Running Notes #
Optionally use this sheet for generalized notes on the show as it unfolds. However, the evaluation sheet must be completed, with comments targeted to various evaluation criteria to contextualize your appraisal.
Evaluation Sheet #
- Support learning and development of high school students. The contest nature of the experience is of secondary importance. Please evaluate each production for its own value (do not compare to other productions). Please do NOT allow your bias about the script to cloud your judgment of how it is presented.
- Comments: you must give actors and director clear feedback, to assist them in developing their expertise. Evaluation areas these detailed questions pertain to the corresponding lettered areas (A-N) listed on the form:
| Performance | A | Do actors use voice effectively (projection, enunciation, consistent dialect, etc.)? |
| B | Do actors use movement effectively (facial expression, gestures, stage business etc.)? | |
| C | Do actors create believable, developed, and consistent characterizations? | |
| Ensemble | D | Do actors function as a cohesive unit? |
| E | Does performance demonstrate listening, cooperation, and commitment to each other? | |
| F | Does the performance flow smoothly and at an appropriate pace? | |
| Direction | G | Does the production convey understanding and purpose of the script and its genre? |
| H | Does the production use dynamic storytelling techniques? | |
| I | Does the production use space effectively to provide for motivated, functional and artistic movement? | |
| Technical | Host facilities determine lighting, sound, and stage configuration. Be mindful budgets/resources vary. How do elements below – if used – enhance or detract/distract from the production? | |
| J | Do scenery, set pieces and props work effectively within the needs and style of the production? | |
| K | Do costumes and makeup effectively communicate character, period, and style? | |
| L | Does the company (cast/crew) function as a cohesive unit to facilitate technical elements of the production? | |
| M | [If opted-in]: Do lighting choices enhance telling of the story? (Do not assess mechanics). | |
| N | [If opted-in]: Do sound choices enhance telling of the story? (Do not assess mechanics). | |
Recommendation #
District: This is many schools’ first time receiving feedback. If you believe the production can implement suggested improvements before Sectional, please recommend ADVANCE. However, if you have given detailed feedback and believe the production could not reasonably make necessary adjustments in a few weeks, recommend STOP.
Sectional: Is the production accomplished and polished, only requiring fine tuning? Does it rise to the standard we want to see presented at State? If yes, then recommend it to ADVANCE. If “no” you may wish to recommend STOP.
State: Recommend All State or Critic’s Choice; for the latter, consider if the production exudes innovative vision, authentic storytelling, and artistic excellence; and how it supports learning and development of students?
There is an area on the bottom of the evaluation to articulate Reasons for Recommendation. You must justify your overall recommendation, so directors/students understand the basis for that decision.
State Festival school award nominations: for Directing, Ensemble, and Technical Theatre, consider how well the production exceeds your expectations described in the evaluation criteria in those areas and is deserving of special recognition for creativity, consistency, and excellence
Virtual Considerations #
- Please watch videos continuously without pausing, rewinding/rewatching, so you are evaluating the work as if you were watching the play perform live, in person.
Giving the Oral Response #
The oral response is an opportunity to foster dialogue about the adjudication process, to give context to criticism and collective recommendation of the adjudicator panel. It also is one of the most crucial aspects of schools’ experiences in the contest: a kind, constructive, and instructive oral response can be the difference between a school continuing or discontinuing its participation in the contest. Best practices to keep in mind:
- Introduce yourself, give brief background on your credentials, and express appreciation for the hard work the cast and crew has put into the production.
- Ask students how they felt the production went, what questions they have, and what feedback they feel would be most valuable. Empower them to take ownership in the growth process! Urge deeper questions beyond “did you like it?” or “what did we do wrong or right?” Use finesse in answering, and make objective observations: speak to what you saw and heard, using “I” language. Discuss what was strong or what was unfinished, encouraging more attention to detail to establish polish. Mention moments you were brought into the production, as well as taken out by distractions. Even if a show was almost flawless, highlight details that could be fine-tuned or extended. Be kind; encourage continued participation in theatre!
Descriptive Words/Phrases #
Production Impact #
levels in blocking
evoked emotion
thought-provoking
cohesive
nuanced
pacing
dynamic
cutting
range
clever
combination
compilation
unified
convincing
proficient
mastered
insightful
wealth
Effective #
drew me in
effective tactic(s)
executed thoughtfully
expressive
articulate
believable
credible performance
committed character
energetic
lively
animated
honest
genuine
realistic
authentic
natural
understated
whimsical
passion
vivacious
vigor
intimate
Developing/Improving #
pulled me out
artificial
awkward
broad / vague
distracted from focus
hindered
incoherent
misguided
monotonous
repetitive
scarce
absent
incomplete
lacks
reassess structure
requires
potential
distracted
gimmicky
gratuitous
incongruous
reevaluate motives
