SHOW DIRECTOR
2013-14
Show Director

TABLE OF CONTENTS

TABLE OF CONTENTS
WELCOME
SHOW DIRECTOR BINDER
THE CAPPIES
The Cappies Mission Statement:
The New York Times
CAPPIES MUSICAL WRITING PROJECTS
Information about Edit:Undo and Senioritis
THE SHOW DIRECTOR
Getting Started
Selecting and Scheduling a Cappies Show
SHOW SELECTION
SHOW ELIGIBILITY
ELIGIBILITY FOR AWARD CATEGORIES
SHOW UPDATES AND SCHEDULE CHANGES
SHOW PUBLICITY
Presenting a Cappies Show
A CAPPIES SHOW
CAPPIES ROOM
CAPPIES TICKETS
CRITICS MATERIALS
CRITICS DECORUM AND SAFETY
Cappies Reviews
Critics' Choices
Participating in Awards
AWARD VOTING
AWARD CATEGORIES
COMMENDATIONS
NOMINATIONS AND AWARDS
Attending a Cappies Gala
LETTER FROM A SHOW DIRECTOR
SAMPLE REVIEWS
CriticismS IN CAPPIES REVIEWs
SAMPLE REVIEWS
Guide to Critics' Choices and Scoring
Scoring Issues
Critics' Choices: Q & A's
Lighting
Sets
Costumes
Make-Up
Stage Crew
Orchestra
Creativity (Play Writing)
Creativity (Musicianship)
Featured (Actress / Actor)
Dancer (Female / Male)
Rule:
Vocalist (Female / Male)
Comic (Actress / Actor — Play / Musical)
Supporting (Actress / Actor — Play / Musical)
Lead (Actress / Actor — Play / Musical)
Song
Play
Musical
AWARD VOTING
HOW CRITICS VOTE
HOW RESULTS ARE DECIDED
HOW CRITICS AWARDS ARE DECIDED
HOW A "SPECIAL AWARD" IS PROVIDED
HOW RESULTS ARE AUDITED
NEW RULES
CONSEQUENCES
SHOW DIRECTOR CHECKLIST
CAPPIES INTERNATIONAL THEATER
GOLDEN RULES OF THEATER REVIEWS

WELCOME

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

• 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.

Thank you, in advance, for helping make our twelfth year the best ever.


Judy Bowns Janie Strauss
Judy Bowns, Program Director Janie Strauss, Program Chair

SHOW DIRECTOR BINDER

Yes, this binder can be a little daunting. It's large and contains a lot of information. If you're new to the Cappies, you're surely asking "Do I really need to read all this?"
We realize you're busy, and you're volunteering your time to do this. So: What things do you need to know, and what's just nice to know? We'll try to help you sort through this.
To begin with, you should know that every participating school must have:

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

Often, these functions are done by the same teacher. What a teacher needs to know about the Cappies, and the binder that a teacher gets, depends on the roles.
This Show Director Binder contains several sections, some of which you should read carefully, while using others for reference, as needed. Here are the key sections:

• The Mentor (Please read this section carefully.)
• Review Writing (Read the Criticisms part carefully, and glance through the rest.)
• Award Category Guide (This is primarily for reference, during discussions.)
• Cappies Information Services (You really do need to learn about "C.I.S.")
• New Rules (This is important for Mentors who are not new to the Cappies.)
• Forms (Bring these with you to Cappies shows, in case Critics need them.)

You can glance through the other sections more quickly. The "Review Writing" section, for example, is included in your binder to show you how Critics
After you have read these materials, you might want to meet with your school's Lead Critic, to make sure you understand how to use C.I.S.
The materials in this binder cover the rules you need to know—but not all the rules. If unusual things occur, you can consult the complete Rules can be found as a link on the "Rules & Forms" page of www.cappies.com.
Please take this Mentor Binder with you to Cappies Shows. You never know when you might need it to solve a problem or answer a question.


Every participating school must have:

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

Your School's Cappies Advisor has additional materials that you can ask to see, if you wish.
If your school has two Cappies Shows, each with a different Show Director, please make sure the other Show Director has a Binder with these materials.
This Binder contains several sections. Please read "The Show Director" section carefully. You can glance through the other sections more quickly, and use them as reference when needed.
These materials provide you with the rules you need to know. The complete Rules can be downloaded, if you wish, on the "Rules & Forms" page of www.cappies.com. If you were involved in Cappies last year, please discard any materials distributed then.
After you have read these materials, please meet with your school's Lead Critic, to make sure you understand your role, the key rules, and how to use C.I.S.
You may share the Award Category Guide (or any other information in this binder) with the cast and crew of your Cappies Show, if you wish.
Please keep this binder for reference.

THE CAPPIES

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

The Cappies Mission Statement:

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

"High school theater has never been more exciting around this city. The shows keep getting better and better. Finally, our young theater stars are getting the same recognition our young sports stars have always had." -- Susan Grubbs, Program Director, Cincinnati Cappies
"Before Cappies, the theater teachers' mantra was 'we need to do something together, with our kids.' Now we are." -- Troy Herbort, Program Director, El Paso Cappies
"It's all about the students. Their growth as critical viewers, skilled writers, and thoughtful performers is terrific to watch unfold." -- Beth Ocheskey, Chair, Kansas City Cappies

The New York Times

Theater Students Get Their Share of the Limelight
WASHINGTON, June 22, 2002 - The packed concert hall at the Kennedy Center showcased tuxedos and evening gowns, slow ballads and fast-paced chorus lines, standing ovations and stomping feet. It was another night of glittering theater awards, punctuated with delighted gasps and heartfelt thank yous with all the reticence of the Tony Awards. But these winners were all students at local high schools, not Broadway stars.
The students clutching their "Cappies" awards were the most prominent feature of the Critics and Awards Program, founded three years ago in Northern Virginia to bring theater students the same recognition that accomplished high school athletes have long taken for granted.
The original program of 23 high schools has grown to include 60 schools in Virginia and the District of Columbia, and the idea has spread to Dallas, El Paso, Cincinnati, and other cities as well as Canada.
The inspiration grew from frustrations and the pall that fell over many schools after the 1999 shootings at Columbine High School in Colorado.
After Columbine, it became particularly important to find ways to give teenagers positive reinforcement, said William Strauss, the author of several sociology books. But, he added, "You have to balance out the youth culture."
"This is the real youth culture," said Mr. Strauss, a founder of the Capitol Steps, the Washington political satire troupe.
Several years ago, Mr. Strauss was speaking at a high school award ceremony and said he was dismayed at the prevalence of honors for athletes and the lack of attention paid to theater students. A few years earlier, struck by the quality of Guys and Dolls at McLean High School in Virginia, Mr. Strauss called local Critics suggesting they review the play. There were no takers.
Motivated by a desire to promote positive aspects of high school after the Columbine shootings, Mr. Strauss, working with a local theater teacher, Judy Bowns, created a program that showers awards on high school theater and pushes local newspapers to run reviews of school shows.
The program also relies on developing theater Critics among the students.Each participating school chooses one play or musical for critical review. Theater directors and faculty Mentors organize discussions among the student Critics, edit the reviews and submit them to local newspapers, which commit to publish the best ones.
In three years, newspapers, including The Washington Post, have published 500 reviews by students.
"All over America, newspapers are taking note of high school theater," Mr. Strauss said at the Kennedy Center award ceremony last week.
"It's a brilliant program because it does so many simple things that should have been done for years now," said Matt Berger, a Cappies Critic and actor. Mr. Berger, a graduating senior at Lee High School in northern Virginia, said he always felt left out when classmates pulled out the All-Met sports section of The Post.
At the end of the theater season, which runs from October through May, more than 100 student Critics gathered to evaluate the shows using a point system to decide the award winners. Those names remained secret until presenters opened the envelopes at the John F. Kennedy Center for the Performing Arts, where more than 2,000 students, teachers, school board members and family members applauded, cheered and exchanged hugs.
Also at the gala was Susan Grubbs, who started the Cincinnati Cappies in February and had 10 schools involved by the end of the year. Ms. Grubbs said the program garnered enough support for a gala attended by more than 700 parents, teachers and members of local arts institutions.
Though high school arts are suddenly getting more attention in Washington and other cities, for years the first cuts to school budgets have been in arts programs.
"It's no secret that when school systems have to make cuts they tend to preserve what is known as the basics - core subjects - and then everything beyond that is fair game," said Daniel Domenech, the school superintendent in Fairfax County, Virginia. "Sports and other curricular activities are up for grabs and it becomes political."
Dr. Domenech said he had seen athletes overshadow their talented theater counterparts for years. "It was very discouraging for very talented kids to see that athletes that were very talented in their particular sports getting all the accolades," he said. "Cappies puts this on par."
Much as it has done for student athletes for years, the recognition validates the students' talent and passion.
"Graduation is the end of something really important to you, and it occurred to me at that point that I had been in high school and that had been important to me, but right then I realized that the most important thing that I had done was theater," said Mr. Berger, who for two consecutive years won Cappies awards for his reviews and was also nominated for an award for his role in Joseph and the Amazing Technicolor Dreamcoat. He plans to attend New York University's Tisch School of the Arts in the fall.
Mr. Berger sat at the annual gala holding his gold Cappies trophy, more recognition for the nine reviews he has published in The Post over two years. "Drama," he said, "had been my life."

CAPPIES MUSICAL WRITING PROJECTS

The Cappies is a learning program, a writing program, and a celebration of the talents of creative teenagers. In 2006, the Cappies International Theater—the summer program featuring Lead Actor/Actress Cappie winners from across the U.S. and Canada—performed works by student playwrights and composers. These included monologues and comic sketches written by high school students from Cappies programs across the U.S. and Canada. In October 2005, the Cappies of the National Capital Area, a team a creative team of high school students was assembled to write a musical comedy about teenagers in the digital age. The result was…

Edit:Undo is a musical comedy about teen life and love in the digital age, conceived and written by teenagers, with an outstanding score written by teen composers and lyricists, songs about fresh topics, and a story that says something important about what it's like to be young in the 21^st Century.
It was performed at the Theater Lab of the John F. Kennedy Center for the Performing Arts by a cast featuring "Lead Actor/Actress" Cappie-winning high school students from across the U.S. and Canada. Edit:Undo was praised in The Washington Post as "teen savvy… not the time-worn story of high school crushes and clique wars,"… by Arch Campbell of NBC as "hilarious… a wonderful show,"… and by The Los Angeles Times as having "all the makings of a cult classic…"   
In October 2006, another creative team was assembled. The result of their work was…

Senioritis is a fresh and very funny musical comedy about all the well-known stresses and anxieties of senior year—college applications, teen couples worried about college separations, family issues, and general angst about the future. It has 18 original songs.
USA Today praised Senioritis as "satirical… a counterpunch to the Disney version of high school…. A biting farce—more Ferris Bueller's Day Off than Grease,…poking fun at nearly every pain point of modern teen life: helicopter parents, grade inflation, college applications, test-prep books, wealth, celebrity—even global warming, [with] the jokes clearly spring from the minds of teens.… They sing it like it is."
Keep an eye open for the feature-length Senioritis movie, starring the 2007 C.I.T. cast, to be ready in the spring of 2008.
We encourage Cappies schools, and others, to consider mounting a production of Edit:Undo or Senioritis (or both) this year. You'll not only be supporting the work of young playwrights and composers from Cappies schools—you'll be putting on a show that your students, parents, and people of all ages are sure to enjoy.

Information about Edit:Undo and Senioritis

CAST: Both shows have large casts, with a great many vocal roles.
CD and DVD: The Edit:Undo cast has recorded a CD and a DVD, both of which are available. The Senioritis cast will record a CD that will be available in September 2007. A full-length feature film is being made of Senioritis. Rehearsal CDs (instrumentals, no vocals) will be available for both shows.
SCRIPT: The scripts for both shows are available online, as PDF files.
PERFORMANCE RIGHTS: The Cappies, Inc., owns rights to both Edit:Undo and Senioritis. For information, email musicals@cappies.com. CAPPIES SCHOOLS: If you are a Cappies school, Edit:Undo is available to you without royalty. OTHER SCHOOLS: For schools that are not in the Cappies, we will make these shows available for a reasonable royalty. RECORDING RIGHTS: Any school that performs either show will be granted the rights to make an audio and/or video recording.
WEB SITES: See www.editundo.org and www.senioritismusical.com. See also Wikipedia ("Edit:Undo" and "Senioritis musical").

THE SHOW DIRECTOR

This is a basic introduction to the Cappies for a Show Director.

Getting Started

As your school's Show Director, you are responsible for making sure your school follows the rules for your Cappies Show.
Please read (and, when requested respond to) Cappies emails.
SHOW DIRECTOR CHECKLIST
As you plan a Cappies Show, you may wish to keep handy the two-page "Show Director Checklist." A copy is provided in this Mentor Binder. This is especially helpful when you are doing this for the first time.

Selecting and Scheduling a Cappies Show

Depending on your Cappies program, your school will be allowed to have either one Cappies show (usually the case in large programs), or two Cappies shows (in smaller programs).

SHOW SELECTION

The show you select is up to you, within the limits set by the rules and the calendar set by your program. If your school does two major shows per year, and are in a program that allows only one of them to be a Cappies show, you will have to choose between them. Some schools select the major show of the year. Others select the show that includes the most students.
The Cappies program gives equal attention to musicals and non-musical plays. If you do a play and a musical each year, you may wish to alternate your selections from one year to the next, to have your Cappies show be a play one year and a musical the next year.
In your school's application, you proposed a date and time for your Cappies show, and gave some alternative dates and times. Each program has outer calendar bounds for Cappies show dates, and each program has rules about the number of Cappies shows that can occur in the same time slot.
Saturday matinees and evenings are the best times for Cappies shows. Friday evenings are good also, but sometimes require critics to drive through heavy rush-hour traffic. Other weekday evenings may fall on school nights, when critics have other homework. Sunday matinee shows require critics to write reviews very quickly, and mentors to edit them late that same night.
If your school is distant from many other schools, or if transportation is a problem for any other reason, the best time slot for your Cappies show may be a Saturday matinee.
Some Show Directors prefer to schedule Cappies shows for nights when small (non-sellout) audiences are expected, to help fill otherwise empty seats. Others prefer to have Cappies shows on nights when they expect large, enthusiastic audiences, whose response to the show they hope will energize the cast and, perhaps, impress the critics. Some prefer opening night, while others prefer to wait a show or two to enable the cast and crew to become more comfortable with the show.
If you are planning to run a show over two weekends, it works best to schedule the Cappies show for the first weekend, to enable you to "ride the reviews" and generate extra audience—and excitement—during the second weekend of shows.
If another school in your program has a Cappies show the same as the one you wish to select (e.g., if you both are doing West Side Story), that is all right, but the critics from the two schools will not be allowed to review each others' shows.

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, please.) If the show you're planning to do is quite lengthy, you may need to set an early start time. Under the rules, if a show has final bows that start after 10:30 PM, it can be disqualified from some awards. (The goal is to enable student critics to have a good post-show discussion and return home by midnight.) It helps to have an intermission of 15 minutes or more, to enable the critics to have a good mid-show discussion, but the rules allow exceptions to this.
The performing cast must be at least half drawn from students in grade 9 through 12. There can be younger or older cast members in the show, or helping with the orchestra or tech aspects, but this will affect qualification for awards.
If you would like to have your Cappies show reviewed but not considered for awards, the rules allow that. If you would like your school to have a critics team but no Cappies show, the rules allow that too.

ELIGIBILITY FOR AWARD CATEGORIES

The Cappies have 33 award categories 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 Guide. Note, for example, that if an adult sings a full song (or is otherwise in a featured role), the show cannot be considered in the "musical" (or "play") categories.
Pay particular attention to the eligibility rules for non-performing categories, like Costumes, Props & Effects, Costumes, Choreography, Orchestra, and Creativity. If you wish to qualify your students for award consideration in those categories, you must provide information prior to the show. For your students to be eligible for the tech award categories, it's important to take care not to have too much adult participation.
Please read carefully, and complete, the Award Category Eligibility form. You must give this form to the Editor Mentor not later than 30 minutes prior to curtain. On this form, note that any item marked with an asterisk (***) must be answered, prior to a show, for a student who does that work to be considered for award eligibility in that category. This is required for categories (i.e., Costumes, Props & Effects, Orchestra, Choreography, Creativity, Dancer) where it is helpful, and sometimes essential, for critics to know what to consider—and, especially—what is and is not the work of students—as they watch and listen to a show. If that information is provided after that, the Mentors will decide how necessary it was for critics to have it in advance, and whether the show should be declared eligible or ineligible in that category.
For each non-performing category that involves a group of more than four persons (like an orchestra), please provide a name for the group. You can list no more than four individual names in any one category.
If you wish, you may share the Award Criteria Guide with your cast and crew. That would enable them to see what the critics are being asked to keep in mind, look and listen for, and consider when scoring.
In preparing for a Cappies show, and in the show itself, a cast and crew can feel a (gentle) taste of what it feels like to prepare and perform a critically-reviewed show in a professional theater environment. Some directors use the prospect of Cappies reviews as a way of encouraging performers and tech workers to take direction and rehearse seriously—and to focus on aspects of their work that might be improved, as the date of the Cappies show approaches.

SHOW UPDATES AND SCHEDULE CHANGES

If your school application did not list the name of a Cappies show, please alert program officials as soon as you know its name. If at any point you change the Cappies show you'll be doing, that's all right, but you need to alert program officials right away about that. If you need to change the show date or time (e.g., to change a matinee to an evening performance), you'll need advance approval from program officials. Usually, that can be arranged.
If, for any reason, including weather, your Cappies show is canceled—or if you learn that there is a substantial risk that your Cappies show may be canceled—you must inform the Program Director immediately.

SHOW PUBLICITY

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

Presenting a Cappies Show

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

A CAPPIES SHOW

If you and your students (and boosters) wish, you can treat your Cappies show as a major event, with decorations, hallway entertainment, alumni receptions, the presence of administrators and faculty—or you can treat it as just another show, except with Cappies critics present.
Don't forget to give your completed Award Category Eligibility form to the Editor Mentor, not later than 30 minutes before curtain.
If you "double cast"—and intend to do a show with different casts on different nights—you need to decide which cast will perform the Cappies show. You can do this any way you want—by drawing straws, going with seniors, using your strongest cast, or some other criterion, but no school's show will be reviewed, or considered for awards, more than once.
If you intend any post-show recognitions, please wait to start that until after the critics have left the theater. (You may want to make an announcement about that.) The critics may not take part in any post-show audience discussion of the Cappies show.
If you plan any other special recognitions, whether at the start of the show or before intermission, please excuse the critics from those, as well. (If possible, you may wish to schedule those for a performance other than the Cappies show.)

CAPPIES ROOM

Please provide a "Cappies room" for critics and mentors. It can be a school room, chorus room, cafeteria, or something like that. You'll need to make that room available 45 minutes before curtain and up to 45 minutes after final bows. It probably won't take that long, but it might. Make sure your school's security force realizes this.
In the Cappies room, set the room up in a way that best promotes discussion between the critics, in a circle or all around one big table, depending on the number of critics expected.
Your school will need to provide free refreshments in the Cappies room—something to drink, perhaps some chips and cookies, something comparable to what the audience can buy at intermission. Your Booster can coordinate this, but please make sure it is done. If your boosters want to provide more than the minimum, that's fine, and (especially on week nights) it's often appreciated, but it's really not necessary—and, over the years, no one has ever felt that the quality of the food influences critics, one way or the other.
Whoever handles the food needs to know that they can't be in the room during intermission and after the show, when the critics are discussing anything. Those conversations are highly confidential, to ensure that nobody's feelings will be hurt. This means that parents will have to wait until the critics are finished before they can start cleaning up. (Critics are encouraged to help clean up the Cappies room.)
If more than 20 critics are on the attendance list, and if you have it available, please try to provide a simple microphone and speaker for the mentors to use. This aids greatly in discussions.
You'll need to provide at least one student usher, to stand outside the door of the Cappies room and escort the mentors and critics to their seats right before the show starts, and again after intermission. Please make sure your stage manager doesn't start the show, or resume after intermission, until you know that critics and mentors have been seated. It works well if they're the last ones seated, and then you start the show.
While the critics are in the Cappies room, the usher should stay by the door, in case there are any questions. It helps if the usher knows who's who on the cast. You, as Show Director, should be reachable, in case the mentors have any questions.
Please arrange for the Cappies room to be secure, and locked, during the performance. If this is not possible, please alert the mentors, so they can advise critics to keep all valuables with them at all times.

CAPPIES TICKETS

Under the rules, your school is required to provide complimentary tickets to critics and mentors. You are encouraged, but not required, to provide excellent seats—preferably center section, about rows five to seven. Do not seat critics in the first row or two—that can distract your performers—but make sure they are where they can see and hear well (even if sound and light problems arise), appreciate the intensity of the performances, and feel the energy of the audience response. At a musical, try not to seat critics too close to the orchestra, to make sure they can hear the vocalists well.
If you seat the critics elsewhere—on the sides, in the back, or in a balcony—you run the risk that they may not see and hear well enough to give full credit to all aspects of the show.
Please rope off wherever the critics are going to sit, and make sure your ushers enforce this until the critics arrive. It can be quite awkward when critics enter the theater, right before curtain, and do not have enough seats, or have to sit around others in their seating area. Unless you have a full house and need every seat, it's a good idea not to have parents of students at your school, or anybody else, sitting next to critics. The critics like to write down notes during shows, and they don't like to do it when somebody from the school is sitting next to them, peering onto what they may be writing.
The number of critics who attend your show will depend on the size of your program, the week of your show, and other factors. In small programs, during busy periods, the number may be ten or fewer. In large programs, especially at year end and during weeks when not many schools have shows, the number of critics could swell to more than fifty.
It's true that these tickets are, in one sense, lost revenue to your school's theater program—especially if the show is a sellout. Over time, however, the Cappies will sell far more seats than you're being asked to provide. Many critics also bring parents and other friends (often to help with driving), and they must purchase tickets.
Two weeks, one week, and two days before the show, you'll get an email telling you how many tickets are being requested. The final count is usually (but not always) slightly smaller than the final ticket count. Please note that you will be asked to provide two tickets for Mentors (in unusual cases, three tickets for mentors) and two for Cappies officials. The officials' tickets may or may not be used.
Some Show Directors like to have as many critics attend their show as possible. Others would rather limit the number. You may do so, within limits—and those limits vary with each Cappies program. In no case may you request a critic limit of less than 30. (For most programs, the minimum limit will be 50.) If you think you might want to limit critic attendance, you should do so as soon as possible.
You can request that a limit be placed at the start of the year, or at any time during the year—but you may not ask that critics be removed from your show's attendance list. If you wait until 60 critics have signed up for your show to request a limit, the limit cannot be set any lower than 60.
When you consider the number of free tickets you are providing for your critics, please remember that other schools' Show Directors are providing free tickets to critics from your school.
Under no circumstances can you fail to provide tickets to all critics who are present and who were on the final (48-hour) attendance list, and to the designated mentors and program officials. Failure to do so can result in sanctions for your show, including possible disqualification from awards. If you are oversold, you will have to ask others to relinquish their seats.
You need hold tickets for critics only until five minutes prior to curtain. If you have a sellout, you can sell any tickets set aside for any critic who arrives later than five minutes before curtain.
If you anticipate that providing sufficient Cappies tickets could be a problem, you might think about adding an additional show, or scheduling a special critics' performance, perhaps a dress rehearsal. Those might not be ideal performances to schedule as your Cappies show, but this is allowable under the rules.

CRITICS MATERIALS

You'll need to provide show programs to all mentors and critics. You can give them any other materials you'd like, about anything you think they should know about your show.
Make sure your show program spells all student and character names accurately—and spells them the same, every time they appear. Please proofread carefully, to prevent easily avoidable misspellings of names in published reviews. It helps critics reviewing your show if you post a board displaying the photographs and names of cast members. Your school's Booster and critics can help with these items.
If you wish, you can provide all critics with a copy of your Award Category Eligibility form. This is not required, but it is helpful.
You may not give critics any guidance on who to pick for the performing categories. That is for them to decide on their own.
If you wish, you may speak to the critics before the show. During and after the show, you can only speak to them if you're invited, to answer specific questions they might have.

CRITICS DECORUM AND SAFETY

Please remind your cast and crew that, before or after the show, they may not socialize with any critic. Nor may they do so—including phoning or emailing—until the critic has submitted a review (or the final deadline has passed). Afterwards, they may have social contacts with a critic who may be a friend, but should never discuss anything said in the critics' discussion, including Critics' Choices and scores. Cast and crew must not inquire about Critics' Choices, which will be posted only after all Critics have voted for Cappie nominations and awards.
Critics may not openly discuss any aspect of the performance within earshot of any member of the audience. If you notice this occurring, please alert s mentor. And, of course, please do not allow any parent to ask any critic for his or her opinion of the show.
The safety of critics is of paramount concern. No critics may be left alone, late at night, at an unfamiliar school. Under the rules, one mentor is required to remain at a performing school until the last critic has left for home. If you see a critic left alone, waiting for a ride, with no mentor in sight, please remain with that critic until someone has arrived with a ride home.
Please remind your Booster to help you prevent flash photos during a Cappies Show, which can sometimes be a problem. You might want to make a pre-show announcement, and usher enforcement of the rule if anyone takes a flash photo. This is not a Cappies rule—just a strong suggestion. It is well-known to any theater director that flash photos can be very distracting to performers, causing them to break concentration and keeping them from doing their best onstage. Flashes can also interfere with the concentration of (and be annoying to) the audience—and critics. Video cameras can also distract performers and critics, and you might consider only allowing them in locations where they do not affect the performers' concentration and the audience's view of the show.

Cappies Reviews

Program officials will forward reviews of your Cappies show directly to you, usually on the Sunday night or Monday after your show.
All critics who attend a show are required to submit a review. In most Cappies programs, somewhere between 90% and 95% of all critics who attend a show do submit a review before the final deadline (the Wednesday following a show—three days after the original deadline, which is Sunday).
It can be quite an exciting moment when the Cappies reviews arrive. Usually, it is also quite a happy moment for the cast and crew. Reading the reviews can also be a good learning experience for them, and a useful feedback mechanism for you, as the Show Director.
Cappies reviews are, on the whole, warmer than reviews of professional shows, and that is as it should be. Nearly always, there are many positive mentions of students. However, these are real reviews, and critics are told not write "rave" reviews only for rave-worthy shows. They are encouraged to make criticisms, and they usually do. Those criticisms must follow the rules, the key aspects of which are (1) no criticisms by name (or character name), and (2) no sarcasm or negative tone.
Also, critics are not allowed to praise or criticize adult theater directors, by name or by implication. They may not praise or criticize other adult by name. They may not criticize any work done by students younger than 9^th grade. They are encouraged to mention an adult playwright or composer, but their task is not to critique the work, but rather a school's production of that work.
To learn more about what is and is not allowable in Cappies reviews, you can see the rules—or look through the critics' training materials, which offer numerous examples.
You should expect that some student work will receive critical comments, some students will be praised more than others, and some students may be disappointed in not being praised or mentioned.
The spirit with which the reviews are received by a cast and crew can depend on how you present the reviews to them. Encourage them to take whatever useful things they can from the reviews, while keeping in mind that each review is one person's opinion, nothing more nor less.
By agreeing to host a Cappies show that will be reviewed, you are agreeing to post the reviews for your cast and crew to read, subject to this exception: You may choose to withhold a review for any reason—if, for example, you consider a comment to be blatantly unfair, or if you know a particular review will be received very poorly by one or more students—but you can do so for no more than one to three reviews. (See the rules.) Most Show Directors prefer to let their critics see all the reviews, regardless what they say.
You may, if you wish, share Cappies reviews with parents and others, but you are not required to do so. You may wish to select a few of them for that purpose.
You are welcome to use Cappies reviews for promotional purposes. You may quote any portion of any Cappies review, as long as you credit it to the critic and the Cappies.
The mentors will select the reviews to be published. In some programs, the reviews submitted to major newspapers will not be forwarded to the performing schools, because those reviews are likely to be edited further.
When selecting reviews for publication, mentors know they are determining which reviews will be "of record," and shared with the public. They are encouraged to give equal weight to their accuracy and the quality of the writing. Therefore, they have the responsibility of determining which reviews are the best-written descriptions of what did in fact happen on stage. It often happens that a mentor is a friend or professional colleague of the Show Director whose Cappies show is being reviewed. One of the reasons two mentors are scheduled for each show is to provide two professional judgments about which reviews should be published.
It is important, for many reasons, for Show Directors not to express any objection to the selections after they are published, to a cast or crew or anyone else.
It is against the rules for a Show Director, or any other teacher, parent, or student from the performing school, to discuss any review (published or not) with a critic.

Critics' Choices

A Critics' Choice is not a nomination, but rather a decision to place a candidate on the year-end award ballot.
To be a Critics' Choice, a student (or group) must be eligible in an award category. For information about that, or to see what other guidelines the critics are following in selecting Critics' Choices, please see the Award Category Guide.
After a Cappies show, during their post-show discussion, the mentors determine the award categories for which a show qualifies. In the non-performing categories, they base this on information provided by the Show Director. The critics then determine who their "Critics' Choices" are for each award category for which the show qualifies. They do this by consensus, or if necessary by vote.
Critics' Choices are kept confidential. (No useful purpose would be served by informing a performing cast who the critics felt was the best ensemble, vocalist, or the like.) Critics are required not to reveal them, and you should ask your cast and crew not to try to find out what they were—or how candidates were scored by any critics.
Between 7 and 10 days prior to award voting, the Program Director will send you a confidential email, listing the Critics' Choices for that year's Cappies show (or shows). This is to confirm name spellings and correct obvious errors only. You will be asked to email any corrections, while maintaining the confidentiality of all information.
Critics' Choices will be made public after the last critic has voted, a day or two before nominations are posted.

Participating in Awards

AWARD VOTING

If your Cappies program includes awards, the critics will gather to vote online for "Cappie" nominations and awards, after the final shows have been reviewed. To qualify as an award voter, a critic must have submitted reviews for a minimum number of shows. That minimum can be between 3 and 5 reviews, depending on the program.
Also, under the rules, each school's critics team must meet a minimum standard to qualify its school's own Cappies show for awards. That standard may vary, for each Cappies program. Your Program Director will advise you what it is. It will be the responsibility of your school's Cappies Advisor, and Lead Critic, to make sure the team meets that minimum standard—but it will be the show you direct that is at risk of being disqualified if they do not, so you may wish to keep track of their performance, as well.
The critics vote through specially designed computer software, through which they give scores and points to individual candidates. No critic sees all shows (or anything close to that), of course, and the voting system has been designed to account for that.
The Cappies voting system has also been constructed to be totally evenhanded to all schools, regardless of the size of their own critics team or the number of critics who attended their own Cappies show, to identify (and, hence, discourage) "gaming" or strategic voting by individual critics or teams, and to provide Cappies officials with clear and fully auditable results.
The critics vote through a combination of evaluation scores, nomination and award points, and tie-breaks. A complete description of the Cappies voting system is in the rules, and a summary can be read on the Cappies web site, on the "Rules & Forms" page.

AWARD CATEGORIES

The non-performing categories include sound, lighting, make-up, costumes, sets, props & effects, stage crew, choreography, orchestra, and creativity (which includes student directing, composing, playwriting, lyric-writing, and musicianship).
The performing categories include ensemble in a play, ensemble in a musical, featured actor and actress, male and female dancer, male and female vocalist—and comic, supporting, and lead actors and actresses for plays and musicals.
A student may only be nominated once (per show) in the non-performing categories, and once in the performing categories. If a program allows two shows per school, a student may be nominated once for each show in the non-performing categories, and once in the performing categories. (Critic awards are treated separately.)
There are four overall school awards: song, play, and musical.
Depending on the Cappies program, there can be from three to five critics' awards, including critics team, and individual critic awards determined by gender or year in school.

COMMENDATIONS

As Show Director, you may, if you wish, name up to four students as Cappie Commendees. Their recognition (and award items) will depend on your Cappies program. Your Program Director will advise you about this. You should wait to name your Commendees until after nominations are announced. You are encouraged, but not required, to select Commendees who are not nominees.
You have wide latitude to select Commendees—or not to select them. They must be students in grade 9 to 12, who in your judgment have made a significant contribution to your school's theater program. They might be performers in a non-Cappies show, performers or tech workers in your Cappies show whom you feel the critics may not have sufficiently recognized, students who did work (designing programs and posters, doing publicity, or handling box office) that fits within no award category, or any other student you may wish to recognize.
The Program Director will set a deadline for you to name Commendees. Please do not miss that deadline.
Your Program Director may ask someone from your school to pick up awards items for your Nominees and Commendees. You may wish to ask for assistance you're your school's Booster with this task.

NOMINATIONS AND AWARDS

Nominations are announced within one to two days after the voting. Most Cappies programs post the nominations online. Awards are announced at the Cappies Gala.
When you present your Cappies show, when nominations and awards are announced, and again at the Gala when awards are presented, you and your students should realize that, per the cliché, the chips will fall where they may. Your school may receive several nominations, or not many. (In large programs, some schools receive no nominations.) At a Gala, your students may win the awards for which they're nominated, or not. If they do, kudos to everybody. If not, hooray for whoever won, and it's on to summer (and next year).
Yes, it can be exciting, and feel rewarding, to your students (and to you) when your show receives multiple nominations and wins awards—but please do your best to encourage your students not to let it feel like a major disappointment if your show is not recognized as much as you expected.
As with reviews, a Show Director can greatly influence the attitude students take toward nominations and awards. Suggest that they treat it as a learning experience. Remind them that the competition was very tough, which is almost always the case. Reassure them that receiving nominations and awards (or not receiving them) doesn't make a show any better (or worse) than it was when the curtain came down.
No voting system is perfect, of course—and any outcome merely reflects the viewpoint of the judges, not any absolute truth—but great care is taken by program officials to make sure Cappies voting meets very high standards of fairness and integrity. If your students are disappointed in the results, it is important that you, as the Show Director, not give the students any reason to believe that the voting was in any way unfair or illegitimate.
If any person wishes to appeal any voting outcome, he or she may do so by contacting your Program Director. This will result in a careful audit of the results by the Steering Committee, with the outcome of that audit reviewed by the Cappies Governing Board. The decision of the Governing Board will be final. Under the rules, no one—including a person appealing a voting outcome—may see the raw voting data.
If you have concerns about letting your show be evaluated for awards by student critics trained by the Cappies, through a voting system managed by the Cappies, then the best plan is not to submit your show for awards evaluation.

Attending a Cappies Gala

If your program has awards, the year will end with an awards ceremony, which may or may not be identified as a Cappies Gala.
A program may choose to distribute awards without a Gala, at a simple ceremony. Or a program may choose to present a Cappies Gala is a formal Tonys-style event that combines awards with select student performances. Some Cappies Galas are at high schools, and others are at high-profile theater venues.
Prior to a Cappies Gala, your Program Director may schedule photo sessions for Nominees, for whom the Cappies may not have email addresses or phone numbers. If so, please assist with this, to make sure your students can join in any pre-Gala publicity.
If your program is planning a Cappies Gala, your Program Director may invite students from your school to perform in it. In small programs, all schools may be invited to perform a song or sketch from a Cappies show. In large programs, the invitation may only go to those nominated in the Song, Play, and Musical categories.
If you are invited to perform at a Cappies Gala, the Gala Director will contact you in a timely manner about rehearsals, scores, and other issues. The timetable may be quite short, so please respond to a Gala Director's inquiries in a very timely manner.
Depending on your Cappies program, the Program Director may issue a request for students who may wish to audition for the select Gala student cast of vocalists, dancers, and musicians. Please assist the Program Director in spreading word to your students about any such opportunities.
Prior to a Cappies Gala, tickets will be made available for your school. The number of available tickets, per school, will depend on the size of your Cappies program and the size of the Gala venue. As the Show Director, you will be in charge of ticket purchases, pick-ups, and distributions, but you may wish to ask your school's Cappies Advisor (and Booster) to help with this.
Understandably, the size of each school's Gala ticket request may depend to some degree on the number of nominations that school has received and on any invitation for students from that school to perform at the Gala. Here again, a Show Director can greatly influence student decisions about whether to attend a Cappies Gala, even if some disappointment is felt about a school's list of nominations.
We encourage teachers and students from all participating schools to attend the Gala, cheer for students from all schools, and celebrate all the fine shows performed through the year.
No matter where the awards go, students at your school will have a wonderful time at the Cappies Gala. And then it's on to next year!

LETTER FROM A SHOW DIRECTOR

"So, what's the point?"
A colleague who was considering joining the Cappies program asked me that question. He wanted to know if it was all about who gets the Best Play or Best Musical trophy. Or who gets bragging rights over what school for the most nominations or awards. The politically correct answer: No, of course not. The truth: Some people (students and teachers alike) tended to think that way during the course of the first year. My view: It's nice to get that kind of attention (including from school administrators). It's nice that someone cares. But Cappies is about more than the trophies and glamour of the Gala night.
What's the point? Recognition for the students, for the local programs, and for theatrical education in general. If the best way to get this is to imitate the second most watched television show annually (the Oscars) and create an interest for people to root for a particular program as well as come to more productions, then I'll go for that. Awards, "best this and that," golden trinkets – for better or for worse, this is what raises the interest of our society. So we do that, and the result? Recognition for this year and sold-out shows for next year. The danger is when someone actually makes the mistake of attributing quality based on the number of trinkets won. If you are able to eliminate that thinking among your students and communities, then you have what the Cappies Gala should be: a celebration of the arts rather than a competition for gold-plated metal.
The point should be about giving high school students more journalistic experience and arts training than most so-called critics get before their 30s. The point should be everyone in the community recognizing the hard work and dedication put forth by the theater arts students of a particular high school. Work during the entire 180-day season as opposed to the 60- or 75-day season of most sports. The point should be recognition for a particular school's continual dedication to excellence in Theater Arts over several years. The point should be to get people in those seats that are perennially unfilled, so that the students feel their endeavors are worthwhile. The point should be to foster the growth of future actors, designers, directors, composers, and writers to interpret our society and an audience to support them.
The point is that the Cappies is the best idea to put that deserving spotlight on high school theater arts that I have ever experienced. It works – when you go about it with the correct philosophy.
I hope the Cappies brings your school's theater program all the recognition it richly deserves. I hope some administrators who always attend every sporting event tell you they actually read the review in the paper and are kicking themselves for not seeing your show. I hope your next show sells through the roof. I hope your kids are proud of who they are and what they can do. Because that is the point.
R.L. Mirabal
Theater Director, Lake Braddock Secondary School, Burke, Virginia
Cappies of the National Capital Area

SAMPLE REVIEWS

These materials are provided to critics, in their binders. They are also provided to you, for reference, so you and your cast and crew can understand what the rules are.
Cappies reviews are real theater reviews. They can, and do, include criticisms, as long as the mentors consider them within the range of fair comment. Any criticisms must be written according to the rules.
When selecting reviews for publication, mentors are asked give equal weight to:

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

Critics are trained to write rave reviews for rave-worthy shows. Reviews for shows of different caliber should reflect those differences. At the same time, even the weakest of shows is being performed by high school students, and the purpose of reviewing their show is to provide a learning experience, not to demean anyone.

CriticismS IN CAPPIES REVIEWs

Cappies reviews are real theater reviews. While a core purpose of the Cappies is to promote and celebrate high school theater, the critical reviews must have integrity, fairness, and accuracy. Not every show can or should receive a rave review. Most shows have aspects that could have been better—and, therefore, most reviews should include some criticism.
In selecting reviews for publication, mentors are encouraged to select the best written, fair and accurate description of what actually happened on stage—and reviews that reasonably reflect opinions expressed during critics discussions. The reviews they select are not necessarily the most favorable reviews.
In their training, critics and mentors are told that critics are not evaluating experienced professionals, but students who are learning about theater arts. This may be the first time they have ever been in a reviewed show.
For these reasons, the critics are required to do the following:

• Don't criticize the playwright or composer. Focus on the production itself.
• Choose your words carefully. Be brief. With criticisms in Cappies reviews, a brief phrase, or even just a word or two, can make your point. State your criticism succinctly, and then move on.
• Realize that Cappies reviews are often read very closely by the director, cast, and crew. As you write them, imagine the performing company reading them. If you attended the school whose show you reviewed, the cast and crew would probably be your friends. Think of them that way. State criticisms in the way you would state them to a friend.
• The best place to state a criticism is near the end of a review, but not in the last paragraph. It's often good to make them near the end of a paragraph, but not in the last clause.
• Try to state a criticism in a positive, constructive context. As in: Yes, there was this problem, but the cast overcame it in such-and-such a way. Or: I noticed this flaw, but it did not detract from these other positives.
• Only work by students may be criticized (or praised). If the show includes performers younger than high school age, please either praise them or say nothing at all about them.
• At times, the most appropriate way to state a criticism can be to say nothing at all. If you say nothing about the lead performers but broadly praise minor characters, that may be all you need to do to make your point.

Mentors are required to edit all reviews for compliance with these rules.
If any reviews are forwarded to you that appear to violate any of these rules, you are encouraged not to share them with your cast. If they flagrantly violate the rules, please notify the Program Director of your Cappies program.

SAMPLE REVIEWS

The following five reviews were written by Cappie Winning Critics in five different programs. All five of these reviews were selected by mentors and published in major newspapers.

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

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

SAMPLE #2: Review of A Piece of My Heart
The horrors of Vietnam are quickly fading into history. Young people today have no vivid memories of lost loved ones, and it is difficult to imagine America at a time of such crisis. But the atrocity of war came to chilling life on the stage at St. Ursula Academy's recent production of A Piece of My Heart by Shirley Lauro.  The play chronicled the experiences of six women who each went into the war zone for different reasons and came out with memories that haunted them long after coming home. Dealing with the pain, confusion and even the love that was part of "the 'Nam" could be very difficult to handle, but the performers created characters that pulled the audience into their lives. Sissy (Rebecca Whatley) is a sweet girl, innocent of the horrors she will face when she stepped off the plane and signs up for field hospital duty. With a simple, traumatized glance, Whatley revealed the agony Sissy felt as she nursed mutilated soldiers. Whatley's performance contained the power and raw emotion of a woman who discovers what war is really like. Whitney (Allison Aiken) is a highly educated boarding school teacher who goes into Vietnam to work for the Red Cross and to find a little adventure. Aiken's portrayal of the sarcastic, bitter Whitney was brilliantly executed. With a simple toss of the head or sip of liquor, there was no doubt of the true feelings of the character. The show was comprised of monologues that flowed into dialogue with other characters and into the action during the war. The characters that entered the lives of the featured woman were portrayed by an ensemble which found specific actions and tones to differentiate between the numerous roles they conveyed. The energy of the entire cast charged the tension of the flashbacks and the frantic confusion of a hospital overwhelmed with victims of war.The set was simple and was used to illustrate the simple power of the stories being told by the characters. All props (accumulated by Claudia Feldhaus) and costumes (designed by Maria Reupert) were accurate to the time period and provided the perfect accompaniment to the stories being told.The experiences of the women in Vietnam may be far removed from the lives of the performers in this play, but each actor created characters that seemed to speak from these traumatic experiences. As the lights faded, the ensemble stared up at the Vietnam Memorial in Washington, DC, a powerful testament to the courage and strength of the women who gave everything for their country.
Matt Borths St. Xavier High School
Cappies of Greater Cincinnati
This review was published in the Cincinnati Enquirer.
SAMPLE #3: Review of Standing on My Knees
How does it feel to be stripped of your identity in order to cure a disease?  Are you really winning if you are losing the one thing that makes you who you are?  Plantation High School's presentation of Standing on My Knees, by John Olive, sets out to answer these questions. This intense drama depicted the touching story of Catherine, a schizophrenic young poet who is attempting to cope with her disease. The medication her doctor throws at her hinders her ability to write, which she feels to be the only thing that makes her life unique and meaningful. Katie Gemignani starred as Catherine, the passionate, yet unstable protagonist.  Gemignani flourished in an immensely difficult role.  She truly captured the sweet innocence of the character and admirably displayed the deterioration of the character into utter disarray.  Opposite Gemignani was Marco Zeno as Robert, her nerdy, yet charming love interest. Zeno did an excellent job illustrating his character's transformation from timid and lovable to frustrated and overwhelmed. The supporting cast consisted of Rachel Bahman as Catherine's best friend and boss, Alice, and L'Treasure Lunan as Joanne, the psychiatrist. Bahman brought a kooky, almost neurotic sense to her character that added a bit of comic relief to the emotional performance.  Lunan soothingly spit out monotonous clichés, convincingly maintaining the stereotypical nature the character is meant to possess. The set, though simple, did the show justice.  Catherine's apartment, placed on a steep angle, creatively demonstrated her mental instability. Also intriguing was the use of musical underscoring to effectively emphasize the emotions depicted on stage.  The lighting, though a bit dim on occasion, was sufficient and performed with nearly flawless execution. At times, some of the lines were rushed, reducing the credibility of the dialogue.  In addition, there were moments when the music was played too loudly, creating a distraction.  Perhaps the most memorable moment of the night, however, was the brilliant cover-up by Gemignani and Zeno after having difficulty opening a bottle of wine.  The two were able to maintain the flow of the performance, making it appear as if nothing went wrong.
Simply put, this was not your average high school material.  The piece was intense and difficult, and the cast did a sensational job in handling such a mature subject.  Profound and thought-provoking, Plantation High School's production of Standing on My Knees was truly noteworthy and commendable.
Bryan Jones
Piper High School
South Florida Cappies
This review was published in the South Florida Sun-Sentinel.
SAMPLE #4: Review of The Music Man
Smiling faces, colorful costumes, beautiful voices singing in perfect harmony, a vibrant orchestra and marching band. … Does this sound like a great Fourth of July celebration? Well, not quite! It's Northwood High School's production of Meredith Wilson's The Music Man.
This classic American musical is the story of the small and "stubborn" town of River City, Iowa in 1912 and its extraordinary visitor, Harold Hill, a man of many identities. Harold comes to the town to con the townspeople out of their money with his phony "boy's band." In the process, Harold finds himself falling in love with the town's uptight librarian, Marian Paroo, and River City itself.
Some very talented students brought this show's variety of lovable characters to life. Memorable performances included Tyler Alessi, who brought an endearing charm to Harold Hill's tricky character, and the comedic duo of Grant Scavello and Natalie Larriva as Mayor and Mrs. Eulalie Mackecknie Shinn. Erika Nafius as Mrs. Paroo showed a consistently impressive Irish accent, while Kiersten Regele's dance skills and smiling face added to the innocence of the Zaneeta Shinn character.
Another bright spot was the Barbershop Quartet, including Northwood students Robert Webb, Christopher Figueroa, Charley Cullen, and Eric Weigan (guest artist). Last but not least, Andrea Borden brought energy and charisma to Hill's love interest, librarian Marian Paroo.
The cast as a whole was focused and lively, while The River City Teens tackled amusing choreography with an air of excitement. The Residents of River City humorously captured the small town's "chip on the shoulder" attitude. The energy of the cast started low but built to the climactic closing number, "Seventy-Six Trombones" in which the entire Northwood Marching Band and Drill Team consumed the auditorium, almost overtaking the cast.
Northwood's student orchestra did a praiseworthy job with the show's difficult numbers, while the school's student-run sound and stage crew provided impressive support. Fun and creative crossovers ably covered lengthy scene changes. Cast members who did not wear body microphones were occasionally difficult to hear during solos, but the majority of the cast did a great job of projecting the lapses. A few backstage set changes disrupted quiet moments, but most of the scene shifts went quickly and without error.
Northwood High School's production of The Music Man was a fun, feel-good experience that captured the heart of small town America.
Nicole Weber
Huntington Beach Academy of Performing Arts
Orange County (CA) Cappies
This review was published in the Orange County Register.

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

AWARD CATEGORY GUIDE


For Critics,
Mentors,
& Show Directors

Guide to Critics' Choices and Scoring

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

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

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

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

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

Scoring Issues

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

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

Critics' Choices: Q & A's

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


Marketing and publicity refers to the publicity campaign for the produced play or musical. The materials or description of campaigns must be available to the Critics prior to the show and must be the original work of a student of group of students in grades 9 through 12. This may include, but is not limited to:
(a) graphic design, (b) poster, (c) program, (d) web site, (e) press release, (f) trailer or other media, or
(g) lobby display. Significant documentation that clarifies the student versus adult contributions for each aspect of the work is strongly recommended. If either component (design and/or execution) is primarily student done, then the production is eligible for an award in that technical category, assuming that there is substantial documentation to prove that element was student done.


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

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

Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: A full scale marketing and publicity campaign showing numerous (five or more) examples of media at the highest design level.
6 or 7: A marketing and publicity campaign showing at least four types of media from the seven suggestions above and/or something not listed, all at a very high level of design.
4 or 5: A marketing and publicity campaign showing at least three types of media from the seven suggestions above and/or something not listed, all at an average or slightly below average high-school level of design.
2 or 3: A marketing and publicity campaign that clearly does not display the understanding of the concepts of marketing or publicity.
Sound
Rule:
This Category incorporates the technical aspects of sound, including amplified sound, sound effects, and music not performed by live musicians. The extent of sound amplification, the frequency and timing of sound cues, the visual aspects of the placement of sound equipment, and the use of sound equipment by performers, are factors. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
The extent of work done by adults, or by students in grade 8 or below.
Keep in mind:
The question is not purely whether the performers can be heard, and you should evaluate amplified sound only. The nature and extent of the challenge faced by a sound crew can be very different, from show to show, and some theaters can pose special sound challenges. Nearly always, sound is more difficult in a musical than in a play, and scoring should reflect this. A play that uses no microphones, has a few sound effects, and has no sound errors should not be scored as high as a large musical with a dozen shared wireless microphones and a few sound errors. For a play, a high score should only be awarded if it poses technical sound challenges that are handled well. If the cast projects well with unamplified voices, that can be reflected in performer, ensemble, or overall play scores, but not here. In large musicals, small mistakes should be forgiven, especially if good adjustments are made. If mistakes recur, or are not quickly corrected when they happen, that should be reflected in the scoring.
What you are evaluating is the sound design and the work of the sound crew, not necessarily the overall quality of sound. Almost anything can affect sound quality—the size of the cast, the size of the theater, the number of people in the audience, the speaker placement, the number of microphones the school could afford, even the costumes and prop. Squeaks and bumps can be a performer's fault. If a voice cannot be heard well, that can be as much the result of a performer's lack of projection and articulation as it is of the work of the sound crew. You are evaluating the work of the sound crew only.
Look and listen for:

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

What would deserve a score of…
8 or 9:
There is substantial amplification with nearly no sound problems, which are hardly noticeable and never detract from the show, along with creative sound effects which enhance the show.
6 or 7:
There is substantial amplification with some sound problems, which are noticeable but seldom detract from the show—or little or no amplification and creative sound effects which enhance the show.
4 or 5:
There is substantial amplification with numerous significant sound problems, which are noticeable and occasionally detract from the show—or little or no amplification and sound effects which neither enhance nor detract from the show.
2 or 3:
A show with substantial amplification has constant sound problems, often detracting from the show—or little or no amplification, with occasional sound flaws.

Lighting

Rule:
This Category incorporates the design and execution of stage lighting, including lights that are part of any sets, costumes, props, or still-projection (gobo) special effects. The timing and coordination of light cues, and the use of lit areas by the cast on stage, are factors. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
The extent of work done by adults, or by students in grade 8 or below.
Keep in mind:
Basically, if it lights up, then it's lighting. Lights do not need to command attention to be done well. They just need to work with the show. Some shows require flashy lighting, and others must be done more subtly. The key issue, always, is whether scenes are well lit, Try to distinguish between performer and crew error. If a performer is out of place, there usually is nothing a lighting crew can do about that. You may need to discern the difference between the light cue being incorrect and the performer going to a wrong location. (One skill of a good performer is one who moves fluidly into his light even when a cue is wrong.) All factors are important here—and keep "degree of difficulty" in mind.
Try to take into account what the performing school has in the way of lighting fixtures. Usually, you can see them from the audience, if you look around from your seat (or, better, look briefly from the front of the house during intermission or after the show.) The more fixtures a school has available, the more options it has for using lighting creatively. Some schools have "intelligent" lighting fixtures that can move, change color, and have cutout patterns (gobos) that can be controlled remotely, through cues written before the show.
Look for:

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

What would deserve a score of…
8 or 9:
The lighting is complex and fits the show perfectly, with well-timed cues, well-lit performers, and very creative effects, significantly enhancing the show.
6 or 7:
The lighting is complex and fits the show nicely, with errors that are hardly noticeable, and interesting effects, nicely fitting the performance… or, if simple, is very well done.
4 or 5:
The lighting fits the show fairly well, with some noticeable errors in cues or lighting of performers, and workable effects, neither enhancing nor detracting from the show.
2 or 3:
The lighting does not fit the show well, with several noticeable errors and no helpful effects, detracting from the show.

Sets

Rule:
Sets. This Category incorporates the design, construction, and finishing work on all scenes, including back walls, stage trim, furniture, and every physical item other than lights, costumes, and hand-held props. All design work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible. A majority of the construction and finishing work must be done by students, but some adult participation is permissible, especially as required to ensure performer safety. Furniture need not be made by students. Crew work (in set changes) is not a factor.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• The extent of work done by adults, or by students in grade 8 or below.
• If any set pieces that look like fixtures have been built specifically for the show (for example, a rotating stage, or a floor-to-ceiling ladder).

Keep in mind:
The set must fit the show's theme and mood. Sets can be elaborate or minimalist, realistic or cartoonish. Any style can work, and the most complicated set isn't always the best kind. The set should first fit the show, and then impress. Many shows will have unit sets that require no scene changes, and others will have multiple or moveable set pieces. That involves an artistic decision, but the more complex the choices, the greater the challenge for set designers and builders. Some shows may be enhanced by creative and original set pieces, while others may call for a highly traditional look. A well-designed set will allow for nimble stage crew work. If the crew work is slow or awkward to watch, that may be, in part, a reflection on the quality of the set design and construction.
The size of a stage, and a school's budget, can influence set choices. A small stage, or lack of wing space, can preclude a large set or multiple complex shifts. A set designer who works brilliantly with a difficult space or small budget should be scored accordingly. In shows (for example, in black boxes) with no more than a very basic set design, even if the set pieces work perfectly, the lack of difficulty, originality and creativity, and range of expression will preclude a high score.
Look for:

• Aesthetics. Is the set enjoyable to see when the stage is empty? Does it make the show more enjoyable to watch? Does it help make the show unique? Are there any unconventional set pieces that add to the flavor of the show?
• Theatricality. Are the set pieces consistent within an artistic concept? Do they correctly suggest a time period, location, and situation?
• Usefulness. Does the set work in the show? Are there multiple entrances? Are there levels and divisions? Are they cleverly positioned? Does the set provide varying looks, for different scenes?
• Construction. Is the set well-crafted and nicely decorated? Are the details well tended and interesting? If the goal is realism, does the set achieve that? If the goal is something else, does the set achieve that other goal?

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

Costumes

Rule:
This Award incorporates the design, assembly, and making of costumes, and the speed of costume changes. Costumes are defined as anything worn by performers, including hats and footwear.  All design and assembly must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.  A significant proportion of the costumes must be designed and acquired or made by students specifically for the show. Some non-student-made costumes (e.g., costumes that are rented, made by parents, drawn from a school's costume collection, and/or borrowed from elsewhere) are permissible, but only if a list of rented or adult-constructed costumes is provided to Critics prior to the show. 
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• The extent of work done by adults, or by students in grade 8 or below.
• Which costumes were assembled (rented, made by parents, drawn from a school's costume collection, and/or borrowed from elsewhere).
• Which costumes were made by students for the show.

Keep in mind:
This Award incorporates the design, assembly, and making of costumes, and the speed of costume changes. Costumes are defined as anything worn by performers, including hats and footwear.  All design and assembly must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.  A significant proportion of the costumes must be designed and acquired or made by students specifically for the show. Some non-student-made costumes (e.g., costumes that are rented, made by parents, drawn from a school's costume collection, and/or borrowed from elsewhere) are permissible, but only if a list of rented or adult-constructed costumes is provided to Critics prior to the show. 
Look for:
Theme and period. Do the costumes demonstrate continuity in theme? If costumes are intended to be realistic, do they succeed at that? If the intent is cartoonish, do costumes succeed at that? Are costumes correct to the period, season, and location of each scene?
Character. Do costumes effectively single out lead characters? Do costumes help differentiate various groups of characters or ensembles? Do costumes help define the characters' personalities? Do costumes help distinguish age, gender, income class, or other character differences?
Aesthetics. Are the costumes eye-catching? Are there any beautiful costume moments?
Quality, functionality, and speed. Are the hand-made costumes well-made? Do costumes help conceal microphones? Do they fit well with the set and lighting? Are costume changes quick, especially for ensembles?
Quantity, Variety, and Creativity. How many costumes are there? How many of those are hand-made? How original are the costume concepts?
What would deserve a score of…
8 or 9:
The costumes—many of them made by students specially for this show—are superbly designed, beautiful to watch, fit the show perfectly, and significantly enhance the show.
6 or 7:
The costumes are well-designed, nice to watch, fit the show, and complement the show.
4 or 5:
Some costumes are well-designed, nice to watch, and a good fit for the show, while others are not.
2 or 3:
The costumes do not fit the show well, detracting from the show.

Make-Up

Rule:
This Category incorporates the design and execution of all facial (and other) cosmetics, hair, nails, and props (e.g., fake noses, ears, hands, or feet) attached to performers' bodies. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• The extent of work done by adults, or by students in grade 8 or below.
• Whether most members of the cast did their own make-up.

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

• Definition. Does the make-up show faces well in normal stage lighting?
• Believability. Does the make-up help define characters? Does it reflect their ages?
• Special or unusual touches. Is there any special make-up for unusual characters or conditions? If so, is it believable? Or, if the artistic choice is to be cartoonish, is that well done?

What would deserve a score of…
8 or 9:
The make-up exceptionally well done, fits the characters perfectly, includes some difficult and well-executed special touches, and significantly enhances the show.
6 or 7:
The make-up is generally well done, fits the characters reasonably well, includes some special touches that are well executed, and nicely complements the show.
4 or 5:
The make-up fits the characters fairly well, neither enhancing nor detracting from the show.
2 or 3:
The make-up does not look good and does not fit the characters well, detracting from the show.
Props
Rule:
This Category incorporates the design, construction or collection, and use of student-designed props that are neither sets nor costumes (e.g., that are handled by performers but not attached to their bodies, including but not limited to weapons, food, beverage containers, and live animals), and special effects or technologies that are neither sound nor light (e.g., puppetry, video, magic, fog, aromas, or fly wires). This work must be specifically identified to Critics prior to a show. All work must be done by or under the direction of one student or a small group of students, but adult guidance is permissible. The quality of performer use of props and effects is a factor, but a performer who uses props and effects (e.g., a puppeteer or magician) may be considered only if s/he assisted in the design and/or construction of the props and effects.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
The extent of work done by adults, or by students in grade 8 or below.
Any special effects done by students.
Keep in mind:
Some scripts pose challenges that can be daunting for any show, especially one on a budget. Creative props and special effects can provide solutions to those challenges, making a show more fun and interesting. Usually, the prop crew can only provide what's in the script or what little can be added without deviating from the script. Special effects are sometimes required by a script, and other times added as stagecraft. In some schools, their use can be limited by building codes and smoke detectors. Depending on the show, props and effects can be workable, extensive or few, realistic or fanciful, overlarge or miniaturized, serious or comical, appealing to the eyes or appealing to other senses. They can range from the startling and amazing to the predictable and merely workmanlike. Note that the selection and handling of live animals, and video light projections, are included here. All four required factors should be equally considered.
Look for:
Theme and period. Do the props and effects work well within the script? Do they demonstrate continuity in theme? If props and effects are intended to be realistic, do they succeed at that? If the intent is cartoonish, do they succeed at that? Are they correct to the period, season, and location of each scene?
Aesthetics and illusions. Are the props and effects eye-catching, or aesthetically pleasing in other ways? Do they create interesting illusions?
Quality and functionality. Are the props and effects handled well? Are they sturdy?
Quantity, Variety, and Creativity. How many props and effects are there? How many are hand-made? How original and imaginative are they, in design and execution?
What would deserve a score of…
8 or 9:
The props and effects are extensive, creatively designed and superbly executed, convey the script perfectly, and significantly enhance the show.
6 or 7:
The props and effects are well-designed, suit the script well, and complement the performance,… or, if minimal, are creative and superb and significantly enhance the show.
4 or 5:
The props and effects suit the script fairly well and, whether extensive or minimal, neither add to nor detract from the show.
2 or 3:
The props and effects do not fit the show well, detracting from the show.
Stage Management and Stage Crew
Rule:
Stage Management & Crew refers to the speed, silence, invisibility, and/or entertainment aspects of scene, set, and furniture changes, and all other stage management, whether visible or not. Stage management & crew also may refer to the completeness & organization of the materials provided by the stage management & crew that were used during the rehearsal process. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible.
Keep in mind:
Stage crew work is very apparent in shows, and can be highly variable. Some shows have enormous moveable sets, while others have unitary sets. Some have frequent set changes, while others make changes only at intermission (or not at all). Some use the stage crew visibly, either in shadows or full light, dressed in black or in costume, perhaps as their own ensemble, while others use performers to move set pieces. In shows that close the curtain to make elaborate scene changes, some have action taking place downstage of the curtain, while others have a musical interlude. Some set changes are silent, while others are audible. Some move set pieces on rollers, while others involve stage rotation, or the flying in of large pieces. Every scene change has cues, at the start and end, and those cues should be promptly handled. In some shows, the best crew work is work you never notice. In other shows, the best work is something you very much do notice, and enjoy watching. Regardless of type of show stage management & crew are also responsible for being the king pin of communication during the rehearsal process, creating rehearsal reports, recording blocking, managing the schedule & keeping things running smoothly. When looking at the stage management and crew work in a show it is important to remember that the management of these components during the rehearsal will lead to a smooth run of the show. That work continues during the performance in every show, good stage crew work should contribute to the flow of the story, and not get in the way. If stage crew members are visible or audible when they should not be (for instance, making offstage noise), that should be considered. If a problem arises (for example, if the cast drops a prop, or if a set is damaged), see how that is handled by the crew. Consider any aspect of the show that is within the responsibility of the stage manager to prevent or control.
Look and listen for:
Execution. Does the crew do its work quickly and efficiently? Is the crew energetic and agile? Is the movement of large or cumbersome pieces as silent as can be reasonably expected? Are set pieces handled nimbly, without damage?
Cues. Do each scene change start briskly at the end of a scene, and does the next scene start briskly as soon as the last piece is moved?
Creativity. If the crew work is visible, is it entertaining to watch? Do the crew members function well as an on-stage ensemble? If performers are moving set pieces, do they move them in character?
Stagecraft. If the curtain closes to conceal crew work, does the show continue downstage of the curtain while the set pieces are changed? If so, does the work in any way distract attention from whatever is taking place downstage of the curtain?
Adjustments. If any problems arise with any set pieces, are they swiftly and effectively fixed?
Offstage comportment. During scenes, are cast and crew in the wings and upstage areas silent and out of sight, never distracting the audience's attention?
Rehearsal materials provided. Do the rehearsal reports contain detailed reports? Did the scene change plots have clear and detailed information on them? Did the prompt book have easy to follow and complete cues in it?
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The crew work is difficult, creative, and very well-executed, swift and silent, hitting all cues, causing no distractions, and significantly enhancing the show. Rehearsal documentation is provided to show clear, detailed & complete organization and communication from the Stage Management team.
6 or 7: The crew work is interestingly done and uniformly workmanlike, nicely complementing the show. Rehearsal documentation provided neatly compiled but perhaps few in number or lacking in detail or not clear or detailed.
4 or 5: The crew work is workmanlike, with a few noticeable flaws, neither enhancing nor detracting from the show. Rehearsal material provided is loosely organized but perhaps lacking in detail or not clear or detailed.
2 or 3: The crew work is not well done, with numerous noticeable problems, detracting from the show and no documentation is provided that the stage management & crew completed organized or clear assistance during rehearsal.

Orchestra

Rule:
This Category is for a group of musical accompanists that performs not less than six full songs, as accompaniment to vocalists, and will be evaluated for tone, pitch, authority, balance, pace, performer support, and other factors of musicianship that may contribute to a successful show. An orchestra may be a combo, band, orchestra, or any other group of not less than 3 musicians, of whom not less than 80 percent are students. (A four-member orchestra must be all students, a 5- to 9-member orchestra may have one adult, a 10- to 14-member orchestra may have two adults, etc.) A conductor who is an adult and does not play an instrument will not be included in this percentage. Whether the score is performed as written for professional orchestras, or as simplified for student orchestras (by the publisher or by the school's own music director) is a factor.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• Whether the orchestra includes at least 3 musicians.
• Whether at least 80 percent of the orchestra members are students.
• Whether the orchestra is performing the regular score, prepared for professional orchestras, or whether it is performing a score that has been simplified for student orchestras (by the publisher or by the school's own music director). If you are not given information about this, you should assume that the score has been simplified for student use.

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

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

What would deserve a score of…
8 or 9:
The only things you notice about the orchestra are good things.
6 or 7:
The main things you notice about the orchestra are good things, with a few errors.
4 or 5:
You notice as many errors as good things coming from the orchestra.
2 or 3:
You notice more errors than good things coming from the orchestra. Choreography
Rule:
This Category incorporates the design and teaching of dance choreography, stage combat, and/or other synchronized on-stage movements. To be eligible, a show must have a majority of its musical numbers, stage combat, and/or synchronized scenes designed and taught to performers by a student, separate students, or a small group of students, but adult guidance is permissible. Performer execution of the choreography is a factor. The entire set of student-designed choreography will be evaluated as a whole. Some adult choreography is permissible, as long as its location in the show is clearly identified to Critics in advance.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• That the play or musical has one or more student choreographers qualifying for this Category.
• The extent of work done by adults, or by students in grade 8 or below.
• Which scenes with movement were designed and taught to performers by student choreographers.

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

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

What would deserve a score of…
8 or 9:
The movement is very well designed, quite complex, and presented energetically, crisply and very well, significantly enhancing the show.
6 or 7:
The movement is well designed, somewhat complex, and presented well, nicely complementing the show.
4 or 5:
The movement is fairly well designed, not at all complex, and presented fairly well but with some noticeable problems, neither enhancing nor detracting from the show.
2 or 3:
The movement is either not well done or very simple (or both), and presented with frequent noticeable problems, detracting from the quality of the show.
Creativity
This Award incorporates creative achievements not encompassed in other award categories, including but not limited to: (a) 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 theater teacher or other adult); (b) Play Writing (of not less than one full act of a Play or Musical, totaling at least 40 minutes); (c) Songwriting (lyrics and music of at least 3 songs) for a Play or Musical;,(d) Musicianship (of an instrument, with solo segments, in at least two songs, totaling not less than 60 seconds); or, (e) Unusual or exceptional use of technology. Only one Critic's Choice may be identified for this Category in each Cappies Show.
(Individual categories continued on next page.)
Creativity (Directing)
Rule:
This Category is for 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 theater teacher or other adult). Only one candidate may be identified for the Creativity Category.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
That the play or musical has a student director qualifying for this Category.
The extent of work done by an adult teacher (or other director).
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?)

What would deserve a score of…
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.

Creativity (Play Writing)

Rule:
This Category is for Play Writing (of not less than one full act of a Play or Musical, totaling at least 40 minutes. Only one candidate may be identified for the Creativity Category.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• That the play or musical has a student playwright qualifying for this Category.
• Which portions of the play or musical were written by a student playwright.

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, whther 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?

What would deserve a score of…
8 or 9:
The story and characters make for outstanding theater, and nearly all of the above questions can be answered with a clear "yes."
6 or 7:
The story and characters make for good theater, 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."
Creativity (Composing)
Rule:
This Category is for Composing (of at least 3 songs) for a Play or Musical. Only one candidate may be identified for the Creativity Category.
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.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
That the play or musical has a student composer qualifying for this Category.
Which songs were written by a student composer.
Which songs, if any, were orchestrated by a student composer.
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.
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?
What would deserve a score of…
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."
Creativity (Lyric Writing)
Rule:
This Category is for Lyric Writing (of at least 3 songs). Only one candidate may be identified for the Creativity Category.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• That the play or musical has a student lyricist qualifying for this Category.
• Which songs have lyrics written by a student lyricist.

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 theater.
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?

What would deserve a score of…
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."

Creativity (Musicianship)

Rule:
This Category is for Musicianship (of an instrument, with solo segments, in at least two songs, totaling not less than 60 seconds). Only one candidate may be identified for the Creativity Category.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• That the play or musical has a student musician qualifying for this Category.
• Which songs will include solo segments by the student musician.

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?
• Theater. Is the musician enjoyable to watch, as a performer? (This will not apply, if the musician is not on stage.)

What would deserve a score of…
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."
Creativity (Unusual or exceptional use of technology)
Use similar guidelines for other creativity categories to determine whether the use of any type of technology was indeed unusual or exceptional.
Also, please note the publicity is not to be considered for a creativity award as it is not a part of the performance.
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. If someone is eligible for lead or supporting, they CANNOT be considered part of an ensemble, even if that person is not a Critic's Choice.
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."
Rule:
This Award is for a distinct and recognizable group of performers who frequently appear on stage together as an intended/named unit, with characters (if any) defined largely in relation to each other, with a minimum size of two and no upper limit, except 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.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any ensemble performers who are adults, or who are students in grade 8 or below.
Confirm after curtain:
In a Musical, the Ensemble was Supporting in at least one song.
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?

What would deserve a score of…
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)

Rule:
This Category is for a performer who 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. To qualify in a Musical, a performer may not be a principal soloist in any song. A role that is too small to qualify as Supporting will qualify as Featured.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any performers who are adults, or who are students in grade 8 or below.
Keep in mind:
A role cannot be too small—but can be too large—to qualify as a Featured. A Featured 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 a 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. No role is too large to be a Featured, yet too small to be Supporting. It must be one or the other.
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?

What would deserve a score of…
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)

Rule:

This Category is for a performer in any role, whether lead, Supporting, or Featured, who may either dance solo or as part of an ensemble, but who must be 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 (e.g., leaps, turns, jumps, or pirouettes), and the effectiveness of their integration. Non-dance movements (including gymnastics) may be considered, if part of a dance sequence. A performer's singing and acting, in dance scenes or elsewhere, are not factors.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any dancers who are adults, or who are students in grade 8 or below.
Confirm after curtain:
The dancer was Supporting, at least briefly, in one or more dance numbers.
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 select a dancer of at least one gender, preferably 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?

What would deserve a score of…
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)

Rule:
This Category is for a performer in a lead or Supporting role who is a principal soloist in at least two songs. A vocalist will be evaluated for tone, pitch, authority, phrasing, characterization, and presentation. The quality of the performer's acting (other than in songs), dancing, and the qualities of the song composition, accompaniment, and sound or other tech work during the performer's vocals, are not required factors.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:

• Any vocalists who are adults, or who are students in grade 8 or below.
• If this is a play, whether any vocalist is singing two songs.

Confirm after curtain:
The Vocalist was a principal soloist in at least two songs.
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 at least one vocalist of that gender must be selected.
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?
• Theater. Is the vocalist enjoyable to watch when singing?

What would deserve a score of…
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)

Rule:
This Category is for an actress or actor in a lead or Supporting role reasonably intended to be comedic, who will be evaluated for character, movement, expression, and timing. Audience response to comic actions is a factor. In a Musical, the performer may have, but need not have, vocal lines in any songs.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any Supporting performers who are adults, or who are students in grade 8 or below.
Keep in mind:
A comic performer must be role large enough to be considered Supporting, not Featured—with the one caveat that, 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. 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 doesn't makes others laugh, but not you, remember that what you're evaluating is comedic performance as theater, 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 un-clever.
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?

What would deserve a score of…
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)

Rule:
This Category is for a performer 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. A role that is too large to qualify as Featured will qualify as Supporting. In a Musical, a performer must be a principal soloist in at least one song.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any Supporting performers who are adults, or who are students in grade 8 or below.
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?

What would deserve a score of…
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)

Rule:
This Category is for a performer 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.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any Supporting performers who are adults, or who are students in grade 8 or below.
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 a Lead performer of at least one gender.
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?

What would deserve a score of…
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

Rule:
This Category is for the best-performed song in a Musical. A song will be evaluated purely on the basis of its presentation by a cast, crew, and orchestra, including voice, dance, acting, staging, sound and other tech work, accompaniment, and any other elements of the song's presentation. The quality of the composition, lyrics, and adaptation (even if student-done), the extent of student participation in the orchestra, and the quality of any other presentation of the same song (earlier or later in the Musical), are not factors. To be eligible, a song must be in a Musical, and must not include any solo lines by an adult. A majority of the performers with solo lines in the song, and a majority of all performers in the song, must be students in grades 9 through 12.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any performers who are adults, or who are students in grade 8 or below.
A complete list of songs in the Musical. (The show program should include this.)
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?

What would deserve a score of…
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

Rule:
This Category is for the performance as an entirety. To be eligible, a show must contain less than six musical numbers, sung by the performing cast. It will be evaluated as a production, and the quality of the published work (i.e., the work of the playwright) is not a factor. It will be evaluated as a whole, including all on- and off-stage elements. It may not have an adult in any Supporting or lead role, and the extent of adult participation in off-stage roles is a factor.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any performers who are adults, or who are students in grade 8 or below.
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 required 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 and 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?

What would deserve a score of…
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

Rule:
This Category applies the same criteria as Play, except it includes an evaluation of the musical and dance performance. To be eligible, a show must contain six or more musical numbers sung by the performing cast. Live accompaniment is not required.
Required factors:
Quality of presentation. Originality and creativity. Range of expression. Degree of difficulty.
Find out before curtain:
Any performers who are adults, or who are students in grade 8 or below.
Whether the Musical has at least six songs. (See the show program to confirm this.)
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 required 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 and 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?

What would deserve a score of…
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.

AWARD VOTING

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

HOW CRITICS VOTE

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

HOW RESULTS ARE DECIDED

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

HOW CRITICS AWARDS ARE DECIDED

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

HOW A "SPECIAL AWARD" IS PROVIDED

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

HOW RESULTS ARE AUDITED

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

NEW RULES

The complete Cappies Rules are not included in these materials. To see the Rules, and download them, please go to the "Rules & Forms" page at www.cappies.com.


Three new rules are worth noting.
1. The rules now explicitly forbid plagiarism, especially the copying of any items from the internet without attribution. Newspapers often spot-check for this. Mentors and Cappies program officials will occasionally do the same, especially for reviews selected for publication. Any Critic found to have plagiarized any part of a review will be removed from the roster.
2. The rules now require the suspension or roster removal of any Critic who is found to have shared information about Critics' Choices to the performing school. We are also requesting that the critics from a school that performed a Cappies show alert the cast and crew that Critics' Choices are confidential and will be disclosed only at the time of awards voting—and ask the cast and crew not to ask any critic for this information. (Please remember that all confidentiality rules also apply to the internet, including personal web pages, chat rooms, or blogs of any kind.)
3. Mentors are now instructed to apply a new fourth criterion when selecting reviews for publication: that a selected review reasonably reflect the consensus of critic opinion. While a Critic's review can and should reflect that Critic's own point of view about any aspect of a Cappies show, it should also take into account the overall judgment of Critics, as expressed during discussions.
The purpose of this change is to encourage critics to be honest and accurate in reviews, stating criticisms where warranted—and to encourage mentors to select reviews that are not overly generous in their praise of aspects of a show about which Critics may have been, in discussions, far more critical. That also means this: In discussions, Mentors and Critics need to make sure the tone remains fair to the show, does not become unduly negative, and allows all Critic points of view to be expressed.
The following have changes/additions have been made for 2010-11:

1. Critics must attend the school in order to vote with that school team. (If two schools, for example a boys and girls shared Catholic school) then they are either two separate teams or one combined team. The approved application determines which school or combined school a team represents

1. The Cappies reserves the right to review play content to maintain the integrity of the Program, and therefore supports the right for a chapter's steering committee to decline a show that is to be reviewed by the critics.

1. There will be a two week block on CIS so the critics cannot volunteer for a show after the show draft.  This will enable the admin to set up the team assignments fairly. 
   1. 1. This is to be put into practice this year, but cannot be done in CIS until next year.

1. For Ensemble, change "two" to "a minimum size of two".

1. No critic or team may review or vote for any Cappies show if any member of that team is a performer or crew member in the performing school.

1. FYI point of clarification: For Creativity, publicity is not part of the performance, so it is not eligible for an award

1. Reminder of Disqualification Rules and Sanctions

It has been requested that we remind all schools and critics of the conditions under which sanctions will be applied and a school or critic may be disqualified.
Your Cappie show will be disqualified if:

1. The school and regional critic teams submit less than the required number of reviews by voting time (VI Schools, p. 17, K.5, a.1)

1. The school critic team has less than two qualified critics who vote (VI Schools, p.17, K.5, a.1)

1. The school critic team fail to submit the minimum number of reviews for two assigned shows (VI Schools, p.17, K.5, a.2)

1. 1. Each assigned Cappie show will be attended and reviewed by not less than two critics (if the Team has 3  or  4 critics) or less than three critics (if the Team has 5 or 6 critics).  (VI Schools, p.17, K.3)

1. If your show is less than 75 minutes running time (VII Shows, p.19, B.2)

1. If less than half of the cast are between grades 9 - 12. (VII Shows, p. 19, B.3)

1. A Critic or regional critic will be removed from the team if:
   1. 1. 1. 1. More than two assigned shows are declined (XII Critics, p.37, I.3)

1. 1. 1. 1. 1. Violating any rule of confidentiality (XII Critics, U)

1. 1. 1. 1. 1. Failing on two occasions to submit a review for the shows they have attended (XII Critics, p. 39, W.3)

7. Sanctions may apply if:

1. 1. 1. 1. 1. After 14 days before the show, the critic team wishes to reschedule its assigned Cappie show (VI Schools, p. 18, K.6, also see Summary of Changes number 2 above)

1. 1. 1. 1. 1. A school does not fulfill their mentor obligations for that year.  Extra shows will be added to the mentor's duties for the following year. (X Mentors, p. 27, A. 3 and X Mentors, p. 28, G. 4)

At any time during a Program Year, a Participating School may be removed from the Program, for substantial or recurrent Rule violations, by a two-thirds vote of the Steering committee. (VI Schools, O.3a)

Notice 2014
Cappies, Inc.
Cappies Governing Board
Published 09/09/2013
Cappies Rule Changes – 2014

1. Featured (Actress/Actor) p. 38.  "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"."

1. 2013-14 REPLACEMENT PAGE FOR STAGE MANAGEMENT AND CREW

Stage Management & Crew refers to the speed, silence, invisibility, and/or entertainment aspects of scene, set, and furniture changes, and all other stage management, whether visible or not. Stage management & crew also may refer to the completeness & organization of the materials provided by the stage management & crew that were used during the rehearsal process. All work must be done by or under the direction of one student or a small group of students in grades 9 through 12, but adult guidance is permissible.
Keep in mind:
Stage crew work is very apparent in shows, and can be highly variable. Some shows have enormous moveable sets, while others have unitary sets. Some have frequent set changes, while others make changes only at intermission (or not at all). Some use the stage crew visibly, either in shadows or full light, dressed in black or in costume, perhaps as their own ensemble, while others use performers to move set pieces. In shows that close the curtain to make elaborate scene changes, some have action taking place downstage of the curtain, while others have a musical interlude. Some set changes are silent, while others are audible. Some move set pieces on rollers, while others involve stage rotation, or the flying in of large pieces. Every scene change has cues, at the start and end, and those cues should be promptly handled. In some shows, the best crew work is work you never notice. In other shows, the best work is something you very much do notice, and enjoy watching. Regardless of type of show stage management & crew are also responsible for being the king pin of communication during the rehearsal process, creating rehearsal reports, recording blocking, managing the schedule & keeping things running smoothly. When looking at the stage management and crew work in a show it is important to remember that the management of these components during the rehearsal will lead to a smooth run of the show. That work continues during the performance in every show, good stage crew work should contribute to the flow of the story, and not get in the way. If stage crew members are visible or audible when they should not be (for instance, making offstage noise), that should be considered. If a problem arises (for example, if the cast drops a prop, or if a set is damaged), see how that is handled by the crew. Consider any aspect of the show that is within the responsibility of the stage manager to prevent or control.
Look and listen for:
Execution. Does the crew do its work quickly and efficiently? Is the crew energetic and agile? Is the movement of large or cumbersome pieces as silent as can be reasonably expected? Are set pieces handled nimbly, without damage?
Cues. Do each scene change start briskly at the end of a scene, and does the next scene start briskly as soon as the last piece is moved?
Creativity. If the crew work is visible, is it entertaining to watch? Do the crew members function well as an on-stage ensemble? If performers are moving set pieces, do they move them in character?
Stagecraft. If the curtain closes to conceal crew work, does the show continue downstage of the curtain while the set pieces are changed? If so, does the work in any way distract attention from whatever is taking place downstage of the curtain?
Adjustments. If any problems arise with any set pieces, are they swiftly and effectively fixed?
Offstage comportment. During scenes, are cast and crew in the wings and upstage areas silent and out of sight, never distracting the audience's attention?
Rehearsal materials provided. Do the rehearsal reports contain detailed reports? Did the scene change plots have clear and detailed information on them? Did the prompt book have easy to follow and complete cues in it?
Consider the following examples to score this for presentation, originality, range, and difficulty.
8 or 9: The crew work is difficult, creative, and very well-executed, swift and silent, hitting all cues, causing no distractions, and significantly enhancing the show. Rehearsal documentation is provided to show clear, detailed & complete organization and communication from the Stage Management team.
6 or 7: The crew work is interestingly done and uniformly workmanlike, nicely complementing the show. Rehearsal documentation provided neatly compiled but perhaps few in number or lacking in detail or not clear or detailed.
4 or 5: The crew work is workmanlike, with a few noticeable flaws, neither enhancing nor detracting from the show. Rehearsal material provided is loosely organized but perhaps lacking in detail or not clear or detailed.
2 or 3: The crew work is not well done, with numerous noticeable problems, detracting from the show and no documentation is provided that the stage management & crew completed organized or clear assistance during rehearsal.

1. Importance of independent audit of awards voting

The auditor(s) used at the end of voting must be independent from Cappies, Inc. and every chapter's votes MUST be audited and communicated to Cappies Inc. before release to the chapter press, schools, students, etc. Consult Admin Binder 3 for three (3) examples of types of audit in addition to having the auditor examine every category as NCA does.

CONSEQUENCES

The Cappies program relies on all participants—Critics, Mentors, and Show Directors—to comply with rules. The integrity of the program requires that there be sanctions for certain rule violations. Some are mandatory, and others are at the discretion of a program's Steering Committee.
CRITICS
If a Critic does not submit at least the required minimum number of reviews (a number that varies from 3 to 5, depending on the program), that Critic will not be eligible to participate in awards voting.
If a Critics' Team submits no review to an assigned show twice, without having requested a change in assignment at least 14 days in advance, there may be sanctions, including disqualifying the school's own Cappies Show from awards.
If a Critic fails to attend a show at which he or she is on the final attendance list, or fails to submit a review within 24 hours of the initial deadline, or fails to submit a review by the final deadline (72 hours after the initial deadline), C.I.S. will automatically notify that Critic's Advisor and Lead Critic. (If the Advisor sends an email to the Program Director stating that the Critic had an illness or personal emergency, that final deadline may be extended.)
IN SOME (BUT NOT ALL) PROGRAMS: If a Critic fails to attend a Cappies show for which that Critic is on the final attendance list, or fails to submit a review for a show that Critic attended, the Critic's school's theater department will be charged $15 for the cost of the unused ticket and refreshments.
If a Critic submits a review outside C.I.S. when it is functioning, that review might not be accepted,
If a Critic submits a review of less than 200 words, or flagrantly violates the rules on criticism, that review will not be accepted, and the Critic's Cappies Advisor and Lead Critic will be notified.
If a Critic violates the rules on confidentiality (for example, by disclosing Critics' Choices), that Critic will face sanctions, which could include removal from the roster.
If a Critic engages in internet copying (plagiarism), that Critic will be removed from the roster, and if program officials determine that others on that Critic's Team were aware of this, sanctions will be imposed on that Team, including possible disqualification of the school's own Cappies Show from Cappie nominations and awards.
If a Critic declines shows without volunteering for a sufficient number of replacements, that Critic may be removed from the roster.
CRITICS TEAM
If fewer than half of Critics Team review an assigned show, one review will be added to the team's yearly minimum for each review they are short. (For example: If a six-member team submits only one review for an assigned show—two less than the required number of three—and if the yearly minimum is 15 for Critics Team in their program, then the yearly minimum will be raised from 15 to 17.)
If a Critics Team (including any regional team members from the same school) fails to provide the minimum yearly requirement for reviews (a number that varies from 9 to 15, three times the minimum for one critic, depending on the program), OR if the team fails to provide at least two critics who qualify for and take part in awards voting, then the school's own Cappies Shows will not qualify for any awards.
If a Lead Critic or others on a Critics Team are aware of major breaches in decorum, violation of rules on confidentiality, or plagiarism by any Critic on that Team, and if no action is taken to correct this, then that Team may face sanctions, and its own school show may be disqualified from Cappie nominations and awards.
MENTORS
If a school has no Mentor on its roster, the Steering Committee may impose sanctions, including removal of its Cappies Shows from the schedule, or removal of the school from the program.
If, more than once, a school's own Mentors are absent, or arrive at a Cappies Show after curtain, the Steering Committee may impose sanctions, including removal of its Cappies Shows from the schedule, disqualification of the shows from Award eligibility, or removal of the school from the program.
CAPPIES SHOWS
If a Cappies Show ends later than 10:30 PM but before 11:00 PM, critics will be allowed to consider the non-compliance with this rule when scoring it for the Play or Musical categories. If it ends later than 11:00 PM, it will be ineligible for the Play or Musical categories. Mentors may make allowance for any delay caused by the Cappies.
If the Mentors do not receive a completed Award Category Eligibility form 30 minutes before curtain, the Mentors may declare the show ineligible for any category for which the critics needed the requested information prior to the show to evaluate that category.
This isn't a rule violation, and your Show Director may want to use adults in a Cappies Show, but everyone should know that if adults take part in a Cappies Show, as performers, as orchestra musicians, or in any of the technical aspects, this can affect the show's eligibility for certain award categories. (See the Award Category Guide.)
If a Critics Team fails to meet its minimum requirements (see above), then a school's own Cappies Shows will be disqualified from all awards. A show's awards eligibility can also be affected by nonparticipation of Mentors (see above).
If any Critic engages in persistent or substantial misbehavior, and if the school's other Critics, Mentor, or Advisor are aware of this but do nothing to correct it, this can result in disqualification of their school's Cappies Shows from awards eligibility.

SHOW DIRECTOR CHECKLIST

This two-page Checklist is a partial guide only, covering the basics of what to do for a Cappies Show. See your Show Director Binder for more information.

PREPARATIONS FOR the CAPPIES SHOW
Set a time for the Cappies Show that will allow final bows to take place not later than 10:30 PM.
Decide whether to request a cap on Critic attendance—and, if so, email the Program Director.
Designate a Cappies Room, and confirm that it will be available from 45 minutes before curtain to 45 minutes after bows.
Ask Boosters to provide refreshments.
Select an Usher.
Use the 14-day advance notification of Cappies attendance to set aside tickets—recommended to be in the center, starting in the fifth row.
Carefully proofread all cast and crew names in the show program.
Use the 48-hour attendance notification to adjust the number of tickets.
Arrange for a microphone for the Mentors, if more than 20 Critics are on the Attendance List (and if a microphone is easily available).
Complete the Award Category Eligibility form.
AT THE CAPPIES SHOW
Place signs directing Critics to the Cappies Room.
Rope off the Cappies seating area, and ask a theater usher to prevent non-Cappies persons from sitting there.
Remind parents, students, and others from your school that they may not enter the Cappies Room during intermission or after the show.
Give show tickets, show programs, and other materials to Mentors.
Not later than 30 minutes before curtain, give the Award Category Eligibility form to the Mentors.
About 10 minutes before curtain, go to the Cappies Room to discuss the show briefly with Critics. (OPTIONAL)
Five minutes before curtain, ask the Usher to seat the Critics, and collect unclaimed Cappies tickets for resale.
Make sure the intermission lasts at least 15 minutes, enabling Mentors and Critics to have a 10-minute discussion.
During intermission—and again after the show—be available (or ask an Assistant Director or Stage Manager to be available) to answer any questions a Mentor may have.
If any post-show on-stage recognitions are planned, precede them with an announcement inviting Mentors and Critics to exit the theater first.
Remind your cast and crew not to greet any Critics after the show.
Check email for reviews, and share them with your cast and crew.
THANK YOU!
FORMS

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

• Award Category Eligibility (2 copies of a 2-page form)
• Critics' Choice Sheet

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









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

GOLDEN RULES OFTHEATER REVIEWS

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

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

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

While you should not be getting quotes from performers, you should feel comfortable approaching the director and asking him/her a FACTUAL question about the performance. You should not quote the director, however. If the show director provides information about the historical background of the show or his/her "take" on the show, incorporate that information to help put the show into context. You may also include any factual information (but not opinion) that mentors share in the discussion.)
3. Show me, don't tell me! (This is not a rewording of rule #1.) Give evidence to your claim. "The performance was so powerful that the audience leapt to its feet in unison to applaud the final song! "It wasn't a set, it was a piece of Brooklyn itself resting on Bishop Ireton's stage." It is not enough to say something was good or it was bad. You need to let the readers come to their own conclusions by providing them the evidence. Give them the facts on what you saw or noticed.
Words to Avoid in Your Reviews
Wonderful, Amazing, Great, Really Nice, Beautiful
Interesting, Very Good, Bad, Terrible, Comedic-Timing, Great Energy!
Don't "TELL" your readers by writing these overused adjectives or phrases, instead "SHOW" them by writing specific example. Don't say someone had great energy, instead describe their performance and convey HOW they showed energy.
Final Thoughts
1. Emulate Professional Writers. Read theater reviews by professional critics in The Washington Post and other newspapers. Notice how reviewers describe technical elements and performances, how they give evidence to their claim, how they put the story in context to what the reader might know or experience. Go to "tinyurl.com/post-theatre" for a quick link to theater reviews at The Post.
2. Fact Check! It is YOUR responsibility to ensure every name (fiction and non-fiction) is spelled correctly. It is YOUR responsibility to check your history about other noteworthy productions of the show (awards, production dates, stars, etc.)
3. Familiarize yourself with AP (Associated Press) Style of punctuation and grammar preferences. It is a handy reference to have as a journalistic resource!
Check it out on Amazon:
{+}http://www.amazon.com/s/ref=nb_sb_ss_i_3_5?url=search-alias%3Daps&field-keywords=ap+stylebook+2010&sprefix=ap+st+ at $11.37.