One-Act Play Adjudicator Guidelines

1. Support learning and development of 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).
2. Comments: give actors and director clear feedback, to assist them in developing their expertise.
3. Evaluation areas (these official, detailed questions pertaining to the areas listed on the form):
   1. Performance
      1. Do actors use voice effectively (projection, enunciation, consistent dialect, etc.)?
      2. Do actors use movement effectively (facial expression, gestures, stage business etc.)?
      3. Do actors create believable, developed, and consistent characterizations?
   2. Ensemble
      1. Do actors function as a cohesive unit?
      2. Does performance demonstrate listening, cooperation, and commitment to each other?
      3. Does the performance flow smoothly and at an appropriate pace?
   3. Direction
      1. Does the production convey understanding and purpose of the script and its genre?
      2. Does the production use dynamic storytelling techniques?
      3. Does the production use space effectively to provide for motivated, functional and artistic movement?
   4. Technical (note: host facilities determine lighting, sound, and stage configuration). Please be mindful budgets/resources vary. How do elements – if used – enhance or detract/distract from the production?
      1. Do scenery, set pieces and props work effectively within the needs and style of the production?
      2. Do costumes and make-up effectively communicate character, period, and style?
      3. Does the company (cast/crew) function as a cohesive unit to facilitate technical elements of the production?
      4. [If opted-in]: Do lighting choices enhance telling of the story? (Do not assess mechanics).
      5. [If opted-in]: Do soundchoices enhance telling of the story? (Do not assess mechanics).
   5. Adjudicators must NOT assess lighting/sound if their master ballot tells them not to.
4. Evaluation Area Ratings:   Please select the score that indicates proficiency in each area
   1. 1=Minimal: Characterization is barely developed. There is little cohesion among actors, and pacing suffers. Material has been directed in a way that fails to connect and/or communicate to the audience. Production elements, if present, detract more than help with storytelling.
   2. 2=Developing: What you would expect to see at the middle of a rehearsal process, before it’s ready for public viewing. Characterizations aren’t fully believable, but actors convey the play’s intent. Material has been directed in a way that does not fully draw the audience into the world of the play. Production elements complement and support the storytelling, but may not fully realized, or need polish.
   3. 3=Proficient: Actors, direction, and design elements work in harmony to communicate a clear concept, and creative and purposeful choices bring the play to life. Performers are focused, energized, and authentic. Design elements support and help tell the story.
5. Scoring: Adjudicators will rate each entry on 12 to 14 evaluation criteria (directors may opt-in to have lighting and/or sound evaluated), using a score of 1-3 points for each criterion. Scores will be averaged by the tabulation software (SpeechWire); advancement to the next contest level will require:
   1. At district, an average of 1.5 or better by at least two adjudicators
   2. At sectional, an average of 2.3 or better by at least two adjudicators

• Do NOT comment on presence nor absence of face masks (in person or videos).
• 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.

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!