MENTOR
2014-15
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- 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, Program Director , Co-Founder
Alecia Lewkowich, Katie Lewis-Prieur, Co-Presidents
Janie Strauss, Program Chair Vice-President
MENTOR BINDER
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To begin with, you should know that every participating school must have:
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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.
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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.
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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.
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These are excerpts from materials given to every Show Director. You are given these excerpts in case questions arise about what a host school (or Show Director) is expected to provide at a Cappies Show.
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.
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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.
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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:
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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.
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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
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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
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MENTOR CHECKLIST
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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.
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