THE GOALS FOR RESPONDING TO PARTICIPATING ENTRIES:
This document is being sent to those who have agreed to serve
as KCACTF respondents.
- To choose the best work to represent the region
at the Regional Festival, so the National Selection Team can evaluate it for the National Festival.
THE GOALS FOR RESPONDING TO BOTH ASSOCIATE AND PARTICIPATING
- To choose the best and most interesting work for
the benefit of all who attend the Regional Festival.
NOBODY SAID THIS WAS EASY:
- To celebrate and explore the theatrical process
through the benefit of a response from a reasonably objective
- To recognize excellence in college theatre by
providing opportunities for showcases, commendations and events
for both student and faculty theatre artists.
- Understand before you begin that oral responses
immediately following a performance are extremely difficult
assignments. Don't take the responsibility lightly as it requires
considerable effort to do this kind of thing effectively.
A BASIC MODEL FOR YOUR RESPONSE:
- You are NOT doing official peer review for use
in retention, promotion and tenure procedures unless you are
formally asked to do so, and you agree to this role (and you
understand the liability you engender). Even if this is the
case, KCACTF and the Kennedy Center are NEVER involved in this
process. Any written report you provide for such purposes cannot
be presented as representing KCACTF.
A. It's good to re-identify yourself as a representative from
KCACTF, and thank the company for participating. Some of the students
you'll be talking with have probably never attended (and may never
attend) a Regional Festival. While it's great to encourage them
to attend the Regional Festival, remind them that they're vital
participants in the Festival even now, by virtue of being involved
in an entry at their own school. Your being there, seeing their
show in their space, and giving them an immediate response IS
the heart of the Festival. All schools were sent the official
'booklet' which lists all the KCACTF awards...please refer to
this and let them know that not only are there the Irene Ryan
Acting Scholarships but awards for design and playwriting as well.
IF you need one of these books let us know and we will get one
out to you.
B. It's good to remind the company that you are not more Knowledgeable
about their production than they are, you simply have the advantage
of seeing it with fresh eyes. They are to understand that yours
is only one opinion, and that they shouldn't listen to your response
as any kind of final word. Remind them not to "change"
anything based on what you say, unless their director instructs
them to do so.
C. You might consider starting with an overview of the production,
perhaps including the challenges of mounting this particular piece,
and working to highlight how those challenges were met.
D. Be sure you try to specifically discuss ALL of the following
topics, and NOT necessarily in this order:
- Direction - topics might include: concept, casting choices,
overall stylistic choices in acting, pacing, staging, overall
production unity, etc.
- Acting - topics might include believability, honesty, technical
skills such as vocal production, movement, stylistic choices,
interpretation of character, sense of ensemble
- Design - topics might include contribution to, and integration
with the overall production concept, artistic excellence. IMPORTANT:
Be sure you cover all areas of design: scenic, costume, lighting,
makeup, sound, properties. Oftentimes there are students in these
postions who look forward to this feedback.
- Technical Elements - topics might include execution of designs,
attention to detail, stage management and running crew assignments.
- Additional Elements - these might include (but are not limited
to) original music, front of house operation, lobby display, program/program
It's almost always a mistake not to at least mention ALL of the
areas above; they exist in virtually every production and someone
worked hard on them. Do your best to be thorough in your response.
E. It's a good idea to ask for questions or comments from the
group. Encourage them to ask for clarification if they didn't
understand something you said, or to ask about a topic you neglected
to mention specifically.
F. Always do your best to be gracious and cool; you are representing
KCACTF, and we appreciate your being able to "sell"
the Festival, even as you are giving an honest and specific response.
SOME WELL-TESTED "DO'S AND DON'TS"
A. Find out what you can about the show BEFORE the performance.
It's great if you can have dinner with the director before the
show and just let them talk about their program and their production.
It's important for you to just listen and find out what they want
you to know. If they have a very young cast whose members are
inexperienced and eager, that could color the tone of your response.
If they have a well-seasoned cast of graduate students doing their
MFA final projects, that might affect your response in a very
different way. If you can't get together with the director for
an extended conversation before the show, you should try to do
it on the phone. When you call to say which performance you'll
be attending, you might ask them about the production, or about
the play if you don't know it, etc. The more you know before you
begin, the more appropriately informed your response can be.
B. Do your best to remain positive about the work you've just
seen. Egos are always very fragile immediately following a performance
when everyone is sometimes still on an adrenaline/applause "high."
Your goal is to celebrate and explore the work; TRY TO APPROACH
THE TASK AS A COLLEGIAL COLLEAGUE RATHER THAN A JUDGE. Your words
are not carved in stone, and you should remind everyone of that.
NEVER intentionally embarrass or demoralize a faculty member or
student during the process.
C. Be thorough, but don't be long-winded. It's very possible
to do a complete response in 20-30 minutes. It's fine to go longer
if you perceive that everyone is really "with" you,
or there's a lively dialogue going on. But 10 minutes is probably
not long enough and an hour is probably too long!
D. Work from positive statements, and be specific and thorough
in your praise. Ease into negative aspects carefully; it's sometimes
good to couch them as questions, rather than definitive judgements.
Remember that for many people any negative comment resonates much
more loudly than a positive one. Some respondents seem to be in
too big a hurry to get to the problems; don't forget to elaborate
and celebrate what worked.
E. However, don't let the encouragement to emphasize what is
positive be misconstrued into an instruction to remain superficial
or patronizing in your comments. Be sure you are honest and Thoughtful
and thorough. A common complaint from schools about respondents
is that "They talked for quite a while, but they didn't really
F. Occasionally, you will see a production that seems greatly
flawed. Don't feel that you need to articulate every negative
aspect of the production. Pick the key points you wish to make,
and focus only on those. Remember, your task is not to teach the
company everything there is to know about theatre in your response.
Nudge them to the next level, and then call it a day.
G. Really encourage questions and comments; if you can get the
company talking, it helps to diminish the sense that you're there
to pass judgement, but encourages them to see you as a peer who
is interested in what they are doing.
AVOID THESE "GUARANTEED-BAD" OPENING STATEMENTS:
"Well, that was fun!"
"You were all just great."
"How was it for you?"
"The biggest problem was..."
"I just directed/acted/designed this show and..."
"When they did this show in New York/London/Kalamazoo..."
"I've always thought this play as being an example of..."
"Geez, this is the sixth production of this show I've seen
"This has always been one of my least favorite plays/playwrights/styles."
A. Don't redirect the play. Avoid your personal perspectives.
This is not about you, or about your history with the play. It's
about the production you just saw. Respond to what you actually
experienced. Offer opinions and questions, not judgements and
credos. Avoid conjecture. Talk about what really happened in the
B. Don't be clever for the sake of being clever. You're not doing
an on-stage performance. Be sincere, thoughtful, honest, encouraging,
even humorous - but don't "perform."
C. Avoid personal criticisms of students (i.e. "too heavy
for the role," or "you're just the wrong type for this").
D. Work to use a vocabulary you believe is both appropriate and
will be accessible for the students involved.
E. Some respondents make it a point to specifically mention every
actor in the production. While this is often considered courteous
and appropriate, it may not be feasible in a show with a very
large cast. Do specifically discuss all the actors in major roles.
F. Don't spend a lot of time addressing a playwright who isn't
there. While it's fair to mention that you have some questions
about the text itself, don't spend the majority of your time discussing
textual issues apart from the acting, directing, design, and production
choices that were made with the script (unless it's an original
play and/or the playwright is present). If you have some problems
with the script by Edward Albee, or Moliere, or Arthur Miller...mention
them and then MOVE ON.
G. Do NOT forget to discuss all areas of design and technical
DON'T LET THIS HAPPEN TO YOU!
The two most common complaints about responses are:
- Design and technical elements are glossed over,
ignored, or merely an afterthought. Maybe it's a good idea to
START with them?!
- Nothing of substance is really offered. The response
was merely a bunch of platitudes: "Gosh, it was great and
I really liked it." Even if the show WAS terrific, be sure
you are specific and give them something of substance to consider
and talk about later.
IRENE RYAN NOMINATIONS
- Each associate entry may receive up to two Irene
Ryan nominations; the respondent should make these choices in
conference with the director immediately following the response
session. Some schools may choose only one candidate. Also please
choose alternates and list them in order of preference in case
candidates cannot attend the festival. Each participating entry
may receive up to three nominations; one each from both of the
respondents, and one by the director. It is EXTREMELY important
for respondents to consult with the director immediately after
the performance about Ryan nominees. Respondents need to have
as much autonomy as possible in choosing the person they think
is the most deserving of the nomination, but PLEASE work within
whatever guidelines the director may give you. For example,
if you're seeing a show in the spring semester, then the school
may not want to nominate graduating seniors who will be unable
to attend the Regional Festival the next January. Or some students
in the cast may have been nominated from an earlier entry; if
the school would like you to nominate someone else, so as to
spread the nominations around, PLEASE do so. Finally, be sure
that the actor you're thinking of nominating is in fact an eligible
- It is NOT your responsibility to fill out the
Ryan nomination form; the student's school should do that. The
form is available from the home page of the region website.
It IS your responsibility to make sure the school knows who
you are nominating ASAP, preferably before you leave the theatre
after the show.
- As soon as possible, complete the “Respondent
Form” which is available from the region’s home page.
If you have any questions regarding the Irene Ryan Acting Scholarship
Audition process, contact the region’s Irene Ryan Chair:
- If it is a participating production that you have held,
inform Cathy Hurst(email@example.com)
- If it is an original student production, our current
Playwriting Chair is Bob Boles (firstname.lastname@example.org) 203-479-4512
MERITORIOUS ACHIEVEMENT AWARDS
Be on the lookout for ANY areas that are worthy of a special
"Meritorious Achievement Award" from the Region to be
given out at the Festival. This can be a very good way to recognize
exceptional production work of any kind, whether it be by faculty
or student. And don't just think acting, directing, designing.
Was there excellent original music? Notable achievement in props
construction? Terrific ensemble acting? Knockout lobby display?
Keep your eyes and ears open for excellence in any area of production.
Your recommendations for these certificates of merit are to be noted on the respondents form.