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1. Quality of presentation.
2. Originality and creativity.
3. Range of expression.
4. Degree of difficulty.

1. Critic. All individual Critic Awards are determined by an objective score given all Critics who submitted the required minimum number of Reviews and participated in Awards Voting. Each Critic's score is based 50 percent on number of Reviews, 50 percent on number of selections (for top media and all media), pursuant to a normalized formula set by the Governing Board. Ties will be resolved by average rank of selections (as a percentage of all Reviews submitted at Cappies Shows reviewed by a Critic). Critic awards may be determined by:
   1. Gender (Female and Male Critic), or
   2. Year in School, as:
      1. Two Awards: "Graduating Critic" (for those in, or recently having completed, the 12^th grade), and "Rising Critic" (9^th through 11^th grades).
      2. Three Awards: or three Critics Awards, "Graduating Critic," "Returning Critic," and "Underclass Critic" (9^th and 10^th grades), or
      3. Four Awards: "Graduating Critic" (12^th grade), "Junior Critic" (11^th grade), Sophomore Critic" (10^th grade), and "Freshman Critic" (9^th grade).
2. Critics Team. This Award is based on the performance of the six highest-scoring Critics, including Regional Team Critics, from a Participating School. To be eligible for inclusion, each Critic of the Critics Team must have reviewed the required minimum number of shows and participated in Awards Voting. The Team score is based 50 percent on number of Reviews, 50 percent on number of selections for top media and all media, pursuant to a normalized formula set by the Governing Board. Ties will be resolved by comparing the scores of the highest-scoring individual Critics, and (if necessary) the next highest-scoring Critics, until a determination can be made.

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1. 1. 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: (a) graphic design, (b) poster, (c) program, (d) web site, (e) press release, (f) trailer or other media, or (g) lobby display.
      1. 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.
   2. Sound. This Award incorporates 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, but adult guidance is permissible.
   3. Lighting. This Award incorporates the design and execution of stage lighting, including lights that are part of any sets, costumes, props, or still-projection (gobo) special effects. The timing and coordination of light cues, and the use of lit areas by the cast on stage, are factors. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.
   4. Sets. This Award incorporates 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, 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.
      1. 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.
      2. (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.)
   5. Costumes. This Award incorporates 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, but adult guidance is permissible. Some non-student-made costumes (e.g., 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.
      1. 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.
   6. Make-Up. This Award incorporates the design and execution of all facial (and other) cosmetics, hair, nails, and props (e.g., 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, but adult guidance is permissible.
      1. 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.
   7. Props. This Award incorporates the design, construction or collection, and use of student-designed props that are neither sets nor costumes. Examples include, but are not limited to, weapons, food, beverage containers, or 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, but adult guidance is permissible. The quality of performer use of props is a factor, but a performer who uses props (e.g., a puppeteer or magician) may be considered only if s/he assisted in the design and/or construction of the props.
   8. 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.
      1. 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.
   9. Stage Management and Stage Crew. This Award incorporates the speed, silence, invisibility, and/or entertainment aspects of scene, set, and furniture changes, and all other stage management, including all materials, whether visible or not. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.
   10. Orchestra. This Award is for 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. (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 performed as simplified for student orchestras (by the publisher or by the school's own music director), is a factor.
   11. Choreography. This Award incorporates 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, 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.
   12. 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: (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
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   1. 1. 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.
      2. This applies to each of the Creativity categories: Musicianship, Composing, Lyric Writing, Play Writing, and Directing.
   2. Ensemble. This award 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. If someone is eligible for lead or supporting, they CANNOT be considered part of an ensemble, even if that person is not a Critic's Choice.
   3. 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." "
   4. Featured Actor/Actress. 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".
   5. Female Dancer. This Award is for a performer in any role, whether lead, supporting, or featured, who may either dance solo or as part of an ensemble, but who must be featured, at least briefly, in one or more dance numbers, but not necessarily as a solo. The dance will be evaluated for movement, expression, timing, technique (e.g., 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.
   6. Male Dancer. This Award applies the same criteria as Female Dancer.
   7. Female Vocalist. This Award is for 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 factors.
   8. Male Vocalist. This Award applies the same criteria as Female Vocalist.
   9. Comic Actress/Actor in a Play/Musical. A Comic actress or actor in a lead or supporting role "reasonably" intended by the playwright to be comedic, will be evaluated for character, movement, expression, and timing. Audience response to comic actions is a factor. 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.
   10. Supporting Actress/Actor in a 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".
   11. Lead Actress in a Play. This Award is for a lead actress in a leading role, with substantial stage time, character development, and centrality to the story line.
   12. Lead Actor in a Play. This Award applies the same criteria as Lead Actress in a Play.
   13. Lead Actress in a Musical. This Award applies the same criteria as Lead Actress in a Play, except the performer must be a principal vocalist in at least two songs.
   14. Lead Actor in a Musical. This Award applies the same criteria as Lead Actress in a Musical.
   15. Song. This Award is for 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 composition, 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.
   16. Play. This Award is for the performance as an entirety. To be eligible, a show must contain less than six musical numbers, sung by the performing cast. It will be evaluated as a production, and the quality of the published work (i.e., 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 prominent or lead role, and the extent of adult participation in off-stage roles is a factor.
   17. Musical. This Award applies the same criteria as Play, except it includes an evaluation of the musical and dance performance. To be eligible, a show must contain six or more musical numbers sung by the performing cast. Live accompaniment is not required.
   18. A Special Award for Service is determined by the Steering Committee.
2. In any Program Year, a Steering Committee may give, but is not required to give, one or more of these Awards.
   1. A Special Award for Service may be presented only to students in grades 9 to 12 during the Program Year, for extraordinary work on behalf of high school theater, which may include:
      1. Work on behalf of the Cappies.
      2. Work on behalf of high school theater in the Program area.
   2. To qualify for a Special Award for Service, a Candidate must be:
      1. Recommended by a Member of the Steering Committee.
      2. Approved by not less than two-thirds of the Steering Committee, who must determine that the Candidate's work is an extraordinary achievement, far beyond what one normally sees in student work
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1. 1. 1. 1. 1. 1. 1. Awards Voting will take place through Ballots constructed on, and administered, computed, and interpreted by, Cappies Information Services (C.I.S.).
2. There will be one Ballot per Award Category
   1. 1. .
3. Each Ballot will include Candidates, who will all be Critics' Choices from Awards-eligible Participating Schools, in that Category.
4. A Critic will only vote for Candidates in Cappies Shows for which s/he has submitted a Review.
5. Critics must attend the school in order to vote with that school team. (If two schools, for example a boys and girls shared Catholic school) then they are either two separate teams or one combined team. The approved application determines which school or combined school a team represents
6. When voting, a Critic may have access to his/her Post-Show Evaluation Form, and Review, for each Cappies Shows for which s/he has submitted a Review.
   1. A Critic may cast a vote notwithstanding the absence of his/her Post-Show Evaluation Form, or inaccessibility of his/her Review.
   2. A Critic may mark any Evaluation Score for a Candidate on a Ballot, and is not bound in any way by any Score marked on a Post-Show Evaluation Form.
7. A Critic will not vote for any Category in which s/he has a personal stake in the outcome, including when a Critic:
8. Is a named Candidate.
9. Is an unnamed member of an Ensemble or Orchestra Candidate.
10. Performed as a soloist, or in a duet, in a Song Candidate.
11. Has any other circumstance that might call into question the Critic's impartiality.
    1. On each Ballot, a Critic will vote in four ways.
12. Evaluation Scores, on the same 1 to 10 scale used in the Post-Show Evaluation Forms.
    1. Each voting Critic must have a Mean Evaluation Score of not less than 4.0 and not greater than 7.0.
    2. Each voting Critic will be encouraged to have a Mean Evaluation Score of between 5.0 and 6.0.
13. Tie-Breaks, through which the Critic will rank Candidates on the same Ballot to whom has given the same Score.
14. Nomination Points, of which the Critic will be allocated five per Review, to be allocated among all Award Candidates, in a manner described in the C.I.S. Voting Procedures.
15. A Critic may give only one Nomination Point to any one Candidate on a Ballot.
16. A Critic must give one-fifth of his/her Nomination Points to Candidates in the non-performing Categories.
17. On any Award Category ballot, a Critic may give no more than the number of Nomination Points authorized for that Program as the maximum number of Nominees per Award Category.
18. On any Award Category ballot, a Critic may not give a Nomination Point to a Candidate whom the Critic has ranked lower than a Candidate to whom the Critic has not given a Nomination Point.
19. Award Points, of which the Critic will be allocated one per Review, to be allocated among all Award Candidates, in a manner described in the C.I.S. Voting Procedures.
20. On any Award Category ballot, a Critic may give no more than one Award Point.
21. A Critic must give one-fifth of his/her Award Points to Candidates in the non-performing Categories.
22. On any Award Category ballot, a Critic may give either one Award Point, or no Award Points.
23. On any Award Category ballot, a Critic may not give an Award Point to a Candidate whom the Critic has ranked lower than a Candidate to whom the Critic has not given an Award Point.
    1. Awards Voting will be limited to Critics eligible under the Rules.
24. Voting eligibility will be determined based upon Review data in C.I.S., and will be presumed accurate unless the Program Director receives an email from a Critic identifying a possible inaccuracy in his/her data.
25. No critic or team may review or vote for any Cappies show if any member of that team is a performer or crew member in the performing school.
26. For a Cappies Show that takes place within 72 hours prior to Awards Voting, the Editor Mentor will enter attendance data immediately after the Cappies Show.
27. The Steering Committee may authorize the Program Director to authorize Awards Voting by any Critic who has submitted less than the minimum number required for Voting eligibility, but only if:
28. The Critic has reviewed at least 3 Cappies Shows, or two Cappies Shows in a Program that has set 3 as the minimum number for Voting eligibility, and
29. During the final week of Cappies Shows, the Critic was unable to attend a Cappies Show for which the Critic had volunteered, because of illness, personal emergency, or other reason the Program Director deems an acceptable reason, or
30. At any time during the Program Year, the Critic attempted but failed to attend a Cappies Show for which the Critic had volunteered, because of a Program error or other circumstance beyond the Critic's control that the Program Director deems an acceptable reason, or
31. The Critic reviewed a Cappies Show determined by the Program Director to require additional Voting critics.
    1. Prior to the Awards Voting, consistent with C.I.S. Procedures, the Program Director will enter into C.I.S. all relevant data pertaining to:
32. Critics' Choices for Cappies Shows eligible for Awards, confirming the accurate spelling of names.
33. Critics' eligibility for Awards Voting.
34. Critics' Awards.
35. The Awards eligibility of all Participating Schools.
    1. Critics will vote in person, at a designated site.
36. The Program Director will set and announce a date for Awards Voting, not later than 30 days before such date.
    1. The Program Director may authorize an alternative voting date, not more than two days before, or one day after, the main Awards Voting date, for Critics who cannot attend the other date for reasons of religious observance or Critics whose Advisors have stated a good reason for their being unable to be present at the main Awards Voting date.
    2. The Program Director may authorize alternative start times for Awards Voting.
37. Awards Voting will take place at one location that will be equipped with on-line computers, unless the Steering Committee determines that more than one location is required.
38. Critics will log in with confidential passwords.
39. Critics will not consult with each other, nor be seated next to a Critic from his/her Team.
40. In unusual circumstances, and not more than one day before or after Awards Voting, the Program Director may enable a Critic to vote absentee, in the presence of a Proctor, or while on the phone with the Program Director (or designee).
    1. This will be allowed only if any Ballot Candidates have been changed subsequent to the Critic's vote, or if a Cappies Show that may not have a sufficient number of Critic evaluators without including one or more absentee voters, or in any other circumstance authorized by the Steering Committee.
    2. A Proctor will supervise any such absentee voting, by remaining on the phone with the Critic.
    3. The Program Director will select one or more Proctors to supervise Awards Voting at each location, one or more Trustees to receive the Voting Results, and one Auditor to Certify the Voting Results.
       1. 1. 1. Proctors and Trustees may include any Member of the Steering Committee, regardless of school affiliation, and any other person who has no current or former affiliation with an Awards-eligible school.
             2. One Trustee must be either the Chair or Program Director, and all Trustees must be persons who are knowledgeable about the Awards Voting Rules, including decision rules for all Nominations and Awards.
             3. The Auditor may not be a Member of the Steering Committee, must not have any current or former affiliation with an Awards-eligible school, and may be, but need not be, knowledgeable about Award Voting Rules.
             4. Prior to Awards Voting, a Proctor will learn, and become knowledgeable about, C.I.S. Voting Procedures.
             5. At the Awards Voting site, before each group of Critics starts to vote, Proctors will:
41. Ensure that the only persons present at the Awards Voting site are Proctor(s), voting Critics, Steering Committee Members, the Web Coordinator, and any other person(s) authorized by the Program Director.
42. Return Post-Show Evaluation Forms to Critics, for shows they attended and reviewed.
43. Provide copies of show programs of all Awards-eligible shows, to the extent practicable.
Read a statement provided by The Cappies.
44. While Critics vote, the Proctor(s) will ensure that they vote, and that all aspects of Awards Voting take place, in the manner prescribed in the C.I.S. Voting Procedures.
AnchorOLE_LINK1OLE_LINK1After each Critic votes, the Proctor(s) will confirm that the Critic's vote has been recorded.
45. After all Critics have voted, the Proctor will review the list of Critics who have voted, to identify any Participating School that did not have at least two Critics (including Regional Team Critics) who voted, and will report any such findings to the Program Director.
46. During Awards Voting, Proctors will make a substantial effort to identify and correct any errors in the posting, and name spelling, of Ballot Candidates.
47. During the first several rounds of Award Voting, a Proctor will ask Critics to confirm that the Critics' Choices marked on their Post-Show Evaluation Forms match what is on their Ballots.
48. If any Critic identifies a possible error, a Proctor will identify and assemble other Critics who attended the relevant Cappies Show, to confirm the possible error.
49. If a Ballot error is identified before any Critic has completed voting, the Program Director will make the necessary correction.
50. If an error is identified after any Critic has completed voting, the Program Director will determine how many Critic votes may have been affected by the error, and the Steering Committee will determine whether the error should be corrected.
51. If an error is identified, regardless whether the error is corrected or not, the Program Director will notify the Advisor of any school with a Ballot Candidate affected by the error to describe the error and the Steering Committee's decision.
52. If an error is corrected, the Critics' Choice list should be changed immediately, to conform to the correction.
    1. Upon the conclusion of Awards Voting, if any Participating School did not have at least two voting Critics, the Program Director will, through C.I.S., remove that school's Cappies Show(s) from awards consideration.
    2. Critics' Choices will be posted as soon as practicable after the final groups of Critics have started to vote.
       1. If an error is identified after Critics' Choices are posted, the Program Director will correct that error.
       2. If any person is erroneously listed in Critics' Choice postings, the Program Director will notify the Advisor of the school in whose Cappies Show that person participated, identify the error, describe the Candidates who were in fact on the ballot, and explain that, by Rule, the Critics' Choice postings must be persons who were in fact Ballot Candidates.

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