, Class of 2005
Cappies of the National Capital Area

MAKING CRITICISMS

While a core purpose of the Cappies is to promote and celebrate high school theater, the critical reviews must have integrity, fairness, and accuracy. Not every show can or should receive a rave review. Most shows have aspects that could have been better—and, therefore, most reviews should include some criticism.
In selecting reviews for publication, Mentors are encouraged to select the best written, fair and accurate description of what actually happened on stage. The reviews they select are not necessarily the most favorable reviews.

When making criticisms, however, you realize that you are not evaluating experienced professionals, but students who are learning about theater arts. This may be the first time they have ever been in a reviewed show.
Don't criticize the playwright or composer. Focus on the production itself.
Choose your words carefully. Be brief. With criticisms in Cappies reviews, a brief phrase, or even just a word or two, can make your point. State your criticism succinctly, and then move on.
Realize that Cappies reviews are often read very closely by the director, cast, and crew. As you write them, imagine the performing company reading them. If you attended the school whose show you reviewed, the cast and crew would probably be your friends. Think of them that way. State criticisms in the way you would state them to a friend.
The best place to state a criticism is near the end of a review, but not in the last paragraph. It's often good to make them near the end of a paragraph, but not in the last clause.
Try to state a criticism in a positive, constructive context. As in: Yes, there was this problem, but the cast overcame it in such-and-such a way. Or: I noticed this flaw, but it did not detract from these other positives.

Only work by students may be criticized (or praised). If the show includes performers younger than high school age, please either praise them or say nothing at all about them.
At times, the most appropriate way to state a criticism can be to say nothing at all. If you say nothing about the lead performers but broadly praise minor characters, that may be all you need to do to make your point.

BEING FAIR AND ACCURATE

When selecting reviews for publication, Mentors are asked give equal weight to:

1. Accuracy and fairness, with honest descriptions of what actually happened on stage, proportionate praise and criticism within the range of fair comment, and solid analysis of theater;
2. Quality of writing, with an engaging and creative style, of interest to readers who did not see the Cappies Show, with a succinct background of the play, and a brief synopsis of the story;
3. A reflection of the overall Critic opinion of a Cappies Show, and various aspects of that Show, as expressed during discussions—while giving some deference to a Critic's own opinions, when they are reasonable and defensible.
4. Correct spelling of all cast, crew, character, and other names.

(Mentors may also decide not to select any reviews marked as late—so be sure to get your review in on time, if you want it to be considered for publication.)
Remember: The Mentors saw the same show you did. You should only write rave reviews for rave-worthy shows. Reviews for shows of different caliber should reflect those differences. At the same time, even the weakest of shows is being performed by high school students, and the purpose of reviewing their show is to provide a learning experience, not to demean anyone.
Critics often report that it is easier to write a review of an outstanding show than a disappointing one. Among those in between—the majority of shows—the gradations may seem difficult to express.
Two Critics were asked to do this, for a fictitious South Pacific and Hamlet. The next several pages show what they wrote. The critics are Jason Kobielus (Edison High School, NCA Cappies) and Emily Woodhouse (River Hill High School, Baltimore Cappies). What they did with South Pacific and Hamlet illustrates how Cappies reviews can be written in a creative, lively, and interesting manner, how they can state criticisms within the rules, while at the same time accurately reflecting the difference among shows of vastly different quality. 

In each of these two sets of four reviews, note the slightly varying treatment of the same show elements, in corresponding paragraphs. Add up those slight variations—from the measured praise to the extent of criticism—and the overall tone of each review diverges significantly from the others. When read in full, each review reflects the score deserved by the show. Each is written well enough to be deserving of being selected for publication, by mentors who might find the words of praise and criticism to be accurately stated.

SOUTH PACIFIC: Review of a musical worthy of an 8 or 9
Use a paradise location to describe the most un-paradisiacal of situations, and you've got South Pacific, an epic tale of love, prejudice, and palm trees performed brilliantly last weekend by Little Valley High School. This Rodgers & Hammerstein musical won nine Tonys in 1950, and ran for over 2000 performances on Broadway before hitting the screen in 1958.
On a tropical island during World War II, love blossoms between Navy nurse Nellie Forbush (Mary Johnson), a self-described "hick" from Arkansas, and expatriate French planter Emile de Becque (Joe Smith). Meanwhile, recent Princeton graduate Lt. Joe Cable (Brad Williams) falls head-over-heels for Liat (Michelle Robinson), a soft-spoken Tonkinese girl whose mother Bloody Mary (Jane Thomas) is more than happy to wed her off.
The themes of prejudice, inequality, and the inhumanity of war that finish off this Pulitzer-prize winning musical were skillfully brought to life by a vibrant cast that showed real understanding of every nuance of the story.
Little Valley's production was buoyed by the incredible energy of the entire ensemble. Poignant duets were lined with perfect sadness and melancholy, while big ensemble numbers projected a robust excitement. Every line was delivered with just the right amount of starch or emotion, as the tightly focused cast made full use of every exploitable element, whether a punch line or dance line, a hope or a fear.
Mary Johnson clocked in with an outstanding performance as 'cockeyed optimist' Nellie Forbush. Between joking around with the Seabees, rehearsing with fellow nurses for the Thanksgiving show, or trying to conquer her Arkansas prejudices, Johnson styled a well-rounded character while revealing the poise and grace of a leading lady throughout.
As Emile de Becque, Joe Johnson combined the air of an elderly gentlemen with a classic seductive Frenchmen in a dignified, resilient performance. On duets like "Twin Soliloquies," Johnson's operatic soprano and Smith's tenor combined for an enchanting tone.
With a mix of playful mock and big-boned jolliness, Jane Thomas provided a full-fledged comic foil as Bloody Mary, with entrances that made audiences roar.
Matt Baker's Luther Billis and his ruffian crew of Seabees added their own puckish twist to the script's comic relief. "There's Nothing Like a Dame" has a bombastic chipper to it seemingly unwritten in the script; while Baker's solo performance on "Honey Bun" drew huge laughs with his stunning mastery of a jiggling coconut bra. Throughout the cast, line articulation was outstanding, and vocalists showed superb range and styling with very difficult music. Every song conveyed exactly the attitude required for the character and story.
Justin Bonner's stage crew kept the show running smoothly at all times. The sound was nearly flawless—no small feat for a show with this many vocalists using microphones.
Among the many other superb technical aspects were Jill Benning's sets, with their use of cool blue backdrops and luscious green flora to capture the show's tropical atmosphere, and Martha Cunningham's costumes, a simple but effective mix of sailor suits, military uniforms, and traditional Asian frocks.
For an exciting production with near-professional polish, Little Valley deserves many rounds of applause, as this "enchanted evening" proved nothing short of spectacular.

SOUTH PACIFIC: Review of a musical worthy of a 6 or 7
Use a paradise location to describe the most un-paradisiacal of situations, and you've got South Pacific, an epic tale of love, prejudice, and palm trees performed with aplomb last weekend by Little Valley High School. This Rodgers & Hammerstein musical won nine Tonys in 1950, and ran for over 2000 performances on Broadway before hitting the silver screen in 1958.
On a tropical island during World War II, love blossoms between Navy nurse Nellie Forbush (Mary Johnson), a self-described "hick" from Arkansas, and expatriate French planter Emile de Becque (Joe Smith). Meanwhile, recent Princeton graduate Lt. Joe Cable (Brad Williams) falls head-over-heels for Liat (Michelle Robinson), a soft-spoken Tonkinese girl whose mother Bloody Mary (Jane Thomas) is more than happy to wed her off.
The themes of prejudice, inequality, and the inhumanity of war in this Pulitzer-prize winning musical were ably brought to life by an excellent cast that interpreted the story very persuasively.
Mary Johnson gave an excellent performance as 'cockeyed optimist' Nellie Forbush. Between joking around with the Seabees, rehearsing with fellow nurses for the Thanksgiving show, or trying to conquer her Arkansas prejudices, Johnson created a well-rounded character while never losing the poise and grace of a leading lady. Opposite Johnson was Joe Smith as Emile de Becque. On duets like "Twin Soliloquies," Johnson's operatic soprano and Smith's crisp tenor combined for a pleasing medley.
With a mix of playful mock and big-boned jolliness, Jane Thomas crafted a full-fledged comic foil as Bloody Mary, evident in songs like the anthem-like "Bloody Mary" and the ticklish "Happy Talk." Additional comic relief was provided by Matt Baker as Seabee Luther Billis, who demonstrated incredible skill with a jiggling coconut bra on the amusing "Honey Bun."
The commitment and energy of the entire 41-person ensemble carried this production. The energy on big dance numbers like "I'm Gonna Wash That Man Right Out of My Hair" more than make up for any other injustice. Swaggering sailor tunes like "There's Nothing Like a Dame" had a chipper air that seemed to come at least as much from the chumminess of the cast members as from Rodgers' libretto. While a few lines were hard to hear, the vocalists did fine work with some difficult music, and did very well in keeping their songs tightly in character.
Jill Benning's sets, with their use of cool blue backdrops and luscious green flora, effectively captured the show's tropical atmosphere—as did Martha Cunningham's inventive costumes, a simple but effective mix of sailor suits, military uniforms, and traditional Asian frocks. Most scene changes were swiftly made. For a show with this many vocalists using mics, the sound was quite good. Even when small microphone problems arose, the cast and crew adjusted very skillfully and could be heard clearly.
Clocking in at three hours, "South Pacific" is truly a difficult production for a high school to tackle, but Little Valley turned in a very fine show.

SOUTH PACIFIC: Review of a musical worthy of a 4 or 5
Use a paradise location to describe the most un-paradisiacal of situations, and you've got South Pacific, an epic tale of love, prejudice, and palm trees performed solidly last weekend by Little Valley High School. This Rodgers & Hammerstein musical won nine Tonys in 1950, and ran for over 2000 performances on Broadway before hitting the silver screen in 1958.
On a tropical island during World War II, love blossoms between Navy nurse Nellie Forbush (Mary Johnson), a self-described "hick" from Arkansas, and expatriate French planter Emile de Becque (Joe Smith). Meanwhile, recent Princeton graduate Lt. Joe Cable (Brad Williams) falls head-over-heels for Liat (Michelle Robinson), a soft-spoken Tonkinese girl whose mother Bloody Mary (Jane Thomas) is more than happy to wed her off.
The themes of prejudice, inequality, and the inhumanity of war in this Pulitzer-prize winning musical came through nicely in this performance.
Mary Johnson was convincing as 'cockeyed optimist' Nellie Forbush. As her character's Arkansas prejudices resurfaced upon meeting Emile's Polynesian children, Johnson revealed a solid emotional grasp of her part. Johnson's roaring soprano and natural comfort on stage added to the intrigue of her performance.
With both cheekiness and tongue-in-cheek, Jane Thomas brought charm to the role of Bloody Mary. On songs like "Happy Talk," Thomas playfully mocks the lovers Cable and Liat without losing the grace or humor of her character.
The big-boned Seabee Luther Billis was enjoyably played by the comically-adroit Matt Baker. Though other numbers seemed to lack impact, Baker, along with his ruffian crew of sailors, used a grab-bag of swaggering, womanizing antics to make "There's Nothing Like a Dame" an audience favorite. Baker's solo performance on the cross-dressing "Honey Bun" was very amusing, as he demonstrated his mastery of a jiggling coconut bra. Articulation was a problem from time to time, and some vocalists strained to hit notes, but the performers always kept their characters clearly in focus.
Jill Benning's sets, with cool blue backdrops and luscious green flora, nicely captured the show's tropical atmosphere—as did Martha Cunningham's costumes, a mix of sailor suits, military uniforms, and traditional Asian frocks. At times, major scene changes were heavily drawn out. Microphones were occasionally muffled, but the cast and crew never lost focus and adjusted well.
Clocking in at three hours, "South Pacific" is a challenging production for a high school to tackle, but Little Valley gave it a good effort, in a show well-received by the audience.

SOUTH PACIFIC: Review of a musical worthy of a 2 or 3
Use a paradise location to describe the most un-paradisiacal of situations, and you've got South Pacific, an epic tale of love, prejudice, and palm trees performed last weekend by Little Valley High School. This Rodgers & Hammerstein musical won nine Tonys in 1950, and ran for over 2000 performances on Broadway before hitting the silver screen in 1958.
On a tropical island during World War II, love blossoms between Navy nurse Nellie Forbush (Mary Johnson), a self-described "hick" from Arkansas, and expatriate French planter Emile de Becque (Joe Smith). Meanwhile, recent Princeton graduate Lt. Joe Cable (Brad Williams) falls head-over-heels for Liat (Michelle Robinson), a soft-spoken Tonkinese girl whose mother Bloody Mary (Jane Thomas) is more than happy to wed her off.
Themes of prejudice, inequality, and the inhumanity of war finish off this Pulitzer-prize winning musical.
Mary Johnson was believable as the 'cockeyed optimist' Nellie Forbush. As her character's Arkansas prejudices resurface upon meeting Emile's Polynesian children, Johnson revealed a solid understanding of her part. Johnson's enthusiasm and comfort on stage added to her performance.
As Bloody Mary, Jane Thomas brought an eye-opening, tongue-in-cheek charm to the production. On songs like "Happy Talk," where she playfully mocked the lovers Cable and Liat, Thomas displays enthusiasm and energy for the role.
The big-boned Seabee Luther Billis was nicely played by the comically-adroit Matt Baker. Though other ensemble numbers lacked crispness and energy, Baker, along with his ruffian crew of sailors, used a grab-bag of swaggering, womanizing antics to make "There's Nothing Like a Dame" an audience favorite. In his amusing solo performance on the cross-dressing "Honey Bun,"Baker demonstrated his jiggling coconut bra. Articulation was a problem in many scenes, and a number of songs had pitch errors, but the performers did nicely to stay in character.
Jill Benning's sets reflected the story's tropical atmosphere, with basic backdrops and suggestions of green flora around the stage frame. Martha Cunningham's costumes were simple but effective, using a mix of sailor suits, military uniforms, and traditional Asian frocks. Many scene changes were heavily drawn out, even when little amelioration was made to the set. Muffled and faulty microphones challenged the production throughout, but the cast and crew admirably trekked on through every difficulty.
Clocking in at three hours, "South Pacific" is truly a difficult production for a high school to tackle, but Little Valley took to the task admirably.

HAMLET: Review of a play worthy of an 8 or 9
The play's just the thing in Pleasant Valley High School's magnificent production of William Shakespeare's Hamlet. A superbly talented group of actors tackled the Bard's most famous tragedy, detailing the tragic downfall of a power-hungry king, an adulterous queen, and a scheming, vengeful young man who dances around the edges of insanity, in a gripping performance of this famous play.
In the titular role of the brooding Prince of Denmark, John White's Hamlet told a tale of woe and grief as he plotted to avenge his father, the King of Denmark's, death and the ascension to the throne of his murderous uncle. White glided with ease through the multitude of monologues, from "I am mad but north-northwest" to the infamous "to be" speech. White seemed neither intimidated or burdened by his lines but spoke them with an eloquent and graceful manner, letting his emotions guide the way. His portrayal was a perfect combination of strength of mind and insanity.
Jane Green expertly played Hamlet's scorned love interest Ophelia. Green's Ophelia was perfectly frail and a strangled kind of passion seemed believable between the two young lovers. Green allowed her character a mounting confusion that was tangible, even haunting, to the audience, allowing them to see the reason for her untimely suicide.
Throughout the show, lead and ensemble performers artfully blended the comical with the insane and interacted with each other with terrific chemistry. All performers showed masterful comprehension of the underlying meanings and motivations of Shakespeare's artful phrasings.
Hamlet's plans to undo his uncle Claudius (Martin Robinson) were foiled by the stalwart Laertes (Thomas Jones). In the final fight between Hamlet and Laertes, White and Jones performed swordplay that was both beautifully choreographed and menacingly executed. Laertes and Hamlet's consecutive deaths were brought about by much clanging of steel as the actors believably confronted their bitter rivals to the very end.
The action took place on and around a solid, cold-looking model of the castle Elsinore. Designed by student Mike Li, it was a genuine representation of the uneasiness of living in the medieval times, having minimal comforts and decorations. A truly pragmatic and marvelously functional piece of scenery, it allowed action to occur on many levels of the castle floors.
Hamlet raises a vital question for all of us: How far would you go to justify the death of someone you loved? In this case, Pleasant Valley's adroit cast showed a spellbound audience that vengeance led to Hamlet's tragic ending. After witnessing a skill level and on-stage ease unusual for performers in a high school show, the audience brought the cast back for a standing ovation—proving it is far better "to be" than "not to be."


HAMLET: Review of a play worthy of a 6 or 7
Dead, for a ducat, dead? The phrase "alive, for your ducat, alive" comes more to mind for Pleasant Valley High School's performance of Hamlet. The deeply tragic tale of the young Danish Prince was lively indeed with raucous swordfights, weeping speeches, poisoned goblets, murders, adultery, and the occasional famous monologue in a strong recent performance of this famous play.
Hamlet, Shakespeare's renowned tragedy, told the story of Prince Hamlet (John White), whose father the king was murdered by Hamlet's scheming uncle Claudius (Martin Robinson,) who also married Hamlet's mother Gertrude (Elizabeth Bowman.) Hamlet's feelings of betrayal lead him to fake his own insanity in a plot to overthrow Claudius.
As Hamlet, John White grasped the depths of this particular character with great artistry. White's way of telling the story through rich facial expressions made it easier for the audience to grasp his emotions. White's chemistry with the actresses in the show, particularly Jane Green as Ophelia, was particularly commendable. The tense love/hate relationship carried out between them showed Ophelia's obvious confusion and Hamlet's cruel harshness towards the lady. His complex range of emotions for his love interest (spanning from adoration to spite in a few scenes) changed rapidly but never left the audience hanging.
The supporting roles were wittily filled by Gus Smith and Jennifer Johnson, who played Hamlet's childhood friends Rosencrantz and Guildenstern, (respectively.) Two minor characters, Rosencrantz and Guildenstern are sent by the King and Queen to "glean what afflicts him." However, while their characters were written small, Smith and Johnson managed to fill the stage with their wit and spirit. Their appearance onstage meant a lighter scene was about to take place. For all their energy, they made the perfect comic duo.
Throughout most of the show, lead and ensemble performers nicely blended the comical with the insane and interacted with each other with persuasive chemistry. On the whole, the performers gave solid interpretations of Shakespearean dialogue.
The play was largely well-choreographed, despite the lack of sword fighting at the end of Act V, which left four dead bodies after some rather weak combat. By comparison, Hamlet's stabbing of the court gossip Polonius (Anthony Little) was gory and thrilling.
Mike Li's set design of the castle Elsinore let audience's imaginations wander down the cold stone halls of medieval royalty. A truly pragmatic and functional piece of scenery, it allowed action to occur on many levels of the castle floors. The lighting, also a Li design, created a dappled atmosphere that evoked images of northern Denmark.
Hamlet raises a vital question for all of us: How far would you go to justify the death of someone you loved? In this case, Pleasant Valley's cast skillfully showed that vengeance led to Hamlet's tragic ending in this, the Bard's most difficult tragedy, proving it is far better "to be" than "not to be."

HAMLET: Review of a play worthy of a 4 or 5
Ah, Denmark's a prison. Pleasant Valley's Hamlet, the deeply tragic tale of the young Danish Prince, was filled with raucous swordfights, weeping speeches, poisoned goblets, murders, adultery, and the occasional famous monologue in a solid performance of this famous play.
Hamlet, Shakespeare's renowned tragedy, told the story of Prince Hamlet (John White), whose father the king was murdered by Hamlet's scheming uncle Claudius (Martin Robinson,) who also married Hamlet's mother Gertrude (Elizabeth Bowman.) Hamlet's feelings of betrayal lead him to fake his own insanity in a plot to overthrow Claudius.
John White played Hamlet with dexterity. The obvious lead in the show, White commanded the audience's attention whenever he appeared onstage. His eloquent deliverance of his several lengthy monologues was never dull, and his rich facial expressions helped give depth to his performance.
Although the chemistry between some characters was somewhat lacking in this performance, the connection between the prince and his childhood friends Rosencrantz (Gus Smith) and Guildenstern (Jennifer Johnson) was instantly pertained. White, Smith, and Johnson formed a kind of comic resistance to the maudlin events onstage by feeding off of each other's infectious energy ("On Fortune's cap, we are not the very button!" "Nay, nor the very soles of her shoes…"). Whenever the three of them appeared onstage, a laugh was sure to follow.
Through much of the show, the ensemble performers blended the comical with the insane and interacted with each other well. Several characters revealed a clear grasp of the meaning of Shakespeare's lines, while others recited them a bit too plainly.
The famous swordfight at the end of Act V, which leaves four dead bodies, was somewhat lacking in enthusiasm. Swords were occasionally dropped in the vigorous movement, but the actors persevered up to the point where Laertes (Thomas Jones) and Hamlet stabbed each other with poisoned blades.
Mike Li's set design gave a home to the royal family. The castle Elsinore was sparsely decorated, giving a bare feeling to the stage and allowing the actors most of the limelight. The same custom continued with the lighting design (also Li), casting only what was needed, mostly with a shaky spotlight on Hamlet.
Hamlet raises a vital question for all of us: how far would you go to justify the death of someone you loved? In this case, Pleasant Valley's cast capably showed that vengeance led to Hamlet's tragic ending. The cast performed the Bard's most difficult tragedy with much that shone brightly, and as the play goes, "the rest is silence."


HAMLET: Review of a play worthy of a 2 or 3
Frailty, thy name is Hamlet. Pleasant Valley High School's telling of the young Danish Prince's tragic tale was riffled with swordfights, speeches, poisoned goblets, murders, adultery, and the occasional famous monologue in their recent production of this famous play.
Hamlet, Shakespeare's renowned tragedy, told the story of Prince Hamlet (John White), whose father the king was murdered by Hamlet's scheming uncle Claudius (Martin Robinson,) who also married Hamlet's mother Gertrude (Elizabeth Bowman.) Hamlet's feelings of betrayal lead him to fake his own insanity in a plot to overthrow Claudius.
John White tackled the complex role of Hamlet with a grasping understanding, and his several lengthy monologues were delivered with some eloquence and smoothness. White's facial expressions allowed the audience the glimpse a portion of the inner depth behind his character's "insanity."
Although the chemistry between some of the principal players was somewhat lacking in this performance, the connection between the prince and his childhood friends Rosencrantz (Gus Smith) and Guildenstern (Jennifer Johnson) was delivered quite plausibly. White, Smith, and Johnson formed a kind of comic resistance to the maudlin events onstage by feeding off of each other's infectious energy ("On Fortune's cap, we are not the very button!"), bringing life to the show on several occasions.
In key scenes, some members of the ensemble blended the comical with the insane and did persuasive work with small characters. Several performers revealed a clear grasp of the meaning of Shakespeare's lines, while others recited them a bit too plainly.
The famous swordfight at the end of Act V, which leaves four dead bodies, was lacking in enthusiasm and plausibility. Swords were dropped, and lighting cues missed, in the vigorous movement, but the actors persevered up to the point where Laertes (Thomas Jones) and Hamlet stabbed each other with poisoned blades.
The performance had shaky aspects throughout, including some breaks in character and some unclear grasp of the meaning of the complex Shakespearean language. Some performer difficulties may have reflected a slight dilemma with the set. The apparent unsteadiness of one of the walls caused a few breaks in concentration and fearful moments for everyone's safety. The lighting design cast only what was needed, mostly with a spotlight on Hamlet that was softer than some scenes could have used.
Hamlet raises a vital question for all of us: How far would you go to justify the death of someone you loved? In this case, Pleasant Valley's cast showed that vengeance led to Hamlet's tragic ending. The actors fought to the very end, showing it was "nobler in the mind to suffer the slings and arrows of outrageous fortune," indeed.

SAMPLE REVIEWS

The following five reviews were written by Cappie Winning Critics in five different programs. All five of these reviews were selected by mentors and published in major newspapers. Notice how some followed the seven paragraph plan, while others varied slightly from it. Notice the praise and criticism, and the overall tone of each. Try to imagine how good each of the shows was, based on the review.

SAMPLE #1: Review of Ah, Wilderness!
A young, idealistic man in love, his patient and understanding father, a grand ol' booze-hound of an uncle, and an unforgettable story of the love which leads them through the untamed wilds of life… such was Atholton High School's jovial production of Eugene O'Neill's Ah, Wilderness!
It is July 4th, 1906, when young and old come together to celebrate their independence (often from each other) and the Miller family is almost happy. Richard Miller, lost in the prose of the new, "cutting-edge" authors, uses their words to express his love to his girlfriend, Muriel McComber. Discovering the arduous poems Richard has written, Mr. McComber terminates the relationship. Angry and wounded, Richard goes off in search of "life", which takes the form of a painted harlot and a good, stiff drink. What happens to the youth as he discovers the truth about life and love is the subject of Atholton's endearing production.
An engaging group of lead performers gives energy to the show. As Richard, David Calder showcased not only the fierce spirit of rebellion inherent in all teenagers, but also the uncertainty of teetering on the threshold of adulthood. Peyton Johns balanced Nat Miller's roles of doting father and strong patriarch gracefully. His final confrontation with Richard at the end of the play was brilliant, as father and son gave each other a new lease on life. As the "reformed drunk", Uncle Sid, Evan Sanderson was hilarious, especially in his relationship with Aunt Lily, played with silent intensity by Kristin Servary.
As Dave McComber, Robert Grimm's austere appearance and conservative monotone garnered laughter during his first entrance.
Bright lighting and polished sets accented the crisp costumes of the actors. While a few scene changes were too visible, the stage crew moved quickly and efficiently. The sound system was a little soft, which the performers usually overcame with strong vocal projection.
With quality performances, wonderful interactions, Atholton High School's Ah, Wilderness! took O'Neill's clever story and served up a lighthearted romp through life's little struggles.

Megan Jeffrey
River Hill High School
Baltimore Cappies
This review was published in The Baltimore Sun.

SAMPLE #2: Review of A Piece of My Heart
The horrors of Vietnam are quickly fading into history. Young people today have no vivid memories of lost loved ones, and it is difficult to imagine America at a time of such crisis. But the atrocity of war came to chilling life on the stage at St. Ursula Academy's recent production of A Piece of My Heart by Shirley Lauro.  The play chronicled the experiences of six women who each went into the war zone for different reasons and came out with memories that haunted them long after coming home. Dealing with the pain, confusion and even the love that was part of "the 'Nam" could be very difficult to handle, but the performers created characters that pulled the audience into their lives. Sissy (Rebecca Whatley) is a sweet girl, innocent of the horrors she will face when she stepped off the plane and signs up for field hospital duty. With a simple, traumatized glance, Whatley revealed the agony Sissy felt as she nursed mutilated soldiers. Whatley's performance contained the power and raw emotion of a woman who discovers what war is really like. Whitney (Allison Aiken) is a highly educated boarding school teacher who goes into Vietnam to work for the Red Cross and to find a little adventure. Aiken's portrayal of the sarcastic, bitter Whitney was brilliantly executed. With a simple toss of the head or sip of liquor, there was no doubt of the true feelings of the character. The show was comprised of monologues that flowed into dialogue with other characters and into the action during the war. The characters that entered the lives of the featured woman were portrayed by an ensemble which found specific actions and tones to differentiate between the numerous roles they conveyed. The energy of the entire cast charged the tension of the flashbacks and the frantic confusion of a hospital overwhelmed with victims of war.The set was simple and was used to illustrate the simple power of the stories being told by the characters. All props (accumulated by Claudia Feldhaus) and costumes (designed by Maria Reupert) were accurate to the time period and provided the perfect accompaniment to the stories being told.The experiences of the women in Vietnam may be far removed from the lives of the performers in this play, but each actor created characters that seemed to speak from these traumatic experiences. As the lights faded, the ensemble stared up at the Vietnam Memorial in Washington, DC, a powerful testament to the courage and strength of the women who gave everything for their country.

Matt Borths St. Xavier High School
Cappies of Greater Cincinnati
This review was published in the Cincinnati Enquirer.

SAMPLE #3: Review of Standing on My Knees
How does it feel to be stripped of your identity in order to cure a disease?  Are you really winning if you are losing the one thing that makes you who you are?  Plantation High School's presentation of Standing on My Knees, by John Olive, sets out to answer these questions. This intense drama depicted the touching story of Catherine, a schizophrenic young poet who is attempting to cope with her disease. The medication her doctor throws at her hinders her ability to write, which she feels to be the only thing that makes her life unique and meaningful. Katie Gemignani starred as Catherine, the passionate, yet unstable protagonist.  Gemignani flourished in an immensely difficult role.  She truly captured the sweet innocence of the character and admirably displayed the deterioration of the character into utter disarray.  Opposite Gemignani was Marco Zeno as Robert, her nerdy, yet charming love interest. Zeno did an excellent job illustrating his character's transformation from timid and lovable to frustrated and overwhelmed. The supporting cast consisted of Rachel Bahman as Catherine's best friend and boss, Alice, and L'Treasure Lunan as Joanne, the psychiatrist. Bahman brought a kooky, almost neurotic sense to her character that added a bit of comic relief to the emotional performance.  Lunan soothingly spit out monotonous clichés, convincingly maintaining the stereotypical nature the character is meant to possess. The set, though simple, did the show justice.  Catherine's apartment, placed on a steep angle, creatively demonstrated her mental instability. Also intriguing was the use of musical underscoring to effectively emphasize the emotions depicted on stage.  The lighting, though a bit dim on occasion, was sufficient and performed with nearly flawless execution. At times, some of the lines were rushed, reducing the credibility of the dialogue.  In addition, there were moments when the music was played too loudly, creating a distraction.  Perhaps the most memorable moment of the night, however, was the brilliant cover-up by Gemignani and Zeno after having difficulty opening a bottle of wine.  The two were able to maintain the flow of the performance, making it appear as if nothing went wrong.
Simply put, this was not your average high school material.  The piece was intense and difficult, and the cast did a sensational job in handling such a mature subject.  Profound and thought-provoking, Plantation High School's production of Standing on My Knees was truly noteworthy and commendable.
Bryan Jones
Piper High School
South Florida Cappies
This review was published in the South Florida Sun-Sentinel.

SAMPLE #4: Review of The Music Man
Smiling faces, colorful costumes, beautiful voices singing in perfect harmony, a vibrant orchestra and marching band. … Does this sound like a great Fourth of July celebration? Well, not quite! It's Northwood High School's production of Meredith Wilson's The Music Man.
This classic American musical is the story of the small and "stubborn" town of River City, Iowa in 1912 and its extraordinary visitor, Harold Hill, a man of many identities. Harold comes to the town to con the townspeople out of their money with his phony "boy's band." In the process, Harold finds himself falling in love with the town's uptight librarian, Marian Paroo, and River City itself.
Some very talented students brought this show's variety of lovable characters to life. Memorable performances included Tyler Alessi, who brought an endearing charm to Harold Hill's tricky character, and the comedic duo of Grant Scavello and Natalie Larriva as Mayor and Mrs. Eulalie Mackecknie Shinn. Erika Nafius as Mrs. Paroo showed a consistently impressive Irish accent, while Kiersten Regele's dance skills and smiling face added to the innocence of the Zaneeta Shinn character.
Another bright spot was the Barbershop Quartet, including Northwood students Robert Webb, Christopher Figueroa, Charley Cullen, and Eric Weigan (guest artist). Last but not least, Andrea Borden brought energy and charisma to Hill's love interest, librarian Marian Paroo.
The cast as a whole was focused and lively, while The River City Teens tackled amusing choreography with an air of excitement. The Residents of River City humorously captured the small town's "chip on the shoulder" attitude. The energy of the cast started low but built to the climactic closing number, "Seventy-Six Trombones" in which the entire Northwood Marching Band and Drill Team consumed the auditorium, almost overtaking the cast.
Northwood's student orchestra did a praiseworthy job with the show's difficult numbers, while the school's student-run sound and stage crew provided impressive support. Fun and creative crossovers ably covered lengthy scene changes. Cast members who did not wear body microphones were occasionally difficult to hear during solos, but the majority of the cast did a great job of projecting the lapses. A few backstage set changes disrupted quiet moments, but most of the scene shifts went quickly and without error.
Northwood High School's production of The Music Man was a fun, feel-good experience that captured the heart of small town America.
Nicole Weber
Huntington Beach Academy of Performing Arts
Orange County (CA) Cappies
This review was published in the Orange County Register.

SAMPLE #5: Review of Time After Time
A performance that combined Jack the Ripper, time travel and women's liberation was bound to be unconventional. J.E.B. Stuart High School's recent production of John Mattera's Time After Time, however, managed to blend these radically different themes into one interesting theater experience.
"Time After Time" fictionalizes the life of H.G. Wells, the renowned author of the late 19th and early 20th centuries who wrote the science-fiction classic "War of the Worlds." When Jack the Ripper uses Wells's time machine to catapult himself into 1979, Wells follows him to save the unsuspecting public. While in the future, Wells meets and falls in love with banker Amy Robins. Throughout the show, the couple relentlessly pursues Jack, despite such obstacles as uncooperative detectives, a time machine with functional problems and numerous gruesome murders. When Wells and Robins eventually catch Jack, they send him, via the time machine, into the inescapable vortex of infinity.
Stuart's cast was faced with the difficult task of creating a believable foundation for a wide variety of characters. To forge his character of Wells, Pedro Ribeiro combined charm, sensitivity and a dependable English accent. Ribeiro and Danielle Snyder, as Amy Robins, worked together well. Michael Wilmarth's stark portrayal of Jack the Ripper was wonderfully unsettling and disturbing. Though the lack of microphones hindered some performers, Wilmarth's vocal energy was consistently strong.
Two especially notable characters were Natalie Chami as a doomed prostitute and Helen Askale as a security guard. Though their appearances were brief, both displayed commanding stage presence and firm understanding of their characters.
The lighting design by Danny Olewine was effective, leaving no performers in the dark. Andrew Bell designed and edited a commendable time-travel video that was projected onto a screen at the climax of the performance. Though there were a number of technical mishaps, the cast covered for each and did not lose momentum.
Despite a rowdy audience and some small fumbles, Stuart's production of Time After Time was entertaining. Hey, when Jack the Ripper collides with women's lib, it's sure to be a good time.
Sam Willmott Thomas Jefferson High School for Science and Technology
National Capital Area Cappies
This review was published in The Washington Post.
 

AWARD CATEGORY GUIDE


For Critics,
Mentors,
& Show Directors

Guide to Critics' Choices and Scoring

For each award category voted on by Critics, the following pages list:

• eligibility rules
• what Critics need to know before a show
• what Critics should keep in mind
• what Critics should look and listen for
• how Critics should score (with the 10-point scale)

During their discussion following a Cappies Show, Critics select a Critics' Choice in each category for which someone in that show may be eligible. This determines who will be on the award ballot at the end of the year, when the Critics vote for Cappie nominations and awards. After selecting those Critics' Choices, Critics give preliminary scores, on a one to ten scale, and make preliminary notations about which candidates they feel may be worthy of Cappie nomination or award points. These scores and points will be decided, by Critics, when they vote at the end of the year.
All Critics' Choices, and all preliminary score and point notations, are strictly confidential. Critics are required to respect this rule, and the Cappies program asks all Show Directors and all cast and crew members of Cappies Shows to respect it, as well. Critics' Choices will be made public after all Critics have voted at year end. Scores and points will not be revealed at any time.
These materials describe the criteria Cappies Mentors will use in determining eligibility for awards, what criteria Critics will use to select Critics' Choices, and how Critics are encouraged to score candidates when voting for nominations and awards. Show Directors may use these materials to understand what information Critics need to have prior to a show, to establish eligibility in some categories. If they wish, Show Directors may share these materials with the cast and crew members of their Cappies Shows.
For more information about Cappies rules and awards voting, please see the "Rules & Forms" page on the Cappies web site, www.cappies.com.
The Four Required Factors
For each award category, these four factors must be considered when selecting Critics' Choices, and when scoring them on the 10-point scale:

• Quality of presentation.
• Originality and creativity.
• Range of expression.
• Degree of difficulty.

Quality of presentation is perhaps the most obvious factor, and the easiest to apply. Whatever the category—sound, orchestra, ensemble, dancer, lead, song—simply ask: How good is it? How effective? How entertaining? In tech categories, you need to score the candidate only, so you may need to differentiate carefully between the work of the student(s) and the work of other people. Your own view is key here, but audience response and other critic opinion can help inform your own judgment.
Originality and creativity reflects the candidate's capacity to make the work distinctly his or her own. Did the performer's character strongly resemble that in a well-known film? Were the sets or costumes exactly what you would have expected, for that show (or time period)? Was there any aspect to the performance or crew work that was inventive, unusual, or surprising? When the show was over, were you still thinking about the intelligence of the craftsmanship (of a character, humor, vocal styling—or props, costumes, sets, lighting design, or anything else)?
Range of expression measures the candidate's willingness to attempt, and ability to achieve, different elements of theatrical work. Did a performer present more than one aspect of a character? Did a lead set more than one kind of mood in different scenes? Did a vocalist sing numerous kinds of songs—for example, a lovely ballad and something uptempo? Did a set designer produce two very different looks on stage? Were the costumes well-selected in more than one period? Were there several kinds of special effects, or just one? Was the ensemble work funny in one scene, heartfelt in another?
Degree of difficulty means exactly what those words say. Whatever the candidate did, was it hard to do? Were the songs easy or hard to sing? Were the characters easy or hard to find? Given the script, did the performer get laughs the easy way, or the hard way? Was the set very basic, or did it involve careful engineering and delicate finishing work? Were the costumes rented or hand-made? Was the sound crew dealing merely with a few cues, or with the swapping of a dozen body mics whose volume had to be balanced against a full orchestra? On the whole, was this a tough show to do, or a relatively simple one?
Overall score: For a Critics' Choice to receive a high score, several of these factors should leave a favorable impression. Was the work of high quality? Was it creative? Did it offer a range of expression? Was it difficult? If you can say yes to all four, or an emphatic yes to at least two of these factors, then a high score can be warranted. Conversely, if you feel the answer is no for all four, then you should give a Critics' Choice a low score.

Scoring Issues

On the whole, critics are quite fair in scoring Cappies shows. Over the years, Cappies officials have noticed a few aspects of scoring that all critics, but especially new critics, need to keep in mind.

• For Sound, be sure to give sufficient weight to degree of difficulty. Do not take too much note of minor sound errors in musicals. On the whole, be careful not to score musicals lower than plays.
• For Costumes, differentiate carefully between student and adult work, and between rented or borrowed costumes and hand-made costumes—which can be more creative and difficult.
• For Sets, do not focus purely on the instantly observable aspects. Be alert to the creative contribution the set makes to an entire performance and the flow of a show.
• For Comic Actor or Actress, base a score not on the humor in the script, bur rather on the performer's own comedic touches.
• For Vocalist, pay attention to the ability of a performer to deliver very different kinds of songs at a high level of quality.
• For Lead Actor or Actress, do not necessarily select the highest-quality performer, who might be in a Supporting but not lead role—and may stand a better chance of earning a Cappie nomination in the Supporting rather than Lead category.
• For Song, do not select one that is humorous or well-written, when another song was performed better. Try not to favor big ensemble numbers over solos or duets, males over females, and the title songs of musicals over the lesser-known works.
• For Play and Musical, be careful not to score famous shows more generously, especially if they are performed in familiar ways. In scoring, give credit to the creativity, originality, and often the difficulty of a cast and crew performing new or unfamiliar works—or performing famous works in unfamiliar ways.
• For Play and Musical, be sure to mark down a score before handing in your form after a show.
• If your own school has done or will do the same show as your Cappies show this year, you are not allowed to review that show. If your school is doing the same show in the same year but not as your Cappies show, or if your school did it a year or two before, you may review it, but be careful to score it fairly—and do not base your scores on any comparison with your own school's performance of that show.
• When you see a show that, overall, you consider below average, look for one or two aspects of that show that may have been better than the rest of the show. Similarly, when you see a show you consider excellent, reflect on what parts of the show may not have been quite as strong as the rest—and make sure your scores reflect this.
• Apply the same scoring standards to shows in the fall, winter, and spring. If, over the course of the year, you feel that your scoring scale has changed, you can fix that when you vote for awards at the end of the school year.
• Across all the shows you see, and all the Critics' Choices you score, try to keep your overall average score somewhere between a 5 and a 6—especially if this is your first year as a critic.

Critics' Choices: Q & A's

Q: Are Critics' Choices "nominations"? No. You are selecting who will be on the awards ballot—in other words, who will be eligible for nominations and awards.
Q: Why shouldn't we "spread around" Critics' Choices, among as many performers as possible? Your Critics' Choice in every category should always be the performer you would score the highest in that category. If you select someone else, the result might be to deny the most deserving performer his/her best chance at a nomination in any category.
Q: What do we do if a role is too big to be a Featured but too small to be Supporting? By definition, any role too large to be a Featured qualifies as Supporting—and any role too small to be Supporting qualifies as Featured.
Q: What do we do if a show doesn't have a "Lead" role? If you wish, you can select the most dominant performer of that gender. When scoring that person, however, keep in mind the range and degree of difficulty of the role—which may be less than in performances where the Lead has a more significant role.
Q: Do we have to select someone for every category, even if we didn't think anyone was good enough to deserve a nomination? If any cast or crew member is eligible for a category, you must select whichever person you would score highest as a Critics' Choice for that category, with these exceptions: You do not have to select a Featured performer if no one created a role the critics consider "memorable." You should not select a Comic Actor/Actress if no one is in a role intended by the playwright or director to be comedic. In all other cases, you must select a Critics' Choice, even if you feel the work was not very good, in which case you should express yourself through the score you give.
Q: What do we do if we don't think a show qualifies for a non-performing category (like Sets or Costumes) but the show's theater director says it does? Make it a Critics' Choice, and score it, but make sure a Mentor and at least one Lead Critic notifies the Program Director about the difference of opinion.
Q: How are we supposed to take account of a small budget, an acoustically poor theater, or a shorter-than-usual time for rehearsal, or some other issue that is beyond the control of the cast or crew? Those are appropriate issues to consider in your scores as you apply the "originality and creativity" and "degree of difficulty" factors. It is far more difficult to have eye-catching costumes if the costumer has a very small costume budget, or to have good sound if the theater has acoustic problems, or to put on a good show if a storm closed the school during the final week of rehearsals.
Q: What do we do if there's disagreement about how to apply an eligibility rule? The rule should be read aloud, the Discussion Mentor should consult the Lead Critics who are present at the discussion, and the Discussion Mentor makes a decision. If any Lead Critic disagrees with that decision, he/she should notify the Program Director.
Q: What if I totally disagree with a Critics' Choice? You have to accept the decision and score whoever it is. At the end of the year, that name will be on the ballot, and you will be required to give it a score.
Q: What if I want to change my scores later? The scores you mark after a show are not intended to be final. They are just a way to record your initial impressions about each Critics' Choices. When you vote for awards at the end of the year, you will be given your forms back, and you can make any changes you wish to your scores.
Q: What if I forget to hand in my form before I go home? Bring it to the next show, and give it to a mentor or program official when other forms are turned in for that show. Clip on a note as a reminder that it's for an earlier show. If this happens at your last show, just bring the form with you when you vote.

Award Category Guide

Marketing and Publicity 

Marketing and publicity refers to the publicity campaign for the produced play or musical. The materials or description of campaigns must be available to the Critics prior to the show and must be the original work of a student of group of students in grades 9 through 12. This may include, but is not limited to:

• graphic design
• poster
• program 
• web site or social media
• press release 
• trailer or other media
• lobby display.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done.

Keep in mind:
The caliber of the marketing and publicity should show a cohesive theme, a high level of artwork, an understanding of 'what sells', and should be attractively displayed.

Look and listen for:
Appeal. What was the quality of the presentation? Did it have eye-appeal (ear-appeal, if applicable)?
Originality. Was it original and creative?
Variety. Were there a variety of examples and types of publicity?
Difficulty. What was the overall degree of collective difficulty?

Consider the following examples to score this for presentation, originality, range, and difficulty.
9 or 10: A full scale marketing and publicity campaign showing numerous (five or more) examples of media at the highest design level.
7 or 8: A marketing and publicity campaign showing at least four types of media from the seven suggestions above and/or something not listed, all at a very high level of design.
5 or 6: A marketing and publicity campaign showing at least three types of media from the seven suggestions above and/or something not listed, all at an average or slightly average high-school level of design.
3 or 4: A marketing and publicity campaign showing at least three types of media from the seven suggestions above and/or something not listed, all at an average or slightly below average high-school level of design.
1 or 2: A marketing and publicity campaign that clearly does not display the understanding of the concepts of marketing or publicity.

Sound

Sound refers to the technical aspects of sound, including amplified sound, sound effects, and music not performed by live musicians. The extent of sound amplification, the frequency and timing of sound cues, the visual aspects of the placement of sound equipment, and the use of sound equipment by performers are factors. All work must be done by or under the direction of one student or a small group of students, in grades 9 through 12, but adult guidance is permissible.

Keep in mind: 
The question is not purely whether the performers can be heard, and you should evaluate amplified sound only. The nature and extent of the challenge faced by a sound crew can be very different, from show to show, and some theatres can pose special sound challenges. Nearly always, sound is more difficult in a musical than in a play, and scoring should reflect this. A play that uses no microphones, has a few sound effects, and has no sound errors should not be scored as high as a large musical with a dozen shared wireless microphones and a few sound errors. For a play, a high score should only be awarded if it poses technical sound challenges that are handled well. If the cast projects well with unamplified voices, which can be reflected in performer, ensemble, or overall play scores, but not here. In large musicals, small mistakes should be forgiven, especially if good adjustments are made. If mistakes recur, or are not quickly corrected when they happen, that should be reflected in the scoring.

What you are evaluating is the sound design and the work of the sound crew, not necessarily the overall quality of sound. Almost anything can affect sound quality – the size of the cast, the size of the theatre, the number of people in the audience, the speaker placement, the number of microphones the school could afford, even the costumes and prop. Squeaks and bumps can be a performer's fault. If a voice cannot be heard well, that can be as much the result of a performer's lack of projection and articulation as it is of the work of the sound crew. You are evaluating the work of the sound crew only.

Look and listen for: 
Amplification. Is the sound amplified just about right – or is it too loud, too soft, or uneven?
Clarity. How well can you hear performers' lyrics or words in amplified songs or dialogue?
Errors. What missed sound cues, static, whistles, bumps, or other errors can be reasonably concluded to have been partly or fully the result of the sound crew?
Microphone placement. Are the microphones located well? Do they look good on performers? Are they situated cleverly to minimize errors?
Adjustment to space. How well did the sound crew adjust to the special needs or challenges of the theatre?
Sound cues. Do sound cues add to the atmosphere of the story? Are there any unusual or hard-to-execute sound cues?

Consider the following examples to score this for presentation, originality, range, and difficulty. 
9 or 10: There is substantial amplification with nearly no sound problems, which are hardly noticeable and never detract from the show, along with creative sound effects and/or design which enhance the show.
7 or 8: There is substantial amplification with occasional sound problems, which are noticeable but seldom detract from the show with appropriate sound effects or design which enhance the show.
5 or 6: There is substantial amplification with some sound problems, which are noticeable but at times detract from the show – or little or no amplification and creative sound effects or design which enhance the show.
3 or 4: There is substantial amplification with numerous significant sound problems, which are noticeable and occasionally detract from the show – or little or no amplification and sound effects which neither enhance nor detract from the show.
1 or 2: A show with substantial amplification has constant sound problems, often detracting from the show – or little or no amplification, with occasional sound flaws.
 

Lighting 

Lighting incorporates the design and execution of stage lighting, including lights that are part of any sets, costumes, props, or still-projection (gobo) special effects. Factors to consider are the timing and coordination of light cues, and the use of lit areas by the cast on stage. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible.

Keep in mind:
Basically, if it lights up, then it's lighting. Lights do not need to command attention to be done well. They just need to work with the show. Some shows require flashy lighting, and others must be done more subtly. The key issue, always, is whether scenes are well lit. Try to distinguish between performer and crew error. If a performer is out of place, there usually is nothing a lighting crew can do about that. You may need to discern the difference between the light cue being incorrect and the performer going to a wrong location. (One skill of a good performer is one who moves fluidly into his light even when a cue is wrong.) All factors are important here – and keep "degree of difficulty" in mind.

Try to take into account what the performing school has in the way of lighting fixtures. Usually, you can see them from the audience, if you look around from your seat (or, better, look briefly from the front of the house during intermission or after the show). The more fixtures a school has available, the more options it has for using lighting creatively. Some schools have "intelligent" lighting fixtures that can move, change color, and have cutout patterns (gobos) that can be controlled remotely, through cues written before the show.

Look for: 
Execution. Are the light cues well timed? Is the lighting well synchronized with the performance? Do spotlights hit their targets? Are any blackouts intentional? 
Tint and Color. Is color used appropriately and well? Does the color reflect the time of day or mood of the moment?
Effect. Does the lighting create or enhance a scene? Does it help establish a mood? Do the lights correctly reflect the situation, emotion, and time period of a scene?
Complexity. Do the lights change frequently? Are there multiple effects?
Functionality. Can you see the performers well (especially their faces)? Are performer faces lit to look good? If their faces are in shadows, or have a flat or washed-out quality, might that reflect an artistic decision?

Consider the following examples to score this for presentation, originality, range, and difficulty. 
9 or 10: The lighting is complex and fits the show perfectly, with well-timed cues, well-lit performers, and very creative effects, significantly enhancing the show.
7 or 8: The lighting is complex and fits the show nicely, with errors that are hardly noticeable, and interesting effects, nicely fitting the performance
5 or 6: The lighting is appropriate and fits the show, with errors that are hardly noticeable, fitting the performance… or, if simple, is very well done.
3 or 4: The lighting fits the show fairly well, with some noticeable errors in cues or lighting of performers, and workable effects, neither enhancing nor detracting from the show.
1 or 2: The lighting does not fit the show well, with several noticeable errors and no helpful effects, detracting from the show.

Sets

Sets refers to the design, construction and finishing work on all scenes, including back walls, stage trim, furniture, and every physical item other than lights, costumes, and hand-held props. All design work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible. A majority of the construction and finishing work must be done by students, but some adult participation is permissible, especially as required to ensure performer safety. Furniture need not be made by students. Crew work (in set changes) is not a factor.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done.

(In the past if the set design was done by an adult then no set award was possible even if the students did all the building.)

Keep in mind:

The set must fit the show's theme and mood. Sets can be elaborate or minimalist, realistic or cartoonish. Any style can work, and the most complicated set isn't always the best kind. The set should first fit the show, and then impress. Many shows will have unit sets that require no scene changes, and others will have multiple or moveable set pieces. That involves an artistic decision, but the more complex the choices, the greater the challenge for set designers and builders. Some shows may be enhanced by creative and original set pieces, while others may call for a highly traditional look. A well-designed set will allow for nimble stage crew work. If the crew work is slow or awkward to watch, that may be, in part, a reflection on the quality of the set design and construction.

The size of a stage, and a school's budget, can influence set choices. A small stage, or lack of wing space, can preclude a large set or multiple complex shifts. A set designer who works brilliantly with a difficult space or small budget should be scored accordingly. In shows (for example, in black boxes) with no more than a very basic set design, even if the set pieces work perfectly, the lack of difficulty, originality and creativity, and range of expression will preclude a high score.

Look for:

Aesthetics. Is the set enjoyable to see when the stage is empty? Does it make the show more enjoyable to watch? Does it help make the show unique? Are there any unconventional set pieces that add to the flavor of the show?

Theatricality. Are the set pieces consistent within an artistic concept? Do they correctly suggest a time period, location, and situation?

Usefulness. Does the set work in the show? Are there multiple entrances? Are there levels and divisions? Are they cleverly positioned? Does the set provide varying looks, for different scenes? Does the set add to the flow of the show?

Construction. Is the set well-crafted and nicely decorated? Are the details well-tended and interesting? If the goal is realism, does the set achieve that? If the goal is something else, does the set achieve that other goal?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The set has a quite complex design, was very challenging to build, is aesthetically superb, fits the show perfectly, allows creative staging options, is well crafted and decorated down to the smallest detail, and significantly enhances the show. 
7 or 8: The set was somewhat challenging to design and build, is aesthetically pleasing, enhances the show, allows varied staging options, and is well crafted and decorated.
5 or 6: The set was somewhat simple to design and build, fits the show nicely, allows some staging options, and is fairly well crafted and decorated… or, if simple to design and build, supports the show.
3 or 4: The set fits the show fairly well, neither enhancing nor detracting from the show.
1 or 2: The set does not fit the show well, detracting from the show.

Costumes 

Costumes refer to the design, assembly and making of costumes, and the speed of costume changes. Costumes are defined as anything worn by performers, including hats and footwear. All design and assembly must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible. A significant proportion of the costumes must be designed and acquired or made by students specifically for the show. Some non-student-made costumes (for example, costumes that are rented, made by parents, drawn from a school's costume collection, and/or borrowed from elsewhere) are permissible, but only if a list of rented or adult-constructed costumes is provided to Critics prior to the show.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done. 

Keep in mind: 

Differentiate carefully between student and adult work, and between rented or borrowed costumes and hand-made costumes – which can be more creative and difficult.

Look for: 

Theme and period. Do the costumes demonstrate continuity in theme? If costumes are intended to be realistic, do they succeed at that? If the intent is cartoonish, do costumes succeed at that? Are costumes correct to the period, season, and location of each scene?

Character. Do costumes effectively single out lead characters? Do costumes help differentiate various groups of characters or ensembles? Do costumes help define the characters' personalities? Do costumes help distinguish age, gender, income class, or other character differences?

Aesthetics. Are the costumes eye-catching? Are there any beautiful costume moments?

Quality, functionality, and speed. Are the hand-made costumes well-made? Do costumes help conceal microphones? Do they fit well with the set and lighting? Are costume changes quick, especially for ensembles?

Quantity, variety, and creativity. How many costumes are there? How many of those are hand-made? How original are the costume concepts?

Consider the following examples to score this for presentation, originality, range, and difficulty. 

9 or 10: The costumes – many of them made by students specially for this show – are superbly designed, beautiful to watch, fit the show perfectly, and significantly enhance the show.
7 or 8: The costumes – some of them made by students specially for this show – are well designed, pleasant to watch, and enhances the show.
5 or 6: The costumes are well-designed, nice to watch, fit the show, and complement the show.
3 or 4: Some costumes are well-designed, nice to watch, and a good fit for the show, while others are not.
1 or 2: The costumes do not fit the show well, detracting from the show.

Make-Up 

Make-Up refers to the design and execution of all facial (and other) cosmetics, hair, nails, and props (for example, fake noses, ears, hands, or feet) attached to performers' bodies. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible. The extent of make-up done by specialist (as opposed to performers doing their own) must be identified to the Critics before the show.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done. 

Keep in mind: 

In many shows, performers do their own make-up, requiring less pre-show preparation. The purpose of this category is to recognize make-up specialists. The basic purpose of stage make-up is for facial definition, to keep performers from looking too washed-out under the lights, and to make them look the age of their character. Some of the best make-up can be the least noticeable. Other times, make-up can help a performer create and shape a character. Special touches can be used for unusual looks (wigs, noses, scars, feet), unusual characters (animals, aliens, fairies, monsters), or unusual situations (blood, dirt, wounds, scars, tears). Those touches can be hard to do well. When evaluating make-up, look closely in scenes with strong lighting, where differences in quality are especially noticeable. All four of the evaluation factors should be considered equally here.

Look for: 

Definition. Does the make-up show faces well in normal stage lighting?

Believability. Does the make-up help define characters? Does it reflect their ages?

Special or unusual touches. Is there any special make-up for unusual characters or conditions? If so, is it believable? Or, if the artistic choice is to be cartoonish, is that well done?

Consider the following examples to score this for presentation, originality, range, and difficulty. 

9 or 10: The make-up exceptionally well done, fits the characters perfectly, includes some difficult and well-executed special touches, and significantly enhances the show.
7 or 8: The make-up is well done, fits the characters reasonably well, includes special touches that are well executed, and nicely complements the show.
5 or 6: The make-up is generally well done, fits the characters reasonably well, includes some special touches that are well executed, and nicely complements the show.
3 or 4: The make-up fits the characters fairly well, neither enhancing nor detracting from the show.
1 or 2: The make-up does not look good and does not fit the characters well, detracting from the show. 

Props 

This aspect of theatre refers to the design, construction or collection, and use of student-designed props that are neither sets nor costumes (that is, handled by performers but not attached to their bodies). Examples include, but are not limited to, weapons, food, beverage containers, and live animals. This work must be specifically identified to Critics prior to a show. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible. The quality of performer-use of props is a factor, but a performer who uses props and effects (for instance, a puppeteer or magician) may be considered only if she/he assisted in the design and/or construction of the props.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done. 

Keep in mind: 

Some scripts pose challenges that can be daunting for any show, especially one on a budget. Creative props can provide solutions to those challenges, making a show more fun and interesting. Usually, the prop crew can only provide what's in the script or what little can be added without deviating from the script. Depending on the show, props can be workable, extensive or few, realistic or fanciful, overlarge or miniaturized, serious or comical, appealing to the eyes or appealing to other senses. They can range from the startling and amazing to the predictable and merely workmanlike. Note that the selecting and handling of live animals are included here. All four evaluation factors should be equally considered.

Look for: 

Theme and period. Do the props work well within the script? Do they demonstrate continuity in theme? If props are intended to be realistic, do they succeed at that? If the intent is cartoonish, do they succeed at that? Are they correct to the period, season, and location of each scene?

Aesthetics and illusions. Are the props eye-catching, or aesthetically pleasing in other ways? Do they create interesting illusions?

Quality and functionality. Are the props handled well? Are they sturdy?

Quantity, variety, and creativity. How many props are there? How many are hand-made? How original and imaginative are they in design and execution?

Consider the following examples to score this for presentation, originality, range, and difficulty. 

9 or 10: The props are extensive, creatively designed and superbly executed, convey the script perfectly, and significantly enhance the show.
7 or 8: The props are well-designed, suit the script well, and complement the performance,… or, if minimal, are creative and superb and significantly enhance the show.
5 or 6: The props suit the script well and, whether extensive or minimal, neither add to nor detract from the show.
3 or 4: The props suit the script fairly well, and may at times detract from the show.
1 or 2: The props do not fit the show well, detracting from the show.

Special Effects and/or Technologies 

This aspect of theatre refers to the design, construction, or collection of special effects and/or technologies that are neither sound nor lighting. Examples include, but are not limited to, video, magic, fog, aromas, projections, and digital effects. This work must be specifically identified to Critics prior to a show. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible. The quality of performer-use of effects is a factor, but a performer who uses effects (for instance, a magician) may be considered only if she/he assisted in the design and/or construction of the effects.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done. 

Keep in mind: 

Some scripts pose challenges that can be daunting for any show, especially one on a budget. Creative special effects can provide solutions to those challenges, making a show more fun and interesting. Special effects are sometimes required by a script, and other times added as stagecraft. In some schools, their use can be limited by building codes and smoke detectors. Depending on the show, effects can be workable, extensive or few, realistic or fanciful, overlarge or miniaturized, serious or comical, appealing to the eyes or appealing to other senses. They can range from the startling and amazing to the predictable and merely workmanlike. Note that video light projections are included here. All four evaluation factors should be equally considered.

Look for: 

Theme and period. Do the effects work well within the script? Do they demonstrate continuity in theme? If effects are intended to be realistic, do they succeed at that? If the intent is cartoonish, do they succeed at that? Are they correct to the period, season, and location of each scene?
Aesthetics and illusions. Are the effects eye-catching, or aesthetically pleasing in other ways? Do they create interesting illusions?

Quantity, variety, and creativity. How many special effects are there? How original and imaginative are they in design and execution?

Consider the following examples to score this for presentation, originality, range, and difficulty. 

9 or 10: The effects are extensive, creatively designed and superbly executed, convey the script perfectly, and significantly enhance the show.
7 or 8: The effects are well-designed, suit the script well, and complement the performance,… or, if minimal, are creative and superb and significantly enhance the show.
5 or 6: The effects suit the script well and, whether extensive or minimal, neither add to nor detract from the show.
3 or 4: The effects suit the script fairly well, but may at times detract from the show.
1 or 2: The effects do not fit the show well, detracting from the show. 

Stage Management & Crew (2013-14 Replacement)

Stage Management & Crew refers to the speed, silence, invisibility, and/or entertainment aspects of scene, set, and furniture changes, and all other stage management, whether visible or not. Stage management & crew also may refer to the completeness & organization of the materials provided by the stage management & crew that were used during the rehearsal process. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible.

Keep in mind:

Stage crew work is very apparent in shows, and can be highly variable. Some shows have enormous moveable sets, while others have unitary sets. Some have frequent set changes, while others make changes only at intermission (or not at all). Some use the stage crew visibly, either in shadows or full light, dressed in black or in costume, perhaps as their own ensemble, while others use performers to move set pieces. In shows that close the curtain to make elaborate scene changes, some have action taking place downstage of the curtain, while others have a musical interlude. Some set changes are silent, while others are audible. Some move set pieces on rollers, while others involve stage rotation, or the flying in of large pieces. Every scene change has cues, at the start and end, and those cues should be promptly handled. In some shows, the best crew work is work you never notice. In other shows, the best work is something you very much do notice, and enjoy watching. Regardless of type of show stage management & crew are also responsible for being the king pin of communication during the rehearsal process, creating rehearsal reports, recording blocking, managing the schedule & keeping things running smoothly. When looking at the stage management and crew work in a show it is important to remember that the management of these components during the rehearsal will lead to a smooth run of the show. That work continues during the performance in every show, good stage crew work should contribute to the flow of the story, and not get in the way. If stage crew members are visible or audible when they should not be (for instance, making offstage noise), that should be considered. If a problem arises (for example, if the cast drops a prop, or if a set is damaged), see how that is handled by the crew. Consider any aspect of the show that is within the responsibility of the stage manager to prevent or control.
Look and listen for:
Execution. Does the crew do its work quickly and efficiently? Is the crew energetic and agile? Is the movement of large or cumbersome pieces as silent as can be reasonably expected? Are set pieces handled nimbly, without damage?
Cues. Do each scene change start briskly at the end of a scene, and does the next scene start briskly as soon as the last piece is moved?
Creativity. If the crew work is visible, is it entertaining to watch? Do the crew members function well as an on-stage ensemble? If performers are moving set pieces, do they move them in character?
Stagecraft. If the curtain closes to conceal crew work, does the show continue downstage of the curtain while the set pieces are changed? If so, does the work in any way distract attention from whatever is taking place downstage of the curtain?
Adjustments. If any problems arise with any set pieces, are they swiftly and effectively fixed?
Offstage comportment. During scenes, are cast and crew in the wings and upstage areas silent and out of sight, never distracting the audience's attention?
Rehearsal materials provided. Do the rehearsal reports contain detailed reports? Did the scene change plots have clear and detailed information on them? Did the prompt book have easy to follow and complete cues in it?

Consider the following examples to score this for presentation, originality, range, and difficulty.

 9 or 10: The crew work is difficult, creative, and very well-executed, swift and silent, hitting all cues, causing no distractions, and significantly enhancing the show. Rehearsal documentation is provided to show clear, detailed & complete organization and communication from the Stage Management team.
7 or 8: The crew work is challenging and uniformly efficient, and enhances the show. Rehearsal documentation provided and thorough.
5 or 6: The crew work is uniformly efficient and complements the show. Rehearsal documentation provided neatly compiled but perhaps few in number or lacking in detail or not clear or detailed.
3 or 4: The crew work is efficient, with a few noticeable flaws, neither enhancing nor detracting from the show. Rehearsal material provided is loosely organized but perhaps lacking in detail or not clear or detailed.
1 or 2: The crew work is not well done, with numerous noticeable problems, detracting from the show and no documentation is provided that the stage management & crew completed organized or clear assistance during rehearsal.

Orchestra

Orchestra refers to a group of musical accompanists that performs not less than six full songs, as accompaniment to vocalists, and will be evaluated for tone, pitch, authority, balance, pace, performer support, and other factors of musicianship that may contribute to a successful show. An orchestra may be a combo, band, orchestra, or any other group of not less than 3 musicians, of whom not less than 80 percent are students in grades 9 through 12. (A four-member orchestra must be all students, a 5- to 9-member orchestra may have one adult, a 10- to 14-member orchestra may have two adults, etc.) A conductor who is an adult and does not play an instrument will not be included in this percentage. Whether the score is performed as written for professional orchestras, or as simplified for student orchestras (by the publisher or by the school's own music director) is a factor. If not otherwise specified, Critics will assume that the score has been simplified for student use. 

Keep in mind: 
Different scores have different degrees of difficulty. Scores that have been simplified for use by school orchestras are less difficult than those that have not. The mere fact that a school's music director may have altered some parts does not necessarily mean that they have been simplified. There are two ways to evaluate orchestras: to listen to them carefully – and not to try to listen to them at all, and see if what they do stands out, in either a positive or negative sense. At various points in a show, you should try to do both. 

Listen for: 
Command, intonation and technique. Does the orchestra play with confidence, in tune, flawlessly? Do all the notes sound right – or, if not, was that the composer's intent?
Phrasing. Does the orchestra interpret the music nicely? Does the music flow naturally? Are solo lines well articulated? Do they sound smooth? Does the music make sense?
Dynamics. Does the orchestra support the singers and not overpower them? Is the sound well- modulated, loud when it should be loud, and soft when it should be soft?
Style. Does the orchestra play in the style of the score, and period of the story?
Blend. Do all sections of the orchestra play complement each other, and blend well with each other? Does no section dominate too much? Are any instruments (over-amplified guitars and electric basses, drums, horns) often too loud?
Entrances and cut-offs. Does the orchestra start songs well, and have strong, solid finishes?
Support. Does the orchestra adjust to early or late entrances, vocal errors, or sound problems? 

Consider the following examples to score this for presentation, originality, range, and difficulty. 
9 or 10: The students play a challenging score with superior execution.
7 or 8: The students play a difficult score with excellent execution or a less challenging score with superior execution.
5 or 6: The orchestra complements the show with few errors.
3 or 4: The orchestra sometimes distracts/overwhelms the show and/or makes several errors.
1 or 2: The orchestra frequently distracts/overwhelms the show and/or makes numerous errors.

Choreography

Choreography refers to the design and teaching of dance choreography, stage combat, and/or other synchronized on-stage movements. To be eligible, a show must have a majority of its musical numbers, stage combat, and/or synchronized scenes designed and taught to performers by a student, separate students, or a small group of students in grades 9 through 12, but adult guidance is permissible. Performer execution of the choreography is a factor. The entire set of student-designed choreography will be evaluated as a whole. Some adult choreography is permissible, as long as its location in the show is clearly identified to Critics in advance. 

Keep in mind: 
This category pertains to synchronized stage movement, not to the simple blocking of performer locations or the creation of stage pictures. It encompasses the design and teaching of choreography, and you cannot separate what was designed from what was taught, so you can only evaluate what you see. The success of the ensemble, or individual dancers, in carrying out the movement is what you should evaluate. The four required factors are equally important. Creative touches are important, but there may be times when the best choreography will bring to mind the original Broadway production. The larger the number of dancers, the more challenging it is to do difficult choreography. 

Look for: 
Dance technique. Are the dancers following the proper technique for that style of dance? Are toes pointed? Are legs straight? Is the dance done crisply? Are everyone's gestures tightly coordinated, so the entire ensemble looks like one dancer doing the move?
Rhythm, timing, and showmanship. Does the movement stand out? Does it grab your attention? Is the dance tight to the rhythm, with a good start and finish?
Complexity and extent. How complex are the movements? How lengthy are the segments with movement? How many performers are involved?
Use of stage and props. Are the dancers using all the stage, and using sets and props creatively?
Suitability. Does the movement suit the ability of the dancers? Do the performers make it natural and easy? Does the movement suit the show, and reflect the time period of the story? How well does the movement help tell the story? Does it make sense, where it occurs?
Size of ensemble. How many dancers are doing any choreography? Difficult choreography?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The movement is of superior design, complex, executed energetically, cleanly, and significantly enhances the show.
7 or 8: The movement is very well designed, challenging, executed energetically, cleanly, and enhances the show.
5 or 6: The movement is well designed, interesting, and presented well, nicely complementing the show.
3 or 4: The movement is presented fairly well but with some noticeable problems, sometimes detracting from the show.
1 or 2: The movement is either not well done or very simple (or both), and presented with frequent noticeable problems, detracting from the quality of the show.

Creativity

Creativity refers to creative achievement – by a student or group of students in grades 9 through 12 – not encompassed in another category. Only one creative achievement may be identified as the Critics' Choice in each Cappies show. Areas of creative achievement include, but are not limited to:

1. (A) Musicianship; (B) Composing; (C) Lyric Writing; (D) Play Writing; and (E) Directing. Guidelines for evaluating these areas of creative achievement are given below and on the following pages.

Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done.
This applies to each of the Creativity categories: Musicianship, Composing, Lyric Writing, Play Writing, and Directing.

A. Musicianship

This creative achievement refers to student-playing of an instrument in solo segments, in at least two songs, totaling not less than 60 seconds. The songs including solo segments by the student musician must be identified to the Critics before the show. 

Keep in mind: 
Nearly always, this category will apply to a musician who performs as an on-stage soloist, rather than as part of an orchestra pit. If so, listen more carefully than you watch. Very slight and subtle variations in performance can separate an excellent from a good musician. You do not need to be a skilled musician yourself to detect this, but you do need to pay very close attention. If a musician is also a vocalist, with two or more solos, he or she may also be considered in that category. 

Look and listen for: 
Command. Does the musician command attention as a soloist?
Intonation and technique. Does the musician play in tune? Does the musician play flawlessly?
Phrasing. Does the musician interpret musical lines nicely? Do the musical lines fit naturally? Are they well articulated? Do they sound smooth? Does the music make musical sense?
Style. Does the musician's style fit the show?
Theatre. Is the musician enjoyable to watch, as a performer? (This will not apply, if the musician is not on stage.)

B. Composing

This creative achievement refers to student composition of at least 3 songs for a Play or Musical. The songs written, or orchestrations made, by a student composer must be identified to the Critics before the show. 

Keep in mind: 
In a musical, the music is central to the show. In a play, any music should add to the show. Composition is a difficult task that requires a special skill set. Orchestration is an even more advanced skill. The simple fact that a student is composing and, perhaps, orchestrating songs, is itself an achievement. Composing songs suitable for vocalists (and lyrics) is a somewhat different task than composing pure music. 
If a candidate qualifies as a Composer, Playwright, Lyricist, and/or Musician, under the above definitions, the candidate can be evaluated in only one of these aspects, in which case the quality of the other aspects will not be a factor. 

Look and listen for: 
Instrumentation and orchestration. Are the songs written for several instruments, and do those instruments complement each other well, and blend together well?
Melodies and harmonies. Is the composing interesting melodically? Are the melodies memorable? Do the set the proper tone for the moment? Is the music interesting harmonically (the kinds of chords used, and progression from one chord to another)?
Context. Is the music appropriate to the moment? To the character? To the time and place of the setting of the show?
Range and structure. Does the music have variety, from song to song? Within individual songs? Does the music have a logical musical progression?
Originality. Does the music sound original, or too derivative? Does it sound too much like anything you recognize?
Fit to lyrics. If there are lyrics, how are they set, rhythmically and melodically? Do the musical lines require any distortions of natural speech patterns?
Vocal range and support. If there are vocalists, are some sounds set too high or too low? Does the composer give the vocalist proper places to breathe?

C. Lyric Writing

This creative achievement refers to student lyric writing of at least 3 songs for a Play or Musical. The songs written by a student lyricist must be identified to the Critics before the show. 

Keep in mind: 
It is not hard to write song lyrics. Nearly anyone can do this, to some degree. The challenge lies in separating good or excellent lyrics from everyday ones. A lyricist needs a real feel for the language, and for music. The best lyrics combine poetic rhythms and rhymes with clever word play, an effective use of emotions, and a solid craftsmanship, with words fitting very comfortably to music. The very best lyrics join with a well-designed composition to produce a song that sticks in your head as you leave the theatre. 

Look and listen for: 
Subject: Are the songs interesting? Do they speak broadly? Are they original ideas?
Context. Are the songs and lyrics well-placed? Do they fit the moment? Do any of the songs advance the story? Are the lyrics appropriate to whatever time period is required? Do the lyrics convey what the story needs to convey?
Emotion. Do the songs convey emotions effectively? Do characters start singing at points in the story where it feels natural and even necessary?
Balance and range. Is there a good variety of types of songs – ballads, comedy songs, rhythm songs, charm songs, aggressive songs, dance songs, other types? Is there a good mix of solos, duets or trios, and ensembles? Are songs spread well among the characters?
Fit to the characters. Are the lyrics appropriate to the characters? Do they convey emotions, and use words, that are believable for the characters?
Fit to the music. Do the lyrics fit naturally and comfortably with the musical lines? Do they bring to mind the natural flow of speech, set to music?
Rhymes. Is there an interesting use of rhymes – end rhymes and inner rhymes? And is there an interesting occasional use of unrhymed lyrics?
Vocabulary. Are the words smart and interesting? Are the lyrics poetic, or heightened speech? Do the lyrics follow the natural rhythms in the language?

D. Play Writing

This creative achievement refers to student play-writing of not less than one full act of a Play or Musical, totaling at least 40 minutes. 

Keep in mind: 
Writing a play takes perseverance, but not necessarily great skill. What is hard to do, and what takes great skill, is to write a play that makes you truly look forward to act two, to see what will happen – and then, when it's over, you keep thinking about the story and characters on the way home. The challenge is to separate the quality of the writing from the quality of the performances (and directing). 

Look and listen for: 
Story. Is it a good one, told concisely? Does it offer an interesting perspective on questions larger than the story itself? Is there a logical dramatic arc to the story? Is any conflict plausibly constructed, and just as plausibly resolved in the end? Is every member of the audience allowed reach his or her own conclusions (or is the story "preachy")?
Lead characters. Are the lead characters believable and interesting? Are the lead characters draw your interest, either because they are likeable or for other reasons? Are they who and what they seem to be? Are their social and psychological aspects well developed? Are they consistent within themselves and within the story? Do they develop (have a "character arc") over the course of the story?
Secondary and ensemble characters. Are the secondary characters helpful in advancing the story? Is there a good mix of characters? Do their subplots provide a useful contrast, whether comic relief or something else? Are their varying aspects – young or old, male or female, people of different wealth, ethnicity, nationality, or religion – effectively portrayed?
Scenes. Are the scenes well structured – comic scenes, tragic scenes, combat scenes, highly emotional themes? Do the scenes flow well, one to the other?
Stagecraft. Do interesting things happen onstage? Does the story break at the right spot, between act one and act two?
Musical aspects. In a musical, is there a good balance between dialogue and musical sections? Do some of the songs advance the story? Are the songs sincerely presented, by the characters? 

E. Directing

This creative achievement refers to student-directing of all aspects of an entire show, including casting, tech work, sets and costumes, blocking, and scene and character direction, with minimal guidance from a theatre teacher or other adult. 

Keep in mind: 
Occasionally, a student is given the title of "director," but still is, in effect, an assistant to an adult show director. For a student to be eligible for this award, the show must be directed almost completely by that student. In fact, as well as in name, the student must lead a group of their peers, create among them a cohesive team of actors and technicians, and make and execute decisions about creative concepts, casting, tech, costumes, blocking, rehearsals, scene and character development, and all other elements that go into a production. This is a very large challenge for a student. 
All four factors apply here, in roughly equal measure. Consider many of the same aspects as for the Play or Musical categories, except (apart from casting choices) you cannot hold the director accountable for every individual performance. Ask yourself, through the show, whether you are noticing director issues more than you usually do at shows. If not, then the student director may be doing good work. If you find yourself thinking "this is a great show," and not "this is a decent show, considering it's student run," then the student director may be doing very good work. 

Look and listen for: 
Show choice and casting. If the director chose the production, is it one within the capability of the cast and crew to do well? Has the show been appropriately cast? Do the actors suit their characters?
Staging. Was the show well staged? Did the director use the space of the theatre and the set to enhance to production? Did the staging help tell the story? Does the staging look planned and rehearsed?
Character work. Do the performers look like they were given direction? Do they look sure about where to be and what to do? Are the characters sharply defined, and developed well? Do lesser characters (and less talented performers) have fully developed characters? Do performers exhibit good on-stage chemistry and appear to work well together?
Pace. Does the show move briskly? Are cues well-timed? Is crew work quick and efficient?
Musical aspects. If the show is a musical, how well are the songs integrated in the story?
Technical aspects. Are sound, lighting, sets, costumes, and other tech aspects used to enhance the story line? Are these items used to an appropriate degree? (Or could the show have made do with more of them – or less?)
Originality. Is this production unique in significant ways? (Or does it look like other productions of the same show – or a movie – that you may have seen?)

For all creativity categories consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The creative element is of superior quality and significantly enhances the show, and nearly all of the above questions can be answered with a clear "yes."
7 or 8: The creative element is of excellent quality and enhances the show, and nearly all of the above questions can be answered with a clear "yes."
5 or 6: The creative element is of good quality and enhances the show, and many of the above questions can be answered "yes."
3 or 4: The creative element is basic and answers some of the above questions can be answered "yes."
1 or 2: The creative element is not well executed, and only a few of the above questions can be answered "yes."

Ensemble (Play / Musical)

Ensemble refers to a distinct and recognizable group of performers who frequently (at a minimum, in more than one scene) appear on stage together as an intended/named unit, but it may not include the entire cast, or an adult in a prominent role. A majority of the ensemble performers must be students in grades 9 through 12. In a Musical, the Ensemble must be supporting in at least one song. In a Musical, this award is intended to recognize a chorus, although other ensemble groups are eligible. As long as they appear together, they may represent different character groups.  For example, the Winkies/Ozians in "The Wiz", the secretaries in "Thoroughly Modern Millie," or the villagers/utensils OR the Silly Girls in "Beauty and the Beast." Though the ensemble may include a performer eligible for a lead category, the ensemble may not solely consist of leading actors e.g. The Jets (yes, All of them) are OK. The Delta Nu's can be an ensemble even though Elle is among them.

Keep in mind: 
Ensembles can be large or small. They can include performers (in supporting or lead roles) who may have a key identity wholly apart from the ensemble. An ensemble usually provides some counterpart to the story – humor, intrigue, or jolts of energy. It works best when it functions as a team, with good dynamics and chemistry among its members – but can include well-defined individual characters. Of the four factors, quality of presentation matters most. An ensemble can be distinctly un-original, while lending a useful flavor specific to the period of the story. Usually, an ensemble need have less range of expression, or character arc, than individual performers. What it is at the start may be what it remains at the end of the story. Achieving good dynamics with a two- or three-person ensemble may be less difficult to with a larger group. In a musical, an ensemble should have a significant musical role, with at least one song in which it is defined and supporting. It might also participate in several other songs, lending strong harmonies – and aggressive (perhaps humorous) dance sequences. 
Look and listen for: 
Character and story. Does the ensemble have its own distinct identity? Does that identity serve the purposes of the story?
Style and period. Does the ensemble convey a particular style or period? Is it eye-catching?
Comedy. If humor is part of the ensemble's purpose, is it funny – vocally, facially, and physically?
Energy and measure. Does the ensemble bring useful energy to its scenes – and give a measured performance, not going "over the top" and providing too much of a good thing?
Vocals and dance. If the show is a musical, does the ensemble sing well, with strong voices and good harmonies? Does it dance well, with coordinated movements?
Cohesion and focus. Does the ensemble work well as a team, with good group dynamics? Do ensemble performers give proper focus to individual performers, when required?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The ensemble is distinct, and engaging, with high energy and outstanding dynamics – and, in a musical, has superior vocal and dance skills – significantly enhancing the show.
7 or 8: The ensemble is distinct with high energy and solid dynamics – and, in a musical, has excellent vocal and dance skills – nicely complementing the show.
5 or 6: The ensemble is distinct with good energy and solid dynamics – and, in a musical, has good vocal and dance skills – nicely complementing the show.
3 or 4: The ensemble is distinct – and, in a musical, has inconsistent vocal and dance skills – neither enhancing nor detracting from the show.
1 or 2: The ensemble is distinct but uneven – and, in a musical, has weak vocal and dance skills – detracting from the show.

Featured (Actress/Actor)

A Featured performer creates and defines a memorable character, in a role that may OR may not have significant stage time, character presentation, and involvement in the story line.  A role that is too small to qualify as Supporting will qualify as Featured.  Examples in a musical are:  Grandmother Berthe in "Pippin", Freddy in "My Fair Lady", and Marcellus in "The Music Man". 

Keep in mind: 
A role cannot be too small – but can be too large – to qualify as Featured. A Featured performer can dominate one long scene or two short ones, and can have a minor role in several other scenes. More than that is too much to be considered Featured – and qualifies the performer as supporting. When two performers comprise an ensemble, with roughly equivalent stage time, they must either be both deemed Featured performers, or both deemed supporting (or comic) performers. In a musical, a Featured performer may have some solo lines, and may be part of a duet if the other vocalist is supporting more, but not as an equal part of the duet. Originality and creativity in the crafting of a role can often be the key factor here. 
If the same performer creates more than one different Featured role in the same performance, select the most memorable of those roles, and score only that, disregarding other roles by the same performer.  If no Featured role is in fact "memorable," none should be selected and scored. 

Look and listen for: 
Character. Does the Featured performer create an interesting character, with a distinct identity, that serves the purposes of a scene – or the story?
Impact. Does the Featured performer make a quick, vivid, and lasting impression?
Voice, physicality, and comedy. Does the Featured performer have a distinctive voice and physical gestures? If humor is part of the character's purpose, is the Featured performer funny – vocally, facially, and physically?
Energy and measure. Does the Featured performer bring useful energy to a scene – and give a measured performance, not going "over the top" and providing too much of a good thing?
Focus. Does the Featured performer give proper focus to other performers, when required?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The Featured performer creates an engaging character with distinct qualities and superior execution while making a very vivid impression – and significantly enhancing the show.
7 or 8: The Featured performer creates a dynamic character with distinct qualities and excellent execution, bringing energy, making a solid impression – and nicely complementing the show.
5 or 6: The Featured performer creates an interesting character, making an impression – and slightly enhancing the show.
3 or 4: The Featured performer creates a somewhat interesting character – and neither enhancing nor detracting from the show.
1 or 2: The Featured performer creates a flat, uninteresting character that detracts from the show.

Dancer (Female / Male) 

A Dancer is a performer in any role, whether lead, supporting, or featured, who dances, either solo or as part of an ensemble, but who must be supporting, at least briefly, in one or more one dance numbers, but not necessarily as a solo. The dance will be evaluated for movement, expression, timing, technique (for instance, leaps, turns, jumps, or pirouettes), and the effectiveness of their integration. Non-dance movements (including gymnastics) may be considered, if part of a dance sequence. A performer's singing and acting, in dance scenes or elsewhere, are not factors. To be eligible, dancers must be in grades 9 through 12. 

Keep in mind: 
To be considered for this category, a dancer should be supporting, preferably downstage, either solo or as part of a small ensemble, for roughly 32 beat counts (four 8-counts), about 15 to 20 seconds. A dancer can be, but need not be, a lead or supporting performer in the show. The dance can be in any style. Stage combat does not make a performer eligible as a dancer, but can be considered in the performer categories. Most dance segments will be of one style, which may not be original. The major issue should be the excellence and difficulty of the dance. 
In any musical with substantial dance segments, an effort should be made to rate a dancer of at least one gender, and if appropriate, both. 

Look for: 
Technical excellence. Does the dancer have technique? If so, is it done well? Are toes pointed? Are legs straight? Are gestures strong? Does the dancer make a hard technique look easy?
Showmanship. Is the dancer drawing you in, entertaining to watch, with strong overall appeal? Does the dancer show confidence, high energy, and good facial expressions throughout?
Style. Does the dancer effectively convey any particular style? If so, is it appropriate to the number and to the show?
Complexity and extent. How complex are the dancer's movements? How lengthy are the segments with movement? How many performers are involved?
Rhythm and timing. Is the dancer tight to the rhythm, with a good start and finish?
Ensemble work. When in an ensemble, are the dancer's movements coordinated with others? Does the dancer appear to provide leadership for other members of the ensemble?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The dancer shows superior technique and performance with challenging choreography, significantly enhancing the show.
7 or 8: The dancer shows excellent technique and performance with challenging choreography, enhancing the show.
5 or 6: The dancer shows good technique and/or performance with less challenging choreography, enhancing the show.
3 or 4: The dancer shows some good technique and/or performance.
1 or 2: The dancer shows a lack of technique and/or performance skill, detracting from the show.

Vocalist (Female / Male)

A Vocalist is a performer in a lead or supporting role who is a principal soloist in at least two songs. A vocalist will be evaluated for tone, pitch, authority, phrasing, characterization, and presentation. The quality of the performer's acting (other than in songs), dancing, and the qualities of the song composition, accompaniment, and sound or other tech work during the performer's vocals, are not required factors. To be eligible, vocalists must be in grades 9 through12. 

Keep in mind: 
If a vocalist presents a range of musical genres, and has an effective vocal styling, those should be considered positive aspects, as well. First and foremost, ask: Is the vocalist's voice strong, is it on pitch, and does it have good tone? Then ask about articulation, projection, range, character, breath control, vibrato, difficulty of the music, and other factors. As with orchestra, this may be a good category to evaluate by (briefly) closing your eyes and concentrating on listening to the voice. 
In any show, for either gender, if any vocalist has a principal solo in at least two songs, then rate at least one vocalist of that gender. 

Look and listen for: 
Tone and intonation. Does the vocalist have a voice that sounds good, and holds pitch, throughout the vocal range?
Articulation and projection. Can the lyrics be understood easily? Does the vocalist have a strong voice that projects well? If a microphone is used, does the performer handle it well, or cause the sound to be uneven or unwanted sounds to come from the microphone?
Phrasing. Does the vocalist communicating the intent of the lyrics, and the believability of the character, within a song?
Range. Does the vocalist's not strain voice at the top of the vocal range, or lack breath support at the bottom of the vocal range?
Breath control and vibrato. Does the vocalist sings full phrases and not break them up at odd places? Does the vocalist have good control of vibrato – smooth, consistent, not too much (especially in the higher range), and not overpowering the sound of the voice itself.
Character. Does the vocalist sing in character, and change no aspect of that character when singing? Does the vocalist convey that the character believes what is being sung?
Theatre. Is the vocalist enjoyable to watch when singing?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The vocalist shows superior technique and performance with challenging score, significantly enhancing the show.
7 or 8: The vocalist shows excellent technique and performance with challenging score, enhancing the show.
5 or 6: The vocalist shows good technique and/or performance with less challenging score, enhancing the show.
3 or 4: The vocalist shows some good technique and/or performance.
1 or 2: The vocalist shows a lack of technique and/or performance skill, detracting from the show.

Comic (Actress / Actor — Play / Musical)

A Comic actress or actor encompasses a role "reasonably" intended by the playwright to be comedic and will be evaluated for character, movement, expression, and timing. The comic performer should hold a significant presence in at least one scene. Any smaller presence, such as, but not limited to a "one-liner" walk-on role should not be considered adequate for qualification. A role that qualifies for lead or supporting is automatically considered large enough to qualify for comic. Critics should keep in mind that it is more difficult to maintain comedy for multiple acts than for a few moments. Examples would include Leaf Coneybear in " Putnam County Spelling Bee", Agatha in "The Children's Hour",  Eulalie Shinn in "The Music Man", and Eugene in "Grease". Examples of characters that would not qualify include Giles Cory in "The Crucible", Bum in "Hairspray", and Grocery Boy in "The Children's Hour". In a Musical, the performer may have, but need not have, vocal lines in any songs. Some plays may not have a significantly comic character.  To be eligible comic performers must be in grades 9 through 12. 
Keep in mind: 
A comic performer must hold a significant presence in at least one scene. In a musical, a comic actor need not be a vocalist in any song. If a comic performer sings or dances, only the comedic aspects of that song or dance should be considered. Comedy can be verbal or physical, wry or slapstick, solo or group. Tech work (sound, costume, make-up, props) can contribute significantly to a comic sequence – in which case, the credit should go there, and comic performers should be credited only with their own humorous persona and antics. Also, do not score on the humor in the script, but rather on the performer's own comedic touches. Originality and creativity deserve extra weight, since those are very important underpinnings for good humor. Don't measure the difficulty. Just measure the laugh. 
The bottom line, for comedy, is whether it's funny and makes people laugh. If it makes others laugh, but not you, remember that what you're evaluating is comedic performance as theatre, not as a good fit with your own sense of humor. Be alert to when a comic performer distracts from a story line, draws too much focus from others, or goes "over the top" with humor that seems forced and awkward. Also note, if a role is not intended to be humorous, as written or as interpreted by the director, then a performer should not be selected for this category. 

Look and listen for: 
Character and story. Does the comic performer create a vivid and amusing character with a distinct identity? Does that identity serve the purposes of any scenes, or of the story?
Style and period. Does the comic performer's humor fit within the style and period of the story?
Delivery and timing. Does the comic performer get maximum impact from humorous lines or scenes?
Voice, face, and body. Does the comic actor use voice, face, and body in humorous ways?
Energy and measure. Does the comic performer bring useful energy to scenes – and give a measured performance, not going "over the top" and providing too much of a good thing?
Focus. Does the comic performer lend comedic focus to other performers (making them funny too)? When humor is not appropriate for a scene, does the comic performer give proper focus to other performers?
Audience response. Does the comic performer make the audience laugh?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The comic performer creates an engaging humorous character with distinct qualities and superior execution while making a very vivid impression – and significantly enhancing the show.
7 or 8: The comic performer creates a dynamic humorous character with distinct qualities and excellent execution, bringing energy, making a solid impression – and nicely complementing the show.
5 or 6: The comic performer creates an interesting humorous character, making an impression – and slightly enhancing the show.
3 or 4: The comic performer creates a somewhat interesting character – neither enhancing nor detracting from the show.
1 or 2: The comic performer creates a flat, uninteresting character that detracts from the show.

Supporting (Actress / Actor — Play / Musical)

A Supporting Actress/Actor performs in a supporting, but not lead, role with significant stage time, character presentation, and involvement in the story line. A role that is too large to qualify as Featured will qualify as supporting. In a Musical, a Supporting performer may or may not be a principal soloist in at least one song - or not sing at all. To be eligible Supporting performers must be in grades 9 through 12."  Examples would be the King in "Once Upon a Mattress" and the Wicked Witch of the West in "The Wizard of Oz". 
Keep in mind: 
A supporting performer does not carry the story, but lends vital support to the story—hence the term "supporting" – and can carry an interesting sub-plot. A supporting performer usually (but not always) has less stage time and character development, and (in a Musical) fewer songs than the leads. The standard should be high. A supporting performance should be persuasive and compelling. All four factors are important. A supporting role may or may not have character arc and require a range of expression. In some shows, a supporting role may be the most creative or difficult role. 
Look and listen for: 
Character. Does the supporting performer create and hold a believable character? Does that character support plausibly develop, or change, over the course of the story?
Story. Does the supporting performer support the story, and help propel it to a resolution?
Style, period, and age. Does the supporting performer embody the style and period of the story—and the age, ethnicity, nationality, social status, and other elements of the role?
Intensity and nuance. Does the supporting performer have sufficient intensity—and, where required, subtlety and nuance?
Monologue and dialogue. Does the supporting performer deliver lines crisply, audibly, and persuasively—when alone, and when with other performers?
Emotion and physicality. Does the supporting performer use face, gesture, and body, along with the spoken line, to convey emotions effectively?
Comedy, vocals, and dance. When appropriate, is the supporting performer funny? If this is a Musical, does the supporting performer sing and dance at the level required for the role?
Technical aspects. Does the supporting performer use technical aspects well—handling microphones adeptly, standing in the light, wearing costumes comfortably, making full use of the sets, using props effectively, making well- timed entrances and exits?
Focus. Does the supporting performer lend focus to other performers, as required?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The supporting performer creates an engaging character with distinct qualities and superior execution while making a very vivid impression – and (if a Musical) sings and dances with superior technique – significantly enhancing the show.
7 or 8: The supporting performer creates a dynamic character with distinct qualities and excellent execution, bringing energy, making a solid impression – and (if a Musical) sings and dances with excellent technique – enhancing the show.
5 or 6: The supporting performer creates a believable character that supports the story, and (if a Musical) sings and dances well, slightly enhancing the show.
3 or 4: The supporting performer creates a fairly believable character that supports the story somewhat, and (if a Musical) sings and dances fairly well – neither enhancing nor detracting from the show.
1 or 2: The supporting performer does not create a believable character that supports the story, and (if a Musical) does not sing and dance as well as the role requires – detracting from the show.

Lead (Actress / Actor — Play / Musical)

A Lead Actress/Actor performs in a leading role, with substantial stage time, character development, and centrality to the story line. In a Musical, the performer must be a principal vocalist in at least two songs. To be eligible, Lead performers must be in grades 9 through 12. 

Keep in mind: 
A lead performer stands at the center of the story, and show, with the most stage time, character development, and songs (in a Musical). The standard should be very high. A Lead performance should be provocative and powerful. All four factors are important. In most shows, a Lead role has the most character arc, reveals the greatest range of expression. In many (but not all) shows, a Lead role is the most creative and difficult role. 
In a show consisting of a series of vignettes, with no clear Lead character of a particular gender, the dominant performer of that gender may qualify. Every show should have at least one Lead performer. 

Look and listen for: 
Character. Does the lead performer create and hold a believable character? Does that character plausibly develop, or change, over the course of the story?
Story. Does the lead performer draw you into the story, and then propel the story to a resolution?
Style, period, and age. Does the lead performer embody the style and period of the story – and the age, ethnicity, nationality, social status, and other elements of the role?
Authority, intensity, and nuance. Does the lead performer command the stage with authority, intensity – and, where required, subtlety and nuance?
Monologue and dialogue. Does the lead performer deliver lines crisply, audibly, and persuasively – when alone, and when with other performers?
Emotion and physicality. Does the lead performer use face, gesture, and body, along with the spoken line, to convey emotions effectively?
Comedy, vocals, and dance. When appropriate, is the lead performer funny? If this is a Musical, does the lead performer sing and dance at the level required for the role?
Technical aspects. Does the lead performer use technical aspects well – handling microphones adeptly, standing in the light, wearing costumes comfortably, making full use of the sets, using props effectively, making well-timed entrances and exits?
Focus. Does the lead performer lend focus to other performers, as required?

Consider the following examples to score this for presentation, originality, range, and difficulty.

9 or 10: The lead performer creates and holds a very provocative and powerful character with distinct qualities and superior execution that propels the story, has strong command of the stage all the time, with real intensity and strong emotional content, and (if a Musical) sings and dances with superior technique – significantly enhancing the show.
7 or 8: The lead performer creates a dynamic character with distinct qualities and excellent execution that carries the story, has solid command of the stage nearly all the time, with intensity and emotional content, and (if a Musical) sings and dances with excellent technique – nicely complementing the show.
5 or 6: The lead performer creates a believable character with distinct qualities and excellent execution that carries the story, has solid command of the stage nearly all the time, with intensity and emotional content, and (if a Musical) sings and dances with good technique – slightly enhancing the show.
3 or 4: The lead performer creates a fairly believable character that carries the story somewhat, and (if a Musical) sings and dances fairly well – neither enhancing nor detracting from the show.
1 or 2: The lead performer does not create a believable character, has weak command of the stage, and (if a Musical) does not sing and dance as well as the role requires – detracting from the show.

Song

The Song is the best-performed song in a Musical. A song will be evaluated purely on the basis of its presentation by a cast, crew, and orchestra, including voice, dance, acting, staging, sound and other tech work, accompaniment, and any other elements of the song's presentation. The quality of the composi-tion, lyrics, and adaptation (even if student-done), the extent of student participation in the orchestra, and the quality of any other presentation of the same song (earlier or later in the Musical), are not factors. To be eligible, a song must be in a Musical, and must not include any solo lines by an adult. A majority of the performers with solo lines in the song, and a majority of all performers in the song, must be students in grades 9 through 12. 

Keep in mind: 
The task here is to select and evaluate the best-performed song in the Musical. That may or may not be the best song, nor the largest, showiest, most amusing, or most famous song. It must be the best-executed song, considering all aspects of performance – including tech and orchestra work. In many Cappies programs, the Song nominees (or Critics' Choice Songs for Musical nominees) will be invited to perform at the Gala. This fact can be a source of inspiration for making a selection, but it should not alter the basic choice among songs, nor how any song is evaluated. 
Listen carefully to vocal qualities (tone, pitch, phrasing, vibrato), and watch dance elements just as closely. Listen and look for a song done very well – and, when scoring it, give major consideration to the difficulty in the vocals, dance, orchestration, or technical aspects. Many songs will have little range of expression, and if that appears intended by the composer and lyricist, that is fine. A difficult song that is extremely well presented, but not original in concept, may be selected and scored high. Do not be swayed by audience response. A very amusing ensemble song may be a literal "show stopper," even if it's very easy and done in a sloppy manner, while a brilliantly performed, very difficult dramatic solo or duet may receive far less audience response. Faced with that choice; select the latter. 

Look and listen for: 
Vocals. Is the song performed well by the soloists? Is it performed well by the ensemble chorus? Can you understand the lyrics well?
Characterizations. Do the soloists and ensemble members sing in character?
Orchestration. Is the song performed well by the orchestra? (See the Orchestra category.)
Dance. If dance is part of the song, is that performed well? Is it sung in character?
Energy. Is the energy level of performers appropriate for the song?
Sound. Is the quality of sound uniformly good through the song?
Other technical aspects. Does lighting, sets, costumes, or other tech work enhance the song?

Consider the following examples to score this for presentation, originality, range, and difficulty.
9 or 10: The song is challenging and performed with superior vocals, characterization, orchestration (if applicable), choreography and technical elements that enhance the song. 
7 or 8:  The song is challenging and performed with excellent vocals, characterization, orchestration (if applicable), choreography and technical elements that enhance the song or is less challenging and performed with  superior vocals, characterization, orchestration (if applicable), choreography and technical elements that enhance the song. 
5 or 6: The song is less challenging, but performed with good vocals, characterization, orchestration (if applicable), choreography and technical elements that enhance the song. 
3 or 4: The song is  performed with some good vocals, characterization, orchestration (if applicable), choreography or technical elements.
1 or 2: The song is uneven with weak vocal, characterization, orchestration and/or technical elements that detract from the show.

Play

Play refers to the performance as an entirety. To be eligible, a show must contain fewer than six musical numbers, sung by the performing cast. It will be evaluated as a production, and the quality of the published work (that is, the work of the playwright) is not a factor. It will be evaluated as a whole, including all on- and off-stage elements. It may not have an adult in any supporting or lead role, and the extent of adult participation in off-stage roles is a factor. 

Keep in mind: 
You are not in any way judging the playwright's work, nor are you recognizing the success of a well-known play. You are simply judging the quality of this production, measured against the standard of what you might expect of a first-rate high-school production of that play. You may consider any special interpretation of a well-known play – whether the creative choices enhanced or detracted from its overall impact of a show. The four evaluation factors are all important here. 
Plays vary somewhat in degree of difficulty, but not as much as musicals. Some involve more difficult character, ensemble, or tech work. Plays that are new or not well-known can be more difficult to do than those that are very well-known, but this is not as important a difference as with musicals. If a play has been made into a rentable movie, it's reasonable to assume that many in the cast and crew have seen that movie and have had a chance to gain pointers from it. In such a case, look for original, creative touches. 
Judge the play as a whole: lead and supporting performers, minor characters, ensembles, and all aspects of tech work. Dialogue and character development are more substantial aspects in a play than in a musical, because more time is spent on them, and they are usually more central to the story (and quality of the production). Anything that happens on stage can and should be considered, whether or not student done – but the greater the student work, the more credit should be given. Be careful not to pay too much attention to ovations or other audience response. Good audience energy can reflect a strong show, but not necessarily – and Critics need to look beyond that. 

Look and listen for: 
Impact. How well does the play work?
Lead performers. How strong and believable are they? Do they command the stage?
Supporting and minor performers. How good are they? Do they support the story well?
Ensembles. How good are they? Do they provide energy and definition to the story?
Drama and humor. How well is the story presented? How persuasive are emotional scenes? If the show has humor, how well does it succeed?
Technical work. How good are all the technical aspects – sound, lighting, sets, costumes, make-up, props, effects, and crew work?
Direction. How effective are the creative choices, casting, blocking, character work, musical direction, dance choreography, integration of tech work, and overall pace of the show? 

Consider the following examples to score this for presentation, originality, range, and difficulty.
9 or 10: The play is challenging with superior performances, direction and technical elements
7 or 8: The play is challenging with excellent performances, direction and technical elements or less challenging with superior performances, direction and technical elements.
5 or 6: The play is less challenging with good  performances, direction and technical elements.
3 or 4: The play is presented with some good performances, direction and technical elements.
1 or 2: The play is uneven with weak performances, direction and/or technical elements

Musical 

Musical

Musical refers to the performance as an entirety. To be eligible, a show must contain six or more musical numbers sung by the performing cast. Live accompaniment is not required. It will be evaluated as a production, and the quality of the published work (that is, the work of the playwright) is not a factor. It will be evaluated as a whole, including all on- and off-stage elements. It may not have an adult in any supporting or lead role, and the extent of adult participation in off-stage roles is a factor. 

Keep in mind: 
You are not in any way judging the book, lyrics, or compositions, nor are you recognizing the success of a well-known show. You are simply judging the quality of this production, measured against the standard of what you might expect of a first-rate high-school production of that show. You may consider any special interpretation of a well-known musical – whether the creative choices enhanced or detracted from its overall impact. All four evaluation factors are important here. 
Musicals vary in degree of difficulty. Some involve more difficult music than others – or character, ensemble, or tech work. Usually, musicals that are new or not well-known are more difficult to do than those that are very well-known, in part because the cast and crew will not be working off pre-existing models. If a musical has been made into a rentable movie, or has an easily acquired CD, it's reasonable to assume that many in the cast and crew have seen that movie and heard that CD, and have had a chance to gain pointers from them. In such a case, look for original, creative touches. 
Judge the Musical as a whole: lead and supporting performers, minor characters, vocalists, dancers, ensembles, orchestra, and all aspects of tech work. Anything that happens on stage can and should be considered, whether or not student done – but the greater the student work, the more credit should be given. Be careful not to pay too much attention to ovations or other audience response. Good audience energy can reflect a strong show, but not necessarily – and Critics need to look beyond that. 

Look and listen for: 
Impact. How well does the musical work?
Lead performers. How strong and believable are they? Do they command the stage?
Supporting and minor performers. How good are they? Do they support the story well?
Ensembles. How good are they? Do they provide energy and definition to the story?
Music, vocals, and dance. How consistently good are all these core components of a musical?
Drama. How well is the story presented? How persuasive are emotional scenes?
Humor. If the show has humor, how well does it succeed?
Technical work. How good are all the technical aspects – sound, lighting, sets, costumes, make-up, props, effects, and crew work?
Direction. How effective are the creative choices, casting, blocking, character work, musical direction, dance choreography, integration of tech work, and overall pace of the show? 

Consider the following examples to score this for presentation, originality, range, and difficulty.
9 or 10: The musical is challenging with superior performances, direction and technical elements
7 or 8: The musical is challenging with excellent performances, direction and technical elements or less challenging with superior performances, direction and technical elements.
5 or 6: The musical is less challenging with good  performances, direction and technical elements.
3 or 4: The musical is presented with some good performances, direction and technical elements.
1 or 2: The musical is uneven with weak performances, direction and technical elements

CAPPIES INFORMATION SERVICES

 

The Cappies program uses a highly automated online system, "Cappies Information Services" (C.I.S.), specially designed and managed for the Cappies by a software team that includes graduates of, and current students at, Thomas Jefferson High School for Science and Technology, in Annandale, VA.
This system is simple, time-saving, and efficient, and will help you do your work as a Critic—and as a Lead Critic. By logging in to C.I.S., you can:

• view your schedule
• update your personal database (email, phone number)
• find addresses and maps for Cappies Shows
• view the schedule of your Critics Team
• monitor the attendance, and review-writing performance, of your Critics Team
• record Critics' attendance
• receive reviews from Critics
• edit, select, and forward reviews
• send an email to the Program Director (or webmaster)

And, through C.I.S., program officials can email you information about your Critics Team, your Cappies Show, and other Cappies news.

GETTING STARTED

When your name is submitted as part of your school's online Cappies application (or afterwards), an email will automatically be sent to you, advising you of your username and temporary password. You must follow the instructions in the email to get a new password. You must respond to this email, or you will not be added to the roster of Cappies Advisors and Show Directors. As soon as you do, your personal pages will be activated on C.I.S.
To participate in the Cappies, the school's Advisor must receive emails from C.I.S. Most C.I.S. emails are sent out in batches, through a system that computers will not divert into "spam" bins. However, if anyone has installed a powerful spam guard on your computer, it is possible that C.I.S. emails may be blocked. If so, you (or someone else at your computer) will need to disable the spam blocker for C.I.S. email. The best way is to inform your spam program that you wish to receive any email with a "cappies.com" address.

LOGGING IN

How to Learn Your Username

Your username is simple. It is:

• your school's two-letter Cappies code
• a dash
• the first letter of your first name
• the first seven letters of your last name

For example, if you are Ben Thompson from North Town High School (school code: NT), your username is: nt-bthompso.
If you do not know your school's two-letter Cappies code, please ask your Program Director or one of your Critics—or email helpdesk@cappies.com, stating your school and home town.

How to Learn Your Password

Your password is a unique eight-character alphanumeric code. You will be emailed an initial password as soon as you are added to the roster. It will look something like: nx4t6m7b
If you have not received an emailed password, your email address is probably incorrect in the database, and you will need to send your correct email address to helpdesk@cappies.com, being sure to include with your name, school name, and name of your Cappies program. You will be sent a password, but perhaps not immediately. When you receive your password, you might want to change it to something you can more easily remember.

How to Change Your Password

You will be sent an initial password. If you wish, you can change it to something more familiar. Here's how:
Step One: Log in to C.I.S.
Step Two:Click on "Change Your Password."
Step Three:Type in your current password in the first text box.
Step Four:Type in your desired new password in the second text box.
Step Five:Re-type in your desired new password in the third text box
Step Six: Click "Change Password."
Your password must be eight letters or numbers, in any combination, including capital letters. C.I.S. will not allow you to choose common or easy-to-guess passwords (such as "password"). If C.I.S. doesn't accept your new password, if will tell you. Try something else until C.I.S. tells you, that your password has been accepted. For tips on choosing a good password, click "these tips" on the "Change Your Password" page.
Store your username and password in your computer (or some other safe place). You will need them to submit reviews. Without them, you cannot log in to C.I.S.

What to Do If You Forget Your Username or Password

If you do not know your username or password, click on the "click here" next to the line "forgotten your username or password?" On the next page, type your email address, and click "submit." If the email address you submit matches your email address in the C.I.S. database, your username and password will be automatically sent to that email address. If you do not receive this information immediately, your email address may be incorrect in the C.I.S. database. Send your correct email address to helpdesk@cappies.com, being sure to include your name, school name, and name of your Cappies program. You will be sent a username and password, but perhaps not immediately.

How to Log In

You can log in to C.I.S. via a number of links on www.cappies.com. You can do this from the home page (C.I.S. box, or upper right hand corner), or from the home page of each Cappies program.
When you get to the log-in page, it will ask for your username, your password, and your region. Type your username and password. The first time you type in your password, you may be asked if you want your computer to remember it—and, if so, click "yes."
Then click the "v" next to "Select Region", scroll to the three-letter code of your Cappies program, and click that. If you do not know your program's three-letter code, please send an email to helpdesk@cappies.com, stating your school and home town, and you will be sent the code, but not immediately (or ask a Critic at your school, who might know).
Click "Click to Login."
Once you have logged in, use the navigation links at the bottom of each page. Do not hit your usual browser "back" button while logged in to the system, or you may have to exit C.I.S. and have to log in again—and you may not be able to retrieve your last piece of work.

MAIN MENU

Once you log in, you will see the Main Menu. You will also see a set of links. When you click on any of the links, you will be directed to other C.I.S. pages. When on those pages, you can return to the Main Menu by clicking the "Main Menu" link at the top left, or the "Back to Main Menu" button at the bottom. You can log out by clicking the link at the bottom. You can also return to the "Main Menu" by clicking on the "back" command on the toolbar of your web browser.

How to Find Show Schedules and Maps

To find the schedule for Cappies Shows, click on the link "View a list of all xxx shows" (xxx is the three-letter code for your Cappies program). This will give you show names, schools, dates, and curtain times for all Cappies Shows in your program.
To find the address for each school, click on the school's name.
To see a map showing the location of each school, go to the address box and click "find a map." Please note that Mapquest maps are sometimes inexact. If no map appears when you click the link, this means that Mapquest does not produce a map for that address—in which case, you should consult a local map or obtain directions in another way.

How to Find Your Personal Information

For you to use C.I.S., and for program officials to reach you (which may be necessary, especially for Mentors), the Cappies must have accurate information, including your home phone number and any cell phone number. This is kept confidential, accessible only to program officials.
You can find your personal C.I.S. database by logging in and clicking on "lView your personal information." On this page, you can see what name, school name, email address, and home phone we have for you, along with information about your school's roster of Mentors and Critics.
If you are a Mentor, you will see your Mentor schedule, your assignments as Discussion Mentor or Editor Mentor, and the names, phone numbers, and email addresses of other Mentors assigned to those same Cappies Shows.

How to Change Your Personal Information

If there are any errors on your personal information page, or if your email or phone number ever changes, please enter the changes by returning to the "Main Menu" link at the top, clicking on "Correct Your Critic Information", and typing the necessary fixes, and clicking on the "request corrections" link. This will send a message to the webmaster, who will approve the change.
If that process does not work, for any reason, you can email the correction or update to helpdesk@cappies.com, being sure to include your name, school name, and name of your Cappies program.

How to Use C.I.S. to Send an Email

To send an email to the Program Director, go to the link "Send an email to the Program Director" under the heading "REPORT".
To send an email to someone at your school who is involved with the Cappies—a Critic, Advisor, Show Director, Mentor, or Booster—click on the "Send an Email" link under the heading "EMAIL". When you are on that page, click on the small box next to whomever you would like to receive your email, enter the email addresses of others you would like to receive it, enter a subject, and enter your message. If you wish to add a file, click on "browse," find the file you want to include, click on "open" on that Outlook page, and then click "add" on the C.I.S. page. (If you wish to remove a file from the email, click "Remove".)
When you are ready to send the email, click "Send email". You will soon see a box indicating that the email has been sent. You will receive a copy of your email in your Outlook Inbox (not your Outbox).

USING C.I.S. AS AN ADVISOR

How to Track the Performance of Your School's Critics Team

C.I.S. assists you in monitoring the attendance and review-writing record of each Critic from your school's Critics Team. Your "View Your Mentor Information" page has a summary chart. Here is how to interpret its information:

• Your school's Critics Team has been assigned to a show: gray
• A Critic has declined an assigned show: red
• A Critic has volunteered for a show: blue
• A Critic was present at a show, with a review pending: P
• A Critic was absent from an assigned (or volunteered) show: A
• A critic's review has been received: R
• A critic's review is late, but may still be submitted: L
• A critic's review was not received within 72 hours after the review deadline, and may no longer be submitted: N

Your school's Lead Critic can also see this information, for the full team, on C.I.S. Each Critic can see his/her own information, on C.I.S.
C.I.S. automatically accepts all reviews, regardless of content. If, afterwards, the Program Director determines that a review is unacceptable for any reason, the Program Director will decide whether to notify just the student or (in flagrant cases) also the Lead Critic and Advisor of the critic's school.
C.I.S. will only accept reviews that are submitted within 72 hours of the review deadline. (The deadline is always on Sunday, so the following Wednesday is the final deadline. The exact time of that deadline depends on the time of the original deadline, which is based on the curtain time for the Cappies Show.)
We expect all Critics to meet their obligations, which includes

• Attending all assigned shows, or declining by giving notice through C.I.S.
• Reviewing all shows they attend.
• Reviewing the required minimum number of shows over the school year. (Ask your Program Director, or your school's Critics, what this is.)
• Voting for awards.

The Cappies award process requires each school to carry its fair share of the review-writing and awards-voting tasks, and each Critics Team has yearly obligations. Ask your Program Director, or your school's Critics, what the minimum review numbers are for your Cappies program. .
If, at any point in the year, a Critic appears unlikely to meet his/her obligations, for any reason, we would urge you to remove the Critic from the Team roster, by emailing your Program Director or helpdesk@cappies.com.

USING C.I.S. AS AN MENTOR

How You Will be Reminded of Assigned Shows

If you are assigned to a Cappies Show, C.I.S. will send you automatic reminders about the show 14 days, 7 days, and 48 hours before the show. You will also receive an Attendance List of the Critics who are assigned to that show or have volunteered for it, along with the name of the other Mentor.
Please print out that final (48 hour) Attendance List, and bring it to the Cappies Show. Use it to take attendance there.

What If You Can't Attend an Assigned Show?

If you are a Mentor and cannot attend a Cappies Show to which you have been assigned, you must notify the Program Director by email, not later than three weeks before the show. To email the Program Director, log in, go to the Main Menu, click "Send an email to the program director," write your message in the space provided, and click "Send".
Switching Mentor assignments is relatively easy early in the year and during weeks when not many schools have shows. It can be quite difficult late in the year and during weeks when many schools have shows. If you must ask to change a Mentor date, please include at least three alternative dates you can do (from which the Program Director will select one). To find alternative dates, log in to C.I.S., click the "View a List of All Shows" link on the Main Menu, and you will find the Cappies Show schedule for the year.
If, due to illness or personal emergency, you must decline a Mentor assignment at very short notice, you (or a family member) should immediately email and phone the Program Director, who in all likelihood will have to find an emergency replacement from the Steering Committee.

How You Can Reach the Other Mentor

The other Mentor's name, phone number, and email address are all listed on your "View your personal information" page.

How to Report Critic Attendance

The Editor Mentor must report Critic attendance immediately upon returning home after a Cappies Show. If you fail to do this—or don't do it accurately—C.I.S. will mark Critics as "absent" on data fields visible to the Critic and to the critic's Advisor, which can cause unnecessary embarrassment for the critic. Please make sure that all Critics who are in attendance are marked present. If a Critic on the attendance list is not marked present, a notification is sent to his/her Advisor, and—again to prevent unnecessary embarrassment for a critic—we want to make sure these notifications are accurate.
Here's how to do this:
Step One:Before you leave for a Cappies Show you are mentoring, log in to C.I.S., click on "Report Critic Attendance," and print out the page (using mouse-click commands).
Step Two: Take the attendance print-out to the show.
Step Three: Take attendance at the show, using the print-out. (If you don't have the print-out, use a blank sheet of paper, making sure you can read every Critic's writing.)
Step Four: If any Critic is present who is not on the print-out, be sure to have them write down his/her name and school name on your attendance list.
Step Five: During intermission, make sure you have the name of every Critic present.
Step Six: Upon returning home after a show, log in to C.I.S.
Step Seven: Click on "Report Critic Attendance".
Step Eight: Using the print-out (or your other list), check off the names of all Critics present. You can do this either by clicking "select all" and clicking the circle by those who were absent, or by clicking "de-select all" and clicking the circle by those who were present.
Step Nine: If any Critic who is not on the attendance list was in fact present, enter that critic's username in the data field at the bottom of the page. C.I.S. will help you do this. Using the "school" toggle switch, locate the critic's school, and click on it. Then locate the critic, and click on his/her name.
Step Ten: When you have prepared a complete and accurate attendance list, click on the button marked "Submit". Please finish these steps immediately upon returning home from a Cappies Show.

How to Enter Critics' Choices

If no Cappies official from your program is present at the end of the post-show discussion, the Editor Mentor must enter all Critics' Choices on C.I.S. Please do this as soon as you return home from the performance, right after you enter attendance.
If you are the Editor Mentor, and if a Cappies official from your program is present at the end of the post-show discussion, you should give that person all the post-show evaluation forms—in which case s/he will enter Critics' Choices on C.I.S.
You enter Critics' Choices by going to that link, and entering each name, or group name, in the field shown. You can list of two to four names (no more than four) in one a field, separated by commas. You will include the performer's name only. You must enter the name of the Play or Musical on that category line. Please take great care to spell all names correctly.
After you have done this, you will need to send all the post-show evaluation forms to the Program Director. Do this on the next school day. Please take care with this, to avoid mislaying or losing these forms. If you lose them, the Program Director will have to ask the Critics to reconstruct them from memory—which is possible, but difficult and time-consuming.

What Are the Critics' Review Deadlines?

All reviews are due on the Sunday of the same week after a show. For most (but not all) Cappies programs, the deadlines for Critics' review submissions will be (in local time):

Mentors may extend the review deadline for a Sunday afternoon Cappies Show, but not beyond 10 PM of the same Sunday night. (If your Cappies program has different deadlines from these, you will be advised of this during training.)
Not less than 14 days prior to the Cappies Show, a Mentor may request any early review deadline. Program Directors are reluctant to do this, to avoid putting extra stress on Critics (and making deadlines less predictable), and will only do so in case of necessity.

How to Receive Reviews from Critics

Critics who attend a Cappies Show are all expected to write a review, subject to a strict deadline posted on C.I.S. The deadline is usually sometime on Sunday, of the same week as the Cappies Show—but can vary, depending on the program, media deadlines, and other scheduling needs. You can find the review deadline for each of your Mentored shows by going to the "View Mentor Information" link or "View Critic Reviews" link (for discussion Mentors), or "Edit Critic Reviews" link (for editor Mentors).
Reviews that are submitted after the deadline, even one minute too late, will be marked (in red) as late. Under the Cappies rules, you and the other Mentor may decide whether or not to consider selecting late reviews for publication—but, in any event, you will need to edit them in the same manner you would for all reviews that will be forwarded to the performing school.

What Is the Mentors' Submission Deadline?

Your deadline is 8 PM on Sunday (the same day you receive the reviews)—unless the show takes place on Sunday afternoon, in which case the Critic review deadline is 9 PM and the Mentor submission deadline is 12 AM Monday (midnight Sunday night). You may, if circumstances require, extend the Critic review deadline to 10 PM, in which case your submission deadline would be 1 AM Monday.
If you think you might not meet the submission deadline, please immediately contact the Program Director by email and phone.

What Happens If You Miss the Submission Deadline?

If reviews are submitted late to the media, even just once, this can jeopardize media support for the Cappies program. Therefore, the Mentor deadlines must be taken very seriously—by mentors and by the Program Director.
If an Editor Mentor misses the Mentor submission deadline, the Program Director (or designee) will telephone one or both mentors, even at a very late hour, to ask one or both of them to complete Mentor work for the show. If both mentors are reachable, or not able to finish the Mentor work, then the Program Director will do the Mentor work for the show, even if the Program Director has not seen the show. This will require late-night work for the Program Director, who will not be very appreciative, and who may ask that one or both mentors be removed from the roster.

How to Select Reviews for Publication

Both the Editor Mentor and Discussion Mentor are responsible for reading through each of the reviews and deciding which reviews should be forwarded to local newspapers for publication. Both Mentors will need to rank these selected reviews.
You will be advised, near the top of the "Edit Critic reviews" page, how many reviews will be selected for publication. You will need to rank these selected reviews.
Step One:While at the Cappies Show, confirm with the other Mentor when and how the two of you will confer (by phone or email) to agree upon which reviews will be forwarded for publication.
Step Two: After the review submission deadline (see above), log onto C.I.S.
Step Three: Click on "View Critic Reviews".
Step Four: On the third line from the top, see how many reviews are to be selected for publication.
Step Five: Click on the review link next to each critic's name to read the review
Step Six: Come up with your own ranking of top reviews. In making selections for publication, please select reviews in a manner consistent with the rules. (See your binder.)
Step Seven: Discuss your rankings with the other Mentor, by phone or email. Together, you must decide which reviews will be forwarded for publication, in which order. (The top reviews will go to the major newspapers.)
Step Eight: The Editor Mentor enters the agreed-upon rankings in the text boxes next to the selected reviews. For example, if the C.I.S. tells you to select 6 reviews, place numbers 1 through 6 next to your 6 selected reviews.
Step Nine: The Editor Mentor clicks the "Save Ranks" button. (When the Editor Mentor returns to the page later via the "Edit Critic Reviews" link, the ranks will still be noted on the page.)
Once the two Mentors have made and ranked these selections, the Discussion Mentor has no further tasks. (However, if the Editor Mentor fails to make a submission by the deadline, both Mentors may be phoned at a late hour.)

How to Edit Reviews

Step One:Bring home a copy of the show program.
Step Two: Select reviews to be forwarded for publication. (See above.)
Step Three: While still on the "Edit Critic Reviews" page, click on the review links for the reviews selected for the media, and carefully edit them for:

• Spelling (especially names of cast and characters)
• Grammar and style
• Criticism, which must be:
• Within the range of fair comment.
• Stated constructively, combined with praise, to the extent possible.
• Presented as observation, not as advice.
• Not longer than necessary to state a point.
• Not directed toward any named student or character.
• Not directed toward any adult in the cast, or in any offstage role.
• Not directed toward any composer, playwright or lyricist.

Step Four: Make sure that each review offers at least a brief, interesting description about the background of the show, and about the story line. If the Critic wrote nothing about one or both of these, please write your own description, taking care not to comment on the quality of the production by the performing school.
Step Five: After editing each review, click "Save changes." Then, if you wish to take a break from editing, or do other online work and come back to the editing task later, you will start where you left off. To read the original submission, as written by the critic, click the "View Original" button.
Do NOT click the "Submit Reviews" button until you have edited ALL reviews.
Step Six:You must now carefully review, and if necessary edit, all reviews that were not selected for the media. For these reviews (which will be forwarded to the performing school, but not published), you need not edit for name spelling, grammar and style, and fairness of praise, but only edit to confirm that each review complies with the rules on criticism.
If you determine that a review substantially violates the rules on criticism—if, for example, it is so negative, personal, or sarcastic that it's beyond editing range—please alert the Program Director about the review, making sure to (1) identify it by number and (2) paste the review on the email. To do this, go to the Main Menu, and click on the link for "Send an email to the program director".
Step Seven: After editing each review, click "Save changes." Even if you make no edits in a review, click the "Save changes" button to mark it as edited. When you return to the "Edit Critic Reviews" page, that review will now be marked as "edited."
Step Eight: Complete this editing process for each review, one by one, until all reviews are marked as "edited."
Step Nine: When you have read and (as necessary) edited all reviews, complete the checklist near the bottom of the "Edit Critic reviews" page. (Before you check them off, please read the items on the list, to be sure you actually have done them.)
Step Ten: Click the "Submit Reviews" button, and your work is done.
Once you click on the "Submit Reviews" button, you will no longer be able to edit reviews, change rank orders, or resubmit reviews for any reason. If this is a problem, email the Program Director (by returning to the Main Menu and clicking on the link marked "Send an email to the program director"), describe the problem, and the Program Director will be able to fix it. After you click the "Submit Reviews" button, you will still be able to see the original and edited reviews.

What to Do with Unacceptable Reviews

If a review is under 200 words, very poorly written, violates the rules on criticism, or contains other inappropriate comments, do not empty the data field for that review. Instead, please notify the Program Director (by returning to the Main Menu and clicking on the link marked "Send an email to the program director"). Do this no later than when you submit your edited reviews. The Program Director has the ability to delete an unacceptable review before all reviews are sent to the performing school—and, also, to delete it entirely from C.I.S., after which the Critic can be asked to resubmit a more acceptable review.

How Mentors Can Share or Switch Editor Mentor Tasks

If a Cappies Show has a very large number of Critics, if the Editor Mentor has schedule problems on Sunday prior to the mentors' submission deadline, or for any other reason, the two mentors can agree to share (or switch) Editor Mentor tasks. To do this, the Editor Mentor will need to make the request through C.I.S. (A Discussion Mentor cannot make this request on C.I.S. If you are Discussion Mentor, you will need to ask the Editor Mentor to do this.)
To share (or switch) Mentor tasks, before (or immediately following) a show, the Editor Mentor should click the link that reads "Switch or share assignment" for a particular Cappies Show. Go to that link, click on either "switch" or "share," and then click "submit."
When, as an Editor Mentor, you "switch" an assignment, you will become the Discussion Mentor for that show. This means you will no longer be able to report attendance, edit reviews, and submit them to media. When you "share" an assignment, you will still be an Editor Mentor, able to do all these things—and so will the Discussion Mentor. In effect, then, you will each be Editor Mentor for that show.

What to Do If C.I.S. Is Down

If you have trouble reaching C.I.S., the most likely reason is that your own server has problems. Very infrequently, C.I.S. may be down when you are trying to log in, perhaps to submit a review. If this happens, it will probably be down very briefly. The current status of C.I.S., whether it is currently functioning or down for any reason, will be noted on the www.cappies.com home page.
If C.I.S. is not functioning for you, for any reason, the Critic will submit the review by email, in a timely manner, to mentor.xxx@cappies.com (where "xxx" is your three-letter program code). Please make sure you keep a digital copy, in your computer files, which you can submit on C.I.S. when you can access the internet.
Please submit your edited reviews via C.I.S. if it is online. Do not submit reviews outside C.I.S. purely as a matter of convenience.

NOTIFICATIONS

About Your Show

C.I.S. will automatically send you projected attendance lists for your Cappies Show, 14 days, 7 days, and 2 days before the show. This will indicate how many tickets Cappies officials will need, for that show. We allow Critics to volunteer and decline shows, so this number may change, but it is unlikely to change by much. We encourage you to use the number of tickets projected in your 14-day notice to plan the size of the Cappies Room, amount of refreshments, and (approximate) block of tickets that will be needed.
Some Cappies Shows are very heavily attended by Critics. If you are expecting a sellout, please send an email to the Program Director, or to helpdesk@cappies.com. We can then send an advisory
A Show Director may request that a limit be placed on the number of Critics who can attend a Cappies Show at his/her school.
If, before the 14 day notice period begins, the Program Director notices that the number of Critics on your show's attendance list has become quite large, s/he may send you a C.I.S. email alerting you about your current Critics count.
After your Cappies Show has been completed, you will receive two emails from C.I.S.: (1) A list of Critics whose reviews have been selected for, and submitted to, the media; and (2) all Critic reviews. Usually, you will receive one or both of these emails on the Sunday evening after your show. At the latest, you will receive them on Monday. Please share these emails with your cast and crew.

About Your Critics

Your Critics Team is required to send at least half its members to review each of the five shows to which it has been assigned. Individual Critics may decline to attend an assigned show. However, if more than half of the Critics on your team decline a show, you will be notified about this 7 days, and again 2 days, before the assigned show. If you receive such a notification, please meet with your Lead Critic (or, if you wish, the entire Critics Team) and remind them of their obligations under the rules.
If a Critic from your school is on the attendance list for a Cappies Show but is not marked as "present" by the mentors at that show, you will be notified. If you receive such a notification, please check with that Critic to see if s/he did in fact attend the show. (It is possible that the mentors were in error—or, more likely, that the Critic did not check in with the mentors.) If the Critic did attend the show, please send an email indicating that to the Program Director (see below for instructions how to do that). If the Critic did not attend the show, please remind that Critic of his/her obligations under the rules.
If a Critic from your school attended a Cappies Show but has failed to submit a review within 24 hours after the review is due, you will be notified. If you receive such a notification, please remind the Critic that s/he must submit a review for every Cappies Show s/he has attended, and that late reviews will only be accepted up to 72 hours after the initial review submission deadline. If a Critic fails to submit a review by that final deadline (on Wednesday), you will again be notified. If this happens, please remind that Critic that s/he will be removed from the roster if this happens a second time. If the Critic has a good reason (i.e., illness or personal emergency) for failing to submit a review within 72 hours, please send an email to the Program Director (see below) to request a three-day extension.
On a more positive If a Critic from your school has a review selected for the media, you will be notified—in which case, we encourage you to extend congratulations to that critic.

CONFIDENTIALITY OF CAPPIES DATABASE

At the end of the program year, after the Cappies Gala, you will remain in the database for the year in which you were a mentor. Your data will remain confidential, accessible only to program officials, but you may receive additional emails about Cappies news items your Program Director considers of interest to mentors from the prior year. If you do not want to receive these emails after the program year is over, you can log in, go to your Main Menu, click on the "Correct your personal information" link, delete your email address, and click on the "request correction" link.

QUESTIONS OR COMMENTS

If you have any questions about C.I.S., or if you are following these procedures but still cannot log in, please send an email to helpdesk@cappies.com. You will get a response, but perhaps not immediately.
If you wish to contact the Program Director for any reason—to make a request or comment, or to ask a question—go to the "Send an email to the program director" link on your Main Menu, type your message in the space provided, and click "Send an email."

AWARD VOTING

The Cappies digital voting system enables high school-age student Critics to serve as judges in a theater awards program in which (1) no Critic has seen all the shows being judged, (2) different numbers of Critics are judging each show, and (3) Critics are not eligible to judge their own school's shows as a part of the competition). These conditions require a voting system that provides the maximum possible fairness, objectivity, and integrity.
The Cappies voting system provided fairness, objectivity, and integrity by requiring all Critics to vote on the same day, at on-line computers, seated apart from other Critics from their own school, through a carefully designed set of checks and balances, reinforced by a mechanism for vote-by-vote review by program officials and auditors. Through this process:
(1)Critics score in ways that provide a fair evaluation for every show, even though each show is scored by a different set of Critics.
(2)No advantage goes to any show that was reviewed by a large (or small) number of Critics, or whose own school's Critics reviewed a large (or small) number of shows.
(3)Any possible outcome-swaying "gaming" or "strategic voting" by Critics is observable in the results, with program officials retaining the authority to disqualify any votes that they, the auditor, and an international Cappies official conclude were not cast objectively. Students participating in such behavior may be removed from Cappies
This voting system is part of the Cappies Information Services (C.I.S.), designed in 2002 by students at Thomas Jefferson High School for Science and Technology in Annandale, Virginia. It is maintained by a team of students at that school, led by its original designers, Jeff Arnold (now at M.I.T.) and Samarth Keshava (now at Yale).
The Cappies digital voting system is a little complicated, here and there, but once you understand it, in the context of the goals of the Cappies program, you'll see how and why it makes sense.

HOW CRITICS VOTE

Critics vote by evaluation scores, by "tie-break" rankings, and by nomination and award points. Each of these methods reveals an important aspect of Critic opinion while providing a check-and-balance against the others, to provide fairness and integrity to the results.
Evaluation scores use the familiar Cappies scoring range of from 1 (poor) to 10 (professional quality). From these scores, CIS computes a "mean evaluation score" for each candidate, from all the numbers received from Critics. The Critics base these scores, at least in part, on the post-show scores they gave each candidate on this same scale. On their ballot, they can "ink in" these original scores, or raise them or lower them, as desired.
To ensure fairness and consistency among voting Critics, while giving each Critic reasonable latitude to score every show accurately, each Critic is (1) encouraged to maintain a mean score of between 5 and 6, and (2) required to have a mean score not lower than 4 nor greater than 7.
Tie-breaks are comparative rankings. On their ballots, Critics must rank every candidate, including those to whom they give the same evaluation score. If a Critic gives three candidates a score of 6, that Critic must designate them as 6A, 6B, and 6C, with the "A" score being higher than B, and B higher than C. These rankings can then be used to compare scores given any two candidates.
Nomination and award points enable Critics to express whom s/he thinks is worthy enough to be nominated or win a "Cappie" award. Each Critic receives her/his own number of points to allocate as they choose to any candidates on the ballot. A Critic receives five nomination points, and one award point, for every show that Critic reviewed, which means that a Critic who reviewed ten shows would have twice as many points to distribute as a Critic who reviewed five shows. Critics must give all their points, and they cannot give any candidate more than one of each kind of point. All ballot candidates have an equal chance of receiving points from all the Critics who evaluated them.
After voting is completed, C.I.S. calculates a "nomination point score" for each candidate that is the number of nomination points s/he received, divided by the number of Critics who could have given them. It does the same for award points. A candidate who was seen by 20 Critics and given 8 nomination points and 2 award points will have a nomination point score of 0.40 and an award point score of 0.10.

HOW RESULTS ARE DECIDED

Here's how the C.I.S. digital voting system determines nominees and "Cappie" winners.
Each program's Steering Committee determines the maximum number of nominations that can be given in each category and the minimum "mean evaluation score" a candidate must receive to be nominated.
Under the rules, no one can be nominated twice for the same show in non-performing categories, or in performing categories. When a candidate earns enough votes to merit more than one nomination, that candidate will be nominated in the more prestigious performing category—or, for tech, in any category where the candidate is listed alone. The same thing is done for awards. If a candidate earns the votes to win two performing Cappies for the same show, he or she wins the award is the more prestigious category.
Because no one can win more than one Cappie award, or be nominated in more than one performing or non-performing category, for any one Cappies Show, the C.I.S. computer must select the "Cappie" winner before it selects nominees. (The winner is, of course, a nominee.)
To select the "Cappie" winner, the C.I.S. computer finds the candidates with the highest mean evaluation score, and the candidate with the highest award point score. If the same candidate scores highest in both areas, s/he wins the Cappie. If one candidate has the highest mean evaluation score and another candidate the highest award point score, the C.I.S. computer checks for "tie-break" rankings. In effect, the computer takes a vote among all Critics who evaluated the two candidates, and whoever was ranked higher by a majority of candidates receives the award. If these "tie-breaks" fail to produce a result, the C.I.S. computer follows several other tie-breaking rules to produce the winner. (See the rules for a list of those.)
To select nominees, the C.I.S. computer nominates the award winner, and then nominates the candidates with the highest mean evaluation scores and nomination point scores, giving equal weight to both, applying tie-breaks where necessary.
The final nomination may come down to a choice between two candidates with (for example) the third-highest evaluation score and the third-highest nomination point score. To select this final nominee, the C.I.S. computer checks for "tie-break" rankings, and if these fail to produce a result, it follows other arithmetic rules to produce the final nominee.

HOW CRITICS AWARDS ARE DECIDED

Each Cappies program can decide how many and what kind of awards to give individual Critics. These nominations and awards are determined by an objective score that is based half on level of participation (number of shows reviewed) and half on number of reviews selected (with extra credit given selection for the major newspaper). Any ties are decided by comparing the average selectivity of each critic's review rankings—for example, giving an edge to someone whose selected reviews were on average ranked higher.
For Critics' team awards, the scores of each school's six highest ranking Critics (including regional team Critics) are tallied and compared. As with individual awards, these scores are half based on participation and half on number of review selections. Any ties are decided by comparing the scores of the top-scoring Critics of contending teams.

HOW A "SPECIAL AWARD" IS PROVIDED

The Steering Committee for any Cappies program, on its own initiative can give one "Cappie" award per year, as a Special Award for Service, for extraordinary service on behalf of the Cappies or High School Theater generally. There will be no nominees other than the winner named in this category.

HOW RESULTS ARE AUDITED

The audit process is an important part of the C.I.S. digital voting system.
The results are reviewed by one or more designated trustees who are authorized by a program's steering committee to see the results, along with a local auditor, and one or more international Cappies officials. They inquire into close results, look for patterns, and conduct spot-checks of other categories. Each candidate's scores, and each critic's ballots, are separately reviewable, if any voting irregularities are suspected. Individual votes may not be changed, but a critic's complete set of ballots may be disqualified—only if a trustee, auditor, and international Cappies official all agree that a voting irregularity has taken place.
Nominations are announced only after an audit has been completed, and the trustee, auditor, and international Cappies official are satisfied that the results are fair and final.
If any person wishes to appeal a result, s/he may do so, within three days after nominations are announced or seven days after award winners are announced. In case of appeal, a program's steering committee will review results and make an initial finding, and the Governing Board will make a final decision, which may not be appealed.
All scores are kept confidential. Under the rules, raw ballot data are not provided to anyone who is not a Cappies official.
(To see the complete Rules about the Cappies awards process, please see the "Rules & Forms" page of www.cappies.com.)

CONSEQUENCES

The Cappies program relies on all participants—Critics, Mentors, and Show Directors—to comply with rules. The integrity of the program requires that there be sanctions for certain rule violations. Some are mandatory, and others are at the discretion of a program's Steering Committee.
CRITICS
If a Critic does not submit at least the required minimum number of reviews (a number that varies from 3 to 5, depending on the program), that Critic will not be eligible to participate in awards voting.
If a Critics' Team submits no review to an assigned show twice, without having requested a change in assignment at least 14 days in advance, there may be sanctions, including disqualifying the school's own Cappies Show from awards.
If a Critic fails to attend a show at which he or she is on the final attendance list, or fails to submit a review within 24 hours of the initial deadline, or fails to submit a review by the final deadline (72 hours after the initial deadline), C.I.S. will automatically notify that Critic's Advisor and Lead Critic. (If the Advisor sends an email to the Program Director stating that the Critic had an illness or personal emergency, that final deadline may be extended.)
IN SOME (BUT NOT ALL) PROGRAMS: If a Critic fails to attend a Cappies show for which that Critic is on the final attendance list, or fails to submit a review for a show that Critic attended, the Critic's school's theater department will be charged $15 for the cost of the unused ticket and refreshments.
If a Critic submits a review outside C.I.S. when it is functioning, that review might not be accepted,
If a Critic submits a review of less than 300 words, or flagrantly violates the rules on criticism, that review will not be accepted, and the Critic's Cappies Advisor and Lead Critic will be notified.
If a Critic violates the rules on confidentiality (for example, by disclosing Critics' Choices), that Critic will face sanctions, which could include removal from the roster.
If a Critic engages in internet copying (plagiarism), that Critic will be removed from the roster, and if program officials determine that others on that Critic's Team were aware of this, sanctions will be imposed on that Team, including possible disqualification of the school's own Cappies Show from Cappie nominations and awards.
If a Critic declines shows without volunteering for a sufficient number of replacements, that Critic may be removed from the roster.
CRITICS TEAM
If fewer than half of Critics Team review an assigned show, one review will be added to the team's yearly minimum for each review they are short. (For example: If a six-member team submits only one review for an assigned show—two less than the required number of three—and if the yearly minimum is 15 for Critics Team in their program, then the yearly minimum will be raised from 15 to 17.)
If a Critics Team (including any regional team members from the same school) fails to provide the minimum yearly requirement for reviews (a number that varies from 9 to 15, three times the minimum for one critic, depending on the program), OR if the team fails to provide at least two critics who qualify for and take part in awards voting, then the school's own Cappies Shows will not qualify for any awards.
If a Lead Critic or others on a Critics Team are aware of major breaches in decorum, violation of rules on confidentiality, or plagiarism by any Critic on that Team, and if no action is taken to correct this, then that Team may face sanctions, and its own school show may be disqualified from Cappie nominations and awards.
MENTORS
If a school has no Mentor on its roster, the Steering Committee may impose sanctions, including removal of its Cappies Shows from the schedule, or removal of the school from the program.
If, more than once, a school's own Mentors are absent, or arrive at a Cappies Show after curtain, the Steering Committee may impose sanctions, including removal of its Cappies Shows from the schedule, disqualification of the shows from Award eligibility, or removal of the school from the program.
CAPPIES SHOWS
If a Cappies Show ends later than 10:30 PM but before 11:00 PM, critics will be allowed to consider the non-compliance with this rule when scoring it for the Play or Musical categories. If it ends later than 11:00 PM, it will be ineligible for the Play or Musical categories. Mentors may make allowance for any delay caused by the Cappies.
If the Mentors do not receive a completed Award Category Eligibility form 30 minutes before curtain, the Mentors may declare the show ineligible for any category for which the critics needed the requested information prior to the show to evaluate that category.
This isn't a rule violation, and your Show Director may want to use adults in a Cappies Show, but everyone should know that if adults take part in a Cappies Show, as performers, as orchestra musicians, or in any of the technical aspects, this can affect the show's eligibility for certain award categories. (See the Award Category Guide.)
If a Critics Team fails to meet its minimum requirements (see above), then a school's own Cappies Shows will be disqualified from all awards. A show's awards eligibility can also be affected by nonparticipation of Mentors (see above).
If any Critic engages in persistent or substantial misbehavior, and if the school's other Critics, Mentor, or Advisor are aware of this but do nothing to correct it, this can result in disqualification of their school's Cappies Shows from awards eligibility.

MENTOR CHECKLIST

This Checklist is a partial guide only. Please consult the Mentor Binder for a more complete description of Discussion Mentor and Editor Mentor duties. 
For tasks to be done by one Mentor only, that Mentor is indicated. If there is no indication for a task, then both Mentors should do it. 
While this is not required, it's useful to check off each task, as it is done.

PREPARING FOR THE SHOW

_____ Spend a few moments doing background research on the show. (DISCUSSION) 
_____ Bring your Mentor Binder, and make sure it includes a few copies of the Critics' Choice - Post-Show Evaluation forms. 
_____ Log into C.I.S., to make sure you know how to do it. 
_____ Check your C.I.S. "Personal Information" page, to confirm the name, phone number, and email of the other Mentor. 
_____ Print out and bring a final Attendance List, taken from the email you will receive 48 hours prior to the Cappies Show. (EDITOR)

PRIOR TO THE PRE-SHOW DISCUSSION

_____ Arrive 45 minutes before the show. 
_____ Make sure signs are posted directing Critics to the Cappies Room. (EDITOR) 
_____ In the Cappies Room, greet the other Mentor, and confirm the time and manner you will together read, select, and rank reviews—and whether the editing will be done only by the Editor                          Mentor or shared. 
_____ Find and greet Boosters, the Usher, and other hosts, and thank whoever is responsible for the complimentary refreshments. 
_____ As necessary, arrange tables and seats for a good discussion. Locate a microphone, if the school is providing you with one. 
_____ Confirm the availability and location of Cappies seats in the theater, and make sure the Cappies section is roped off. (EDITOR) 
_____ Make sure you have a sufficient number of tickets. (EDITOR) 
_____ Not later than 30 minutes before curtain, get the Award Category Eligibility form from the Show Director. If no one has completed this form, provide one to the Usher, and ask that it be                    completed right away. (EDITOR) 
_____ Invite the Show Director or Stage Manager to discuss the show briefly with Critics, if they wish, about ten minutes before curtain. (EDITOR) 
_____ Ask if the Cappies Room will be locked. If not, advise Critics to keep valuables with them. (EDITOR) 
_____ Take attendance. As Critics enter, get their names. (EDITOR, with help from DISCUSSION when EDITOR is not in the Cappies Room.) 
_____ Keep careful watch to make sure friends or family members of Critics are not present in the Cappies Room. 
_____ Distribute show programs to Critics, along with any other materials the host school may be providing. (DISCUSSION) 
_____ Distribute Critics Choice - Post-Show Evaluation forms to Critics who need them. (DISCUSSION) 
_____ Five minutes before curtain, return any unused tickets to the box office. (EDITOR) 
_____ Promptly 20 minutes before curtain, start the pre-show discussion, and continue until the usher asks you to take your seats, as the last ones seated. (DISCUSSION) 
_____ Tell the Critics any information listed on the Award Category Eligibility form that they should know prior to the show. (EDITOR) 
_____ Give background information on the show (DISCUSSION) 
_____ Remind Critics to show good decorum, to be careful what they say around other members of the audience, and to turn off cell phones, beepers, etc. (DISCUSSION)

DURING INTERMISSION

_____ Start promptly 2 minutes after the end of Act One, and continue for not less than 10 minutes. (DISCUSSION) 
_____ Make sure the discussion does not start until no one from the host school is in the Cappies Room. (EDITOR)
_____ Make sure the Usher is outside the Cappies Room door but is unable to eavesdrop. (EDITOR) 
_____ Lead a discussion in the manner described in your Mentor Binder (starting with positive comments, involving as many Critics as possible, keeping the room focused on one conversation, etc.). (DISCUSSION) 
_____ Get answers to any Critic questions Critics may have from the Show Director, Assistant Director, or Stage Manager. (EDITOR)

AFTER THE SHOW

_____ Start discussions promptly 2 minutes after bows. Do not remain in the theater for any post-show ceremonies. 
_____ Make sure no one from the host school is in the Cappies Room. (EDITOR) 
_____ Discuss the entire show (with an emphasis on Act Two) for 10 minutes. Try to end the discussion on a positive note. (DISCUSSION) 
_____ Lead the selection of Critics' Choices. See your Mentor Binder for instructions. (DISCUSSION) 
_____ For rule questions, consult the Award Category Guide. (EDITOR) 
_____ Confirm name spellings of Critics' Choices with the show program. Fill out a Critics' Choice form to take home. (EDITOR) 
_____ Ask Critics to fill out the Critics' Choices – Post-Show Evaluation forms. (DISCUSSION) 
_____ Collect the Critics' forms. Be very careful not to mislay them, and not to let anyone at the host school see any of them. 
_____ Take the Critics' forms home with you in the envelope provided by the school. Postage should be inside. (EDITOR) 
_____ Remind Critics to take home programs. (DISCUSSION) 
_____ Take home a show program. 
_____ Take home a completed Critics' Choice form, with names spelled correctly. (EDITOR) 
_____ Make sure the Cappies Room is clean before leaving. 
_____ Check to see if any Critics are awaiting rides. (EDITOR) 
_____ Remain with Critics who are awaiting rides—and do not leave until all Critics have left for home. (DISCUSSION or MENTOR)

UPON RETURNING HOME

_____ Log into C.I.S. (EDITOR) 
_____ Enter attendance. (EDITOR) 
_____ Enter Critics' Choices. (EDITOR)

ON SUNDAY

_____ Log into C.I.S. after the Review Deadline (10 AM for shows Friday or earlier, noon for Saturday matinees, 2 PM for Saturday night shows, 9 PM for Sunday matinees). 
_____ Check the number of reviews to be forwarded to newspapers. (This will be on your "Personal Information" page, on C.I.S. 
_____ Read all the reviews, including any that are marked as late. The two Mentors may split this task, if there are a large number of reviews. 
_____ Select—and rank—the reviews to be forwarded to newspapers. 
_____ Enter and save the ranks on C.I.S. (EDITOR) 
_____ Edit the selected reviews, in the manner described in the Mentor Binder—taking care to double-check all name spellings with the show program. (EDITOR) 
_____ Lightly edit the remaining reviews. (EDITOR) 
_____ Not later than 8 PM, submit your selections, ranks, and edited reviews to C.I.S. For a Sunday matinee show, make your submission by midnight—or, if you extend the Critic deadline, not later than three hours after that deadline. (EDITOR)

ON MONDAY

_____ Mail the critic choice forms, a show program, AND the orchestration for the critics' choice song (EDITOR) to your regional Cappies Program Official.

FORMS

Your binder should contain each of the following forms, in the number indicated:

• Parental Authorization (two copies)
• Critics' Choices — Post-Show Evaluation (four copies)
• Critic Notes — Musical (one copy)
• Critic Notes — Play (one copy)
• Award Category Eligibility (2 copies of a 2-page form)

If program officials do not provide these forms, you can download them from the "Rules" link under the "TRAINING" heading on your C.I.S. links page. These forms may also be downloaded from the "Rules & Forms" page of www.cappies.com.
Please make additional copies, as needed.


PARENTAL AUTHORIZATION IS MANDATORY.
No student may attend a Cappies Show as a Student Critic unless the Program Director has received a Parental Authorization form signed by a parent.
No exceptions.

GOLDEN RULES OFTHEATER REVIEWS

By Mario Iván Oña, Washington Post liaison of "Tomorrow's Critics" http://voices.washingtonpost.com/tomorrows-critics/

1. Describe! Describe the show in your review as if you were describing it to someone who is blind. Put the reader in the play! Describe costumes, colors, textures.

1. Context! Find a way to put the show, or an element of it, in context to what the reader has experienced or knows. Is there a back story? Was/is the show controversial? Is it a theme relevant today? Did a performer have to overcome an obstacle to perform in the show?

While you should not be getting quotes from performers, you should feel comfortable approaching the director and asking him/her a FACTUAL question about the performance. You should not quote the director, however. If the show director provides information about the historical background of the show or his/her "take" on the show, incorporate that information to help put the show into context. You may also include any factual information (but not opinion) that mentors share in the discussion.)
3. Show me, don't tell me! (This is not a rewording of rule #1.) Give evidence to your claim. "The performance was so powerful that the audience leapt to its feet in unison to applaud the final song! "It wasn't a set, it was a piece of Brooklyn itself resting on Bishop Ireton's stage." It is not enough to say something was good or it was bad. You need to let the readers come to their own conclusions by providing them the evidence. Give them the facts on what you saw or noticed.
Words to Avoid in Your Reviews
Wonderful, Amazing, Great, Really Nice, Beautiful
Interesting, Very Good, Bad, Terrible, Comedic-Timing, Great Energy!
Don't "TELL" your readers by writing these overused adjectives or phrases, instead "SHOW" them by writing specific example. Don't say someone had great energy, instead describe their performance and convey HOW they showed energy.
Final Thoughts
1. Emulate Professional Writers. Read theater reviews by professional critics in The Washington Post and other newspapers. Notice how reviewers describe technical elements and performances, how they give evidence to their claim, how they put the story in context to what the reader might know or experience. Go to "tinyurl.com/post-theatre" for a quick link to theater reviews at The Post.
2. Fact Check! It is YOUR responsibility to ensure every name (fiction and non-fiction) is spelled correctly. It is YOUR responsibility to check your history about other noteworthy productions of the show (awards, production dates, stars, etc.)
3. Familiarize yourself with AP (Associated Press) Style of punctuation and grammar preferences. It is a handy reference to have as a journalistic resource!
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