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- While watching the show, go ahead and laugh and clap as you see fit, but don't discuss your opinions – even in a whisper. You never know whose mom is sitting right behind you, reading your lips for her theatre-booster phone tree.
- During bows, do pretty much what the rest of the audience is doing. Don't start a standing ovation – let the parents of the performers do that – but if you liked the show, it's fine to stand, too. If nearly everybody in the audience is standing, and you thought a show was only so-so, go ahead and stand anyway so as to not give your thoughts away. (If it's closing night, and the school is giving special acknowledgements at the end of the show, the school is to let you leave the theatre before that. There's supposed to be an announcement excusing the Critics, but, if there isn't, the Mentor will gesture to you all to stand and exit the theatre as quietly as you can.)
- When you walk between the theatre and the Cappies room – during intermission or after the show – don't say anything about the show, even to another Critic. You never know who may be a few feet away overhearing. If someone from the host school asks what you thought of the show, it's best to say that you're a Critic and not permitted to talk about the show.
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If the show was on…
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the deadline is…
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Friday evening (or before)
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10 AM Sunday
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Saturday afternoon
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12 PM Sunday
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Saturday evening
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2 PM Sunday
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Sunday afternoon of the same day
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For any Cappies show with a review deadline
that would otherwise fall fewer than 3 hours prior
to awards voting
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- a mean evaluation score (the mean of the evaluation scores received from Critics),
- a nomination point score (the number of nomination points received by a candidate,
- divided by the number of Critics who saw their show), and
- a nomination point score (the number of nomination points received by a candidate,
- an award point score (the number of award points received by a candidate, divided by the number of Critics who saw their show).
- Nominations and awards are based on a combination of these scores – with tie-breaker rankings used as needed. The nominations will be announced a day or two after voting.
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- 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.)
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The musician is very enjoyable and contributes greatly to the show, and nearly all of the above questions can be answered with a clear "yes."
6 or 7: The musician is noticeable and helps the show, and many of the above questions can be answered "yes."
4 or 5: The musician does not draw much attention, and does not affect the show one way or the other, and some of the above questions can be answered "yes."
2 or 3: The musician detracts noticeably from the show, and most of the above questions have to be answered "no."
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?
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The music is enjoyable, contributing significantly to the show, and nearly all of the above questions can be answered with a clear "yes."
6 or 7: The music catches the ear and helps the show, and many of the above questions can be answered "yes."
4 or 5: The music is hardly noticeable, not affecting the show much one way or the other, and some of the above questions can be answered "yes."
2 or 3: The music is noticeable only in a negative sense, detracting from the show, and most of the above questions have to be answered "no."
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?
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The lyrics are very clever and well-crafted, contributing significantly to the show, and nearly all of the above questions can be answered with a clear "yes."
6 or 7: The lyrics catch the ear and help the show, and many of the above questions can be answered "yes."
4 or 5: The lyrics are very basic, not difficult to write, and do not affect the show much, and some of the above questions can be answered "yes."
2 or 3: The lyrics are not well written, and detract from the show, and most of the above questions have to be answered "no."
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?
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The story and characters make for outstanding theatre, and nearly all of the above questions can be answered with a clear "yes."
6 or 7: The story and characters make for good theatre, and many of the above questions can be answered "yes."
4 or 5: The story and characters are somewhat interesting, and some of the above questions can be answered "yes."
2 or 3: The story and characters are not interesting, and most of the above questions have to be answered "no."
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?)
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The show is quite good, and the director's work comparable to that of a capable adult director.
6 or 7: The show is fairly good, and the director's work almost comparable to that of a capable adult director.
4 or 5: The show is uneven, and the director's work noticeably below that of a capable adult director.
2 or 3: The show has major problems, and the director's work very far below that of a capable adult director.
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.
8 or 9: The ensemble is always very distinct, eye-catching, and funny, with high energy and outstanding dynamics – and, in a musical, has excellent vocal and dance skills – significantly enhancing the show.
6 or 7: The ensemble is usually distinct, eye-catching, and funny, with good energy and solid dynamics – and, in a musical, has good vocal and dance skills – nicely complementing the show.
4 or 5: The ensemble is occasionally distinct and funny, with fair dynamics – and, in a musical, has mixed vocal and dance skills – neither enhancing nor detracting from the show.
2 or 3: The ensemble is uneven, with weak dynamics – 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. A performer who is selected in a lead or supporting role may not be selected in a Featured role for any other character that character may have created in the same show. The same performer cannot be selected for comic and Featured for the same character role.
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.
8 or 9: The Featured performer creates a wonderfully interesting character with several distinctive qualities, delivering a jolt of energy, making a very vivid impression – and significantly enhancing the show.
6 or 7: The Featured performer creates a very interesting character with distinctive qualities, bringing energy, making a solid impression – and nicely complementing the show.
4 or 5: The Featured performer creates a fairly interesting character, making a bit of an impression – and neither enhancing nor detracting from the show.
2 or 3: 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.
8 or 9: The supporting dance is outstanding and very difficult, and the dancer's ensemble work is also outstanding, significantly enhancing the show.
6 or 7: The supporting dance is very good and fairly difficult, and the dancer's ensemble work is also very good, nicely complementing the show.
4 or 5: The supporting dance is fairly good and but not too difficult, and the dancer's ensemble work is also fairly good, neither enhancing nor detracting from the show.
2 or 3: The supporting dance is either not well done or very simple (or both), and the dancer's ensemble work is uneven, detracting from the quality of 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.
8 or 9: The vocalist is very enjoyable and contributes greatly to the show, and nearly all the above questions can be answered with a clear "yes."
6 or 7: The vocalist is noticeable and helps the show, and many of the above questions can be answered "yes."
4 or 5: The vocalist does not draw much notice, and does not affect the show one way or the other, and some of the above questions can be answered "yes."
2 or 3: The vocalist distracted from the show, and most of the above questions have to be answered "no."
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.
8 or 9: The comic performer creates a totally amusing character, with outstanding timing and use of voice, face, and body, is tremendously funny, and never goes over the top – getting constant laughs, significantly enhancing the show.
6 or 7: The comic performer creates a quite amusing character, with good timing and use of voice, face, and body, is quite funny, and seldom goes over the top – getting frequent laughs, nicely complementing the show.
4 or 5: The comic performer creates a somewhat amusing character, with fairly good timing, and is sometimes funny but occasionally goes over the top – getting occasional laughs, neither enhancing nor detracting from the show.
2 or 3: The comic performer creates an only slightly amusing character, with inconsistent timing, and is only funny when going over the top – getting few laughs, detracting 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.
8 or 9: The supporting performer creates and holds a very persuasive and compelling character that supports the story very well, with real intensity and strong emotional content, and (if a Musical) sings and dances extremely well – significantly enhancing the show.
6 or 7: The supporting performer creates a quite believable character that supports the story reasonably well, with a fair amount of intensity and emotional content, and (if a Musical) sings and dances as well as the role requires – nicely complementing the show.
4 or 5: 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.
2 or 3: 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.
8 or 9: The lead performer creates and holds a very provocative and powerful character 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 extremely well – significantly enhancing the show.
6 or 7: The lead performer creates a quite believable character 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 as well as the role requires – nicely complementing the show.
4 or 5: The lead performer creates a fairly believable character, has fair command of the stage most of the time, and (if a Musical) sings and dances fairly well – neither enhancing nor detracting from the show.
2 or 3: 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.
8 or 9: The song is very difficult to do and outstanding in many aspects – or, if not difficult, is outstanding in all aspects.
6 or 7: The song is difficult to do and is outstanding in some aspects – or, if not difficult, is good in all aspects.
4 or 5: The song is not difficult to do and is good in many but not all aspects.
2 or 3: The song is not difficult to do and is good in not many aspects.
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.
8 or 9: The play is outstanding in many areas, and above average in all areas.
6 or 7: The play is outstanding in some areas, and above average in other areas.
4 or 5: The play is above average in some areas, and below average in other areas.
2 or 3: In nearly all areas, the play is below average.
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.
8 or 9: The musical is outstanding in many areas, and above average in all areas.
6 or 7: The musical is outstanding in some areas, and above average in other areas.
4 or 5: The musical is above average in some areas, and below average in other areas.
2 or 3: In nearly all areas, the musical is below average.
REVIEW
WRITING
GUIDE
Writing Your Review
What To Include In Your Review
The purpose of your review is to let the public know what high-schoolers are accomplishing in theatre and to let the cast and crew know how well they did. It needs to include:
the name of the play or musical,
the name of school producing it,
some background on the play/musical,
a brief set-up of the plot, and
an evaluative description of the performances and non-performing elements you saw in
the show, including examples of what went well and mentions of what did not.
Your own theatre experience, the information in the Theatre Evaluation Guide, and what you learn in Critic discussions will help you show your readers how the several aspects of the production contributed to its level of success.
Presenting It To Your Readers
How you present the above information will affect whether your readers continue to read past your opening line and how much respect they have for your opinions. It will also determine whether the Mentors select your review for publication. Specifically, the Mentors will look for how well you:
Criticize Appropriately. Give honest descriptions of what happened on stage, proportionate praise and criticism within the range of fair comment, and solid analysis of theatre.
Give Accurate Praise. Reflect the overall Critic opinion of a Cappies show, and various aspects of that show, as expressed during discussions.
Engage Your Readers. Write with an engaging and creative style, and make your review of interest to readers who did, and those who did not, see the Cappies show.
Spell Names Correctly, Etc. Correctly spell all cast, crew, character, and other names, and use correct grammar and punctuation.
Samples and Instruction
On the next pages are two sample reviews (by Critics who accomplished the above so well that they were published) and instructions to guide you in writing your own reviews.
Sample Review of a Play: 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.
This review was published in the Cincinnati Enquirer.
Written by Matt Borths
St. Xavier High School
Cappies of Greater Cincinnati
Sample Review of a Musical: 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.
This review was published in the Orange County Register.
Written by Nicole Weber
Huntington Beach Academy of Performing Arts
Orange County (California) Cappies
Criticizing Appropriately
While a core purpose of the Cappies is to promote and celebrate high-school theatre, the critical reviews must have integrity, fairness, and accuracy. Most shows have aspects that could have been better – and, therefore, most reviews should include some criticisms. However, when making criticisms, remember that you are not evaluating experienced professionals, but students who are learning about theatre arts. This may be the first time they have ever been in a reviewed show. The following methods will help you give an honest description of what happened on stage while protecting the feelings of the students involved with the show.
Critique the Work Of High-School Students Only
Cappies is a program for high-school students, so only work by high-school students may be criticized (or praised). If the show includes performers younger than high-school age, they are to be praised or not mentioned. Adult participants are not to be praised or criticized. Neither is the script (unless student-written) up for evaluation, just the production of it.
Only Mention Names for Praise
When giving praise, you may refer to students by their name or their character name. However, when making a criticism, no individual student may be referred to by their name, character name, or role. Instead, if a singer was off-key, for instance, you may say,
"Some singers were off-key."
Or, if you criticize the sound in the review, don't mention the name of the sound person anywhere in the review. This is so the cast and crew can benefit from your honest and informed opinion without being embarrassed.
Include Observations On A Variety of Elements
Share your observations about both the performing and the tech elements of the show, and about the leads and the supporting cast. Also, remember all four of the evaluation factors – difficulty, range, originality, and presentation – and describe events for your readers using this perspective. For instance, 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.
Describe the Behavior
Avoid words that declare themselves to be praise (commendable, praiseworthy) or criticism (unfortunate, detracted, marred, and plagued). Instead, just describe what you saw. For instance, "The production was unfortunately marred by several microphone problems," grinds in a valid criticism too much. It's enough to say,
"At times, the microphones didn't work".
In addition, don't guess at what caused the problem; just remark on what you actually saw. For instance, saying, "A few characters could have used more time to learn their dances correctly," addresses the rehearsal process as opposed to what happened on stage. Instead, the observation could be made that
"A few characters did not execute their dances properly."
Balance It with Praise
Whenever possible, combine your criticism with a favorable remark such as,
"Although there were lines lost from actors speaking too quickly or the orchestra overpowering them, the performers kept their energy constant and strong."
Criticize By Omission
At times, the most appropriate way to state a criticism is to say nothing at all. For instance, if you say nothing about the lead performers but broadly praise supporting characters or ensemble members, that will make your point. Or it could be that all you say about the lead actor is that she/he showed tremendous poise, and then, later in the review, you say that some performers in the show fell out of character.
Position Criticisms near the End
Place criticism near the end of your review, after many positive observations – but not in the last paragraph where it would be emphasized. It also helps to put it near the end of a paragraph, but not in the last clause.
Giving Accurate Praise
Differentiate Levels of Success
Only write rave reviews for rave-worthy shows (as determined by Critic consensus in the Cappies room). Reviews for shows of different calibers should reflect those differences. Between an outstanding show and a disappointing one, the gradations may seem difficult to express. Below are some examples to help you.
Corresponding paragraphs are given from reviews for four fictitious productions of South Pacific: a weak show that would score a 2 or 3, a so-so show that would score a 4 or 5, a pretty good show that would score a 6 or 7, and an outstanding show that would score an 8 or 9. Compare the slightly varying treatment of the same show elements to get an idea of how to reflect the varying levels of success of shows you review.
Lead In
The following lead-in paragraph is for the production that earned a score of 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 screen in 1958."
For the better shows, the word "performed" was followed by "solidly" (4 or 5), "with aplomb" (6 or 7), or "brilliantly" (8 or 9).
Remark on Individual Actors
The excerpts in this section are in order from describing the weakest performance (2 or 3) to the strongest (8 or 9).
"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 displayed enthusiasm and energy for the role."
"With both cheekiness and tongue-in-cheek, Jane Thomas brought charm to the role of Bloody Mary. On songs like "Happy Talk," Thomas playfully mocked the lovers Cable and Liat without losing the grace or humor of her character."
"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.'"
"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 the audience roar."
Describe the Acting in General
In the following paragraphs, you can see how praise and criticism are combined for each of the different levels of performance.
2 or 3: "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."
4 or 5: "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."
6 or 7: "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."
8 or 9: "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."
Reflect on the Technical Elements
Here, the technical elements of the different productions are explored.
2 or 3: "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."
4 or 5: "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."
6 or7: "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."
8 or 9: "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."
Sum It Up
Following are the closing paragraphs from the four reviews.
2 or 3: "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."
4 or 5: "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."
6 or 7: "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."
8 or 9: "For an exciting production with near-professional polish, Little Valley deserves many rounds of applause, as this "enchanted evening" proved nothing short of spectacular."
Engaging Your Readers
Before you begin writing, have in mind what you want to say. Take notes during the show to help you remember elements which stood out as you watched. Write a catchy phrase or two right after the show to sum up your impression of the production while it's fresh in your mind. Use these to help you decide what to put in your review. For instance, which performances or performers do you want to mention? Which technical elements do you want to highlight?
Then, think about your readers. How will they best be able to understand and enjoy what you have to say? The following practices will help you create a well-written and interesting review that will grab your readers' attention and keep them absorbed in what you have to say all the way to the end.
Arrange Your Thoughts
Arrange your thoughts so your readers can easily follow along as you move from discussing one element of the show to another. Here's one way to do this; it's called the seven-paragraph plan. Each of seven paragraphs is dedicated, as follows, to one purpose, and together they offer a logical flow of information.
Paragraph 1: The Lead-In. Grab your readers' attention.
Paragraph 2: The Story. Help your readers relate to the play or musical you are reviewing. If you haven't already, tell them the name of the play/musical (and the name of the performing school). Keep in mind that some of your readers will be familiar with this show and others will not. Interest both types of readers with a brief plot set-up and some interesting background on the show. For instance:
When was it written and by whom?
Where and when does the story take place?
Is the story well-known or lesser so?
Is there something noteworthy in its performance history?
Does its theme address important issues today?
Note: When using information you have found on the plot or background of a show, remember to put it in your own words for your review (so as not to commit plagiarism).
Paragraph 3: The Production Overall. Make some broad observations about the show as a whole. 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 sentences about this, but only if you considered the show to be a success. For instance,
"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 much. If there were major problems, don't put them here. Instead, include them further down, or merge them with another paragraph.
Paragraph 4: The Lead Actors. Describe highlights of what the lead actors did well. Put any criticisms of their work later in the review, where you can state it in an indirect manner. If you think their work was particularly weak, don't mention them at all – and talk about other actors here instead.
Paragraph 5: The Supporting Cast. Describe highlights from featured actors, stand-out vocalists or dancers, ensembles, etc. In addition, criticisms about all aspects of performance – including the leads – are appropriate here. Do not hesitate to criticize performers, when warranted, but justify all criticisms with specific and persuasive examples.
Paragraph 6: The Technical Aspects. Sets. Costumes. Lights. Sound. Props. Effects. Stage Crew. Makeup. Pick two or three technical elements which were most integral to the level of success of the production. Describe their major facets (for example, what costumes were most notable), and explain how they were successful (or problematic).
Paragraph 7: The Closer. Sum it all up.
Follow A Theme
Start by writing an up-beat, one-sentence description of the show overall. Think of it as the last sentence of your review (your closer). It may, for instance, commend the performing school on successfully tackling a particularly emotional script, or use references from the show to create a pun. Try to create a punchy ending, or tagline, your readers will remember. Have fun with it – and your readers are likely to also.
Next, write a strong, interesting opening sentence (your lead-in) that will command your readers' attention and set them up for a review that will culminate in that last sentence you just wrote. Two ways to go about this are with a zinger or a dramatic description.
The zinger is a catchy, one-sentence grabber that plays off the production or content of the script. This type of lead has lots of room for creativity; however, it must be extremely clear and
extremely concise; keep it to one sentence. Here's an example:
"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."
If a show has a captivating opening moment, or one that is perhaps definitive of the play/musical (for instance, the ballet fight-dancing which opens West Side Story), the dramatic description works well, particularly for shows with a serious theme. An example follows. Before moving on, fill out the first and last paragraphs. (See the above examples.). Try to make these paragraphs no longer than three long sentences or four short ones.
"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 …"
Writing the beginning and the end first, and then filling in the middle, helps focus your thinking so you end up with a cohesive review.
Give Examples
Show, don't tell, your readers how the production reached its level of success. Give examples of what you saw and heard to make your point. For instance, instead of saying, "He gave an energetic performance," describe his specific movements – perhaps like this:
"He bounced about the stage as if he had springs under his feet."
If you use the audience to reflect how well the performers did, don't say how the audience felt; just say what they did. For instance, "The audience roared with laughter." In addition, don't put yourself in the review (I, we, this critic). Only describe what happened on stage.
Create Mental Images
Make your review interesting for readers who saw – or didn't see – the show. Describe in rich detail the colors and textures on stage. Put images in their mind's eye – again or for the first time. Consider the different pictures created in your mind between reading, "The costumes were whimsical," and reading,
"Some of the characters wore khaki shorts with brightly striped suspenders, accompanied by orange, argyle knee-highs and propeller beanies."
Help your readers see what you saw. Make them feel like they were at the show (or bring a special moment back to mind) by using vivid nouns and strong verbs (ahead of adjectives and adverbs) as you describe what happened.
Use Flavorful Words
Keep It Fresh. Use a variety of words in your review to keep each sentence fresh, and therefore interesting, for your reader. For instance, instead of repeatedly using the word "walked" to describe how each actor moved, use a variety of synonyms such as
sauntered, strolled, traipsed, trooped, stepped, or hoofed it.
Use a thesaurus to find words other than those that first come to mind, but make sure they mean exactly what you intend to say – and that you understand how to use them correctly.
Say What You Do Mean. Choose the words that most fully say what you mean. For instance, instead of using the tentative, double-negative phrase, "it did not disappoint," say that
"it delighted".
Make It Lively. Keep to a minimum your use of linking verbs (is, are, was, were), especially when used with flavorless nouns (there, that, this, it). Instead, restructure the sentence to describe an action using a lively verb. For instance, instead of "There were balloons everywhere," say
"Balloons hung everywhere."
Be Clear and Concise
Keep your sentences clear (versus convoluted) by putting subjects close enough to the main verbs that your readers don't get lost mid-sentence. Use punctuation smartly, to help make your prose more readable. For instance, limit your use of colons and semi-colons. They slow readers down. In addition, limit each of your paragraphs to about four sentences. Alternate between short and long sentences, and use varying sentence structures, to create flow.
"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 a 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.
Spelling Names Correctly, Etc.
Proofreading Your Work
After you've written your review, proofread it. Proofread for spelling, grammar, and punctuation. (Your word-processing program may have a tool to help you. Remember, however, that the computer can't do it all; for instance, it won't flag "there" where you mean "their".) Also, re-check the show program to make sure you have the right name and spelling for the play or musical, the performing school, the characters, and the cast and crew. People like to have their names spelled correctly. Doing so shows your attentiveness to detail, which adds to your credibility as a Critic.
Lastly, proofread to make sure that you are happy with the review you are sending in. It's your work and you should feel proud of it. It's all right to have a friend or family member look over your review and give you feedback on, for instance, your spelling or how well you have made your points. Just remember, though, it's your review, and all of the opinions and words are to be yours alone. Following is a checklist to help you edit your own review, making sure you have engaged your readers, criticized appropriately, and given fair and accurate praise.
The best reviews are usually about 400 to 550 words long. (Your word-processing program most likely has a word-counting tool that can quickly count the words for you.) Reviews that are close to 600 words will be accepted, but are unlikely to be selected for publication. Reviews that are close to 300 words are unlikely to be selected and reviews of fewer than 300 words may not count as a submitted review.
Self-Editing Checklist
1. Does the entire review sound good when you read it aloud? Are all points clearly and simply made (vs. awkward or long-winded)? Is it as concise and sharp as it could be?
2. Is there an attention-grabbing opening?
3. Are the basic plot and some background of the play/musical given?
4. Does the review include comments on: the notable acting (leads and others); the technical aspects (accounting especially for difficulty level); and, perhaps, an overall element that anchored the show?
5. Is each opinion illustrated with a representative behavior (an example; nouns and verbs)?
6. Are all criticisms general (no names), brief, and followed by something positive?
7. Could someone who didn't see the show picture what you saw as you describe (with nouns and verbs) what happened on stage by the actors and technical crew?
8. Are a variety of words used (vs. redundancies)? Are any double-negatives that crept in changed instead to what did happen (vs. what did not not-happen)?
9. Does the review end with a sound-bite or tag-line type, catchy closing? Does the body of the review lead, logically, to the closing remark?
10. Does it sound like the production was as successful as (and not more than) the Critics as a whole said in the Cappies room?Coming soon...