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2005 GUIDELINES/RULE BOOK

MAINE DRAMA FESTIVAL

Table of Contents

INFORMATION FOR DIRECTORS
Festival Registration and Timetable

Registration in the Festival is a multi-step procedure. Deadlines change each year.

2004-2005 Timetable

Eligibility Requirements

A participating school must be a member of the MPA.

The director shall be an adult employed by the school and be responsible for the production. In the event that the play is student-directed, the registration form must be signed by the supervisory staff person designated as responsible for the production. This person or the director will be in attendance throughout the festival.

Performers in the Maine Drama Festival shall be students in grades 9-12 and must meet local eligibility standards.  Schools with fewer than 80 students in their high school building (9-12) may use 8th graders. Only eligible students may take part in the acting performance in any way (e.g. to play music or speak live through a microphone, etc.).

All aspects of the performance must be run only by eligible students. Adults or former students may not run light boards, spotlights, sound systems, call cues over headsets, or prompt. Breaking this rule will result in disqualification. The only time that adult involvement is permitted is during the five-minute setup and strike. 

Up to 30 participants (cast, crew, and adults) will be provided admission credentials.  Schools registering more than 30 will be charged $5 for each additional person. NOTE:  No live animals may be used in production.

New England Eligibility

Schools wishing to be eligible for advancement from the State Festival to the New England Festival must file the eligibility form and pay the $10 fee to the MDC chair prior to the regional festival.

Script Selection

Script selections should be reflective of the maturity level of the performers and in keeping with the family-type audience which is usually in attendance. Directors and principals must be sensitive to the appropriateness of their script choices, particularly when another host school is providing your venue. Principals and directors who choose scripts with language or situations that could offend audiences at a host school should consider seriously the literary value of their choice.

Cuttings of plays and/or adaptations of other literary works are permitted, but only with advanced written permission from the author/publisher.

NOTE:  A script designated in a play catalog as "Musical Theater", "Musical", "Play with Music", etc. shall not be permitted whether or not the music from that play is used in the production. Using the book or libretto from a musical will result in disqualification even though the music itself from the show is not used. It is not the intention of the festival to perform musical theater.

Music and/or choreographed movement may be used to enhance a non-musical production.. If a director is unsure of the status of a play, he/she should consult with the MDC chairperson in advance of committing to the play. When in any doubt, written confirmation from the publishing house that the piece in question is not musical theater should be secured before committing to the production, since such written permission shall be the final authority if the production is questioned.

Royalties and Cuttings

NOTE: Directors should note that lack of compliance with the rules in this section can lead to disqualification.

Each school must have obtained permission from the publishing company (in writing) for the rights to perform their production. All royalties must be paid prior to the festival performances.  All schools must also obtain written permission for the rights to cut a work, combine several parts of a script or to otherwise change the format of their selection. Copyright laws require this and schools that do not comply will face disqualification if a protest is filed and they cannot produce the proper paperwork. Compliance with copyright regulations is required prior to a performance. To avoid problems, all directors should have proper documentation with them at the festival. If a director is unable to produce proper documentation, three days will be allowed to produce evidence that indeed the proper documents were obtained in advance.

The signature of the principal on the registration forms indicates approval of the script/production, and guarantees compliance with respect to copyrights and royalties.

The MPA and the MDC disclaim any responsibility for violation of production or copyright rights by participating schools.

Time Limits

The time allowed for each performance is 35 minutes with a five-minute grace period. Any production that exceeds 40 minutes (even if only by one second), will be automatically disqualified.

Each school shall be permitted five minutes to set up their play and five minutes to strike. Any production that exceeds five minutes at either end (even if only by one second), will be disqualified. At the completion of a school's strike, the stage should be completely free of spills and debris. Any special lights or equipment that went up in your first five minutes must be removed during your strike time.

Set up and/or strike time may not be used to extend the overall playing time of 40 minutes. If a director requests the judges to be in attendance during set up or strike, the portion of the set up and/or strike the judges have been asked to witness becomes part of the performance time and is subject to the overall limit of 40 minutes.

The MPA representative or designee shall serve as official timer for each play. The MPA representative will also designate timers to time set up and strike backstage (usually from the host tech staff). In each timed situation, there should be two timers in addition to the official timer. In case of a question of disqualification for time limits, the time of two of the three timers shall govern.

The official time in a production begins with the first sound or light. It is the responsibility of individual directors to notify the MPA representative or the official timer of any innovative beginning or ending to their play which might affect the overall timing (e.g. Timing begins with a scream in the dark.).  Any pre- or post-show music must be considered part of the 40-minute overall limit.

Time limits are to be strictly enforced at all levels of the festival. A production which exceeds 40 minutes playing time or five minutes set up or five minutes strike (even if only by a second) will be barred from advancing in the festival. The director of a school that exceeds a time limit will be notified privately by the MPA representative as soon as possible after the violation. Disqualification for a time limit violation shall not prevent presentation of the production or consideration for individual cast, crew, or special awards and/or commendations. Any disqualification of this kind will never be publicly disclosed or announced at the awards ceremony.

NOTE: If directors suspect they will be close, they should make sure that the starting and finishing signals are very clear to the timer, especially if there is an unusual situation (like very soft music, after 30 seconds of total darkness, or a 30-second fade before the curtain).

Technical Limitations

Because of the different physical limitations at each host site, the official size for stage pieces has been arbitrarily limited to anything that will fit through a standard doorway (designated as 32" x 78"). Within this limitation, each host school tech director may use his or her own discretion in accommodating the sets for individual productions. At a site with larger stage doors, set pieces larger than the "official" size are permitted. It is important only that hosts spell out the limitations to visiting directors. Directors should also be aware that although some regional sites have double doors, some state sites might have single ones. Host directors will attempt to accommodate schools in a consistent manner. A director who is unfamiliar with the host site assigned is advised to visit that site or at least to ask for stage specifications before finalizing a set design.

At any level of the festival, any school may use supplemental lighting, sound, stage equipment, etc. Any special lights or other equipment that a school wishes to pre-install must be cleared and approved by the host director, and must be in place before 11 a.m. on tech day. In the case where a school cannot have a piece of equipment installed before noon on tech day, directors must clearly communicate their desired installations to their host director by the same deadline. In this way, the host director can ensure that all other directors are aware of the equipment's availability. Pre-installed equipment should be available for use by any school. All other special lights or equipment must be installed and removed during the five-minute limits. It is the responsibility of individual directors to keep their host director apprised of any special situations that might apply to their production.

Even though all special equipment should be available to any school, occasionally the performance schedule makes this difficult. If a school wants to use a special light or piece of equipment that was installed by another school, and if this requires it to be moved, re-gelled, or refocused, the return of the equipment to the requirements of the installing school shall not be subtracted from that school's 55-minute tech check or their five-minute set up.

Fire and safety regulations may vary according to the individual sites. Smoking in a production will result in disqualification (although any object that is unlit may be used as a hand prop). Any open flame (e.g. candle, kerosene lamp, candle enclosed in glass, oil lamp, etc.) will be cause for disqualification. The use of pyrotechnics (flash pots, flash paper, flash paper guns and other small theatrical "flash" products) are prohibited.. 

Because of the prevalence of new weapons policies at many schools, the intended use in a production of any weapon (gun, knife, etc.) should receive prior approval of the host director.

The host school shall determine the parameters of use of its facility based on its own pre-existing school rules and regulations. Such rules and regulations shall take precedence over MPA or MDC rules and regulations. Any problems that might occur should be communicated well in advance of any deadline in order to avoid disqualification.

Site Assignments and Host Schools

After schools have filed final registration forms in January, the festival site coordinator will work with the MPA to establish the rosters for individual regional festivals.  Assignment to sites will be based on geographic location if possible. There will be numerous regional sites with an attempt to balance the number and ratio of Class A and B schools at each site.

Once site assignments have been finalized, directors will be contacted directly by the host director of their regional. Host directors will contact you, providing you with information such as a stage diagram, lighting plot, sound capabilities, etc. Also included will be forms that need to be filled out by you regarding final registration, program information, meal service and other information specific to your regional. It is important to have all these forms back to your host director by the end of February vacation in order for a draft of the festival program to be ready for you to proofread on tech day.

Tech Day

On the Saturday preceding each festival, the host facility shall be available for visiting directors and tech personnel (not the entire cast). It is inappropriate for a director to just send a group of students on their own.  Tech day is an informative session where the host facility is examined, special equipment installed and important festival information distributed by host directors i.e. final festival schedules, program information for proofreading, etc..

Tech day is the time to deal with complications regarding special equipment requests. It is the time for visiting schools to figure out how best to deal with limitations within the host facility. All special equipment will be demonstrated and/or installed.  Any school unable to attend tech day should notify their host director in advance.  The possibility of an alternative time for schools with conflicts is up to the host director, but in any event should take place before tech day.

Tech day is the time to check rough focus of special lights, check the availability of cyc colors, ensure that the sound system will reproduce desired effects, take detailed measurements of stage/access points/site lines, proofread program information, and to double check procedures for festival weekend.

Tech day is the time for light and soundboard operators to familiarize themselves with the technology at the host school. Some facilities with computerized light boards may need to provide special training for visiting light board operators.

Tech day is not the time to fine focus special lights, set light levels or cyclorama colors, set sound levels, record light cues or to bring in scenery pieces (flat pattern floor pieces are acceptable).  Tech day is definitely not a time to rehearse any part of the play.  Host directors will attempt to devise a schedule for tech day that will ensure that all special installations be in place by 11:00 at which time there will be a demonstration of the basic lighting set up and the specials that will be available.  Schools without special installations would presumably not need to come until the time of this meeting.

Participating schools should be considerate of other schools in their use of time on tech day.  If extensive installations are anticipated, the director involved should make prior arrangements with the host director to install said equipment as early as permitted (before 11 a.m.).   It is recommended that tech day be scheduled so that schools with special installations arrive early, and schools with few special requests come following any special installations.  This will ensure that all equipment is available to show to all schools.

Visiting schools must furnish their own special equipment if it is not available at the host school.  If a particular piece of equipment that you want to use is not available through the host school, you must supply whatever is needed to hook it up or retrofit the existing equipment if necessary. The supplying of extra cables, adapters, gels, gel frames, gaffer tape, etc. is not the responsibility of the host school.

In the event that a participating school is installing or otherwise furnishing equipment that is unknown or unfamiliar to other schools, the school that supplied the equipment must also supply a technician on tech day as well as during the festival weekend to assist any other school that wishes to use the equipment.

The host director will schedule a specific time for demonstration of the basic lighting setup after special installations are complete. 11:00 is a good time for this.  It is understood that the lights being demonstrated will be properly patched, aimed, focused, and gelled so that what is being demonstrated is what will actually be available.

Sample program layout

Below is a sample of the program layout.  It is the responsibility of directors to get program information to their host in a timely fashion.  Sending the information as an attachment or as the body of an email message will save the host having to retype your information.

Please Note: It is important to use asterisks to indicate adult involvement. Only student-generated aspects of the production are eligible for awards.

Festival Weekend

The host director will determine the schedule for the weekend.  Schedules will vary at each site, depending upon the number of schools performing, the distances traveled, and any special scheduling requests by individual schools. Any school that has a scheduling conflict making it necessary to perform on a specific day or at a specific time (e.g., local school rules about early dismissal, availability of bus for transportation, students with conflicting school responsibilities, etc.), must make the host director aware of their special needs well in advance.  Once the final festival schedule is made up, it may not be possible to switch performance slots or tech times.

The customary procedure is to schedule performances on Friday evening and then again on Saturday afternoon and evening. Occasionally host school can arrange some tech checks on Thursday evening, but tech checks are usually scheduled to begin around noon on Friday, accommodating as many schools as possible before the evening session of plays begins. The schools which do not have their tech checks on Friday evening, will be scheduled for times on Saturday morning or if necessary, following the Saturday afternoon session of plays, before the evening session begins.

All students should attend all festival performances unless prohibited by preparations for their own production. Directors are expected to inform their students about this rule and to assist with compliance.

Tech Checks

Each school will be allowed 55 minutes for its exclusive use of the stage - including load-in and load-out. This time can be used to familiarize actors with the theater, practice getting the scenery into place, set voice levels, fine focus and gel special lights, set light and sound levels, and to spike for scenery placement.

Note: When using spike tape, ensure that it is cloth gaffer's tape, not duct tape or masking tape, which remove paint and may cause damage to the stage floor. To avoid confusion with so many spike marks, schools should either use different colored tape, or mark it with their initials. You should be prepared to supply your own spike tape.

During tech checks, schools will work with the host technical staff to clarify light board setup/patch etc.  This is the time to program cues if necessary.  Host technical staff should assist visiting light board operators who are unfamiliar with the host equipment. This is also the time to re-gel where necessary (be prepared to provide your own gels and frames), set extension cords (you should provide your own), and to reassure that set pieces will get onto the stage.

During your school's tech time, the auditorium will be closed to all other schools. Technical specialists from the host school and/or schools providing specialized equipment will be available in the auditorium. There will be no infringement on this time by the host school for festival purposes unless the school whose tech check it is gives permission.

In general, scenery will not be stored backstage or in the wings prior to performance unless conditions at the host site deem this appropriate. This is the decision of the host director and should be made clear to all directors in advance of Festival weekend.

If a participating school should need to do repair work after its set has been unloaded or moved around during tech checks, it should check with the festival tech director for the best location to do any painting etc.

Order of Performances

Five-minute setup and strike

Just prior to the 5 minute setup, it is a good idea for the host tech director to go over the light patch with each school to confirm that lights are set up the way they should be for a school.

Each school will do their setup just prior to their performance.  No school shall be allowed to pre-set their scenery (for example: after the last show in the afternoon if they were first in the evening).

To avoid disqualification, individual directors should communicate with the timer before starting their setup, and indicate whether they wish to have the time called out and if so, how frequently.  It is better for a school to do its performance with an imperfect set than to be disqualified (one second over is grounds for disqualification).

Adult involvement in the five-minute set up is permitted.  Directors may call out instructions or even help move set pieces if they wish.  However, after the performance begins, if there is any involvement by directors (headsets, talking to a student in the light booth, running the lights, etc.), the result will be disqualification.  The only situation when an adult is allowed in the light booth is when this person, as a representative of the host school, is there to provide technical assistance for students from visiting schools.

Each performance will begin after the judges are seated, the theater doors are closed and the house manager gives the signal to the appropriate person from the performing school.  No school should ever begin its performance until they receive the official word. This prevents a play from starting before all the judges are in the house.

Once the doors to the theater are closed, no one should enter or leave until the completion of the performance (except in an emergency).  Latecomers are not to be admitted. It is the responsibility of participating directors to inform students of this rule.  Directors are reminded that festival rules require students to attend all performances unless there is a conflict with their performance.  Directors should remind parents and other persons who intend to travel to see their school's performance that they should plan to attend an entire session instead of trying to predict their own individual curtain time. This will avoid angry parents arriving after the start of their school's production and getting locked out in the lobby.

The five-minute strike will begin shortly following the performance.  Cast and crew must wait for the signal from the tech director before removing set pieces.  All props, scenery, costumes and special equipment installed during the setup need to be removed.  This includes cleaning up spills etc.

Judging

The MDF Judging Coordinator as designated by the MPA will select and assign judges to designated regional and state festivals.  Each festival will have three judges, chosen from a pool of names developed and maintained by the MDC and the MPA.  This list will be updated annually based upon the recommendations of the Judges' Committee.  Directors will have the opportunity to nominate prospective judges; and with input from the MDC, names may be added or removed from the master list.

Attempts will be made to balance each panel of judges, trying to achieve a good range of levels of experience, etc.  Personal conflicts a judge might have with a particular school or director will be considered, and attempts will also be made to avoid assigning judges who are closely associated either professionally or personally to the same panel.   A judge will serve at one festival site only and will not advance to judge at a higher level.

The procedures for critiques and judging will be established by the MDC and the MPA.  It will be the responsibility of the Judging Coordinator to ensure that judges understand what is expected of them.  There will be a judges' meeting at each host site prior to the first performance, at which time the MPA representative and/or the MDC representative will go over procedures.

The clerk of the judges (usually the MPA representative) is responsible for the accurate tabulation of the judges' results, and for ensuring that all paperwork associated with judging and awards is properly filled out.  The MPA Rep is the key to facilitating a smoothly run festival with respect to the quality and consistency of judging.

Only the clerk may be in the judges' room while deliberations are taking place. The clerk will attempt to ensure that the judges rate each play independently of one another, prior to consultation with his or her colleagues. In the event of a question about rules or procedures, the MDC Representative on site may be called upon in an advisory capacity.

Each judge will individually rate the plays in the numerical order of preference, using the supplied order of preference form.  The numerical rankings of the three judges will be totaled and the schools with the lowest scores will be selected to advance to the next level. Only in the case of a tie will the judges be asked to confer to determine rankings. The rank order of plays shall not be revealed except as implied by advancement or recognition. At a regional or State Final where more than one school is chosen to advance, announcement of advancing schools shall be in random order so as to not imply a first or second place finish.

Critiques

Critiques are usually scheduled to immediately follow each session of plays.  Some hosts may, however, schedule the critiques for the Friday evening shows on Saturday morning.

The staff and students involved in each production should be at their own critique, but are not to attend those of other schools. Directors are invited to attend the entire session of critiques, but should not just leave their own students unattended while they watch hours of critiques. Parents and other guests are not invited to critiques.

Each judge will have five minutes to speak, and the times will be strictly adhered to. After each judge has spoken, there will be five minutes in which the cast, crew, and director may ask questions or judges may make additional comments. The MPA representative will ensure that critiques do not exceed 20 minutes overall.

A Note for Directors About Critiques
It is the responsibility of directors to prepare their students for the critique experience. This point is often overlooked, resulting in some crushed egos. The students who are told beforehand what to expect are better able to handle being "criticized" by three adult professionals. Directors need to remind students that the judges' job is not only to praise, but to evaluate, assess and to make suggestions of how they think you could improve your craft. These aren't the same parents, relatives, and friends who have been to your performances and told the cast how marvelous and brilliant they were. The judges are being paid to give their opinion, and students should be prepared to graciously handle their comments.

Judges will also fill out standardized written critique forms which will be completed prior to the awards ceremony and delivered to the directors at the close of the festival.

A school may record their own critique, but it is not the responsibility of the host school to supply all necessary equipment.

Disqualification

The director of a school that is disqualified will be notified privately by the MPA Representative as soon as possible after the violation.  Disqualification shall not prevent presentation of the production or consideration for individual cast, crew, or special awards and/or commendations. A disqualification will never be publicly disclosed or announced at the awards ceremony.Common reasons for disqualification:

1. Exceeding the performance time limit Exceeding the setup/strike technical time limits.
2. The use of open flame or live animals in a production
3. Performance of material that is "musical theater"
4. Failure to pay royalties or obtain cutting/adaptation rights prior to performance.
5. Participation by students who do not meet local eligibility standards
6. Adult involvement in performance (adults may be involved only during setup and strike)

Protests

Any protest must be submitted by a director in writing to the MPA and MDC representatives within 15 minutes of the last performance of a session. Such formal protest will be resolved through joint resolution between the MPA Drama Committee representative and the MDC representative on site. If necessary, they will consult with the MPA Drama Committee chairperson, and the MDC chairperson (by phone if necessary). The ultimate decision lies with the MPA Drama Committee chairperson.

Awards

At the completion of the final deliberation of the judges, and after the certificates and paperwork have been completed, there will be an awards ceremony. At this time, students and schools receive recognition for outstanding work and the schools chosen to advance to the next level will be announced. NOTE: If there is more than one school advancing in a Class, the results should be announced in random order with no implication of a first or second place.

At this ceremony, the All-Festival Cast will be announced, and special awards will be given for other areas of student excellence (ensemble awards, technical awards, script writing, etc.). This is not a time for adult recognition, and for this reason program information must be clear about which aspects of the production (costume design, set design, etc.) were done by adults. Adults should always be designated with an asterisk (*) in the program.

Liability

Directors are responsible for the behavior of their students and should ensure that they are adequately supervised. Any negligent damage to a facility will be the responsibility of the visiting student's school.

It is each director's responsibility to inform his or her students to secure their own money and personal possessions. The MPA, host director, and host school are not responsible for lost money or possessions.

Festival Host Information

The festival host should be a staff member at the host school and shall receive a $200 stipend from the MPA. The festival host is expected to carry out specific responsibilities as detailed below. Hosts should be familiar with the "Guidelines/Rulebook" document, which also includes important information about host responsibilities.

Tech Director

The Tech director should be an adult who is responsible for smooth and consistent technical operations prior to and during the Festival weekend. It is the responsibility of this individual (in conjunction with the host director) to prepare for and oversee tech day, coordinate all tech checks, supervise set up and strike for each show, and to ensure that timing and adherence to rules is as consistent as possible. This individual should be thoroughly familiar with festival rules and regulations. A festival tech director could very well be involved in a disqualification situation, so it is crucial for this person to carefully oversee timing and other critical areas that could involve a violation. Clear communication between the festival tech director and the visiting directors is the key to smooth operation.

The MDC representative and the festival host may be the same person. In fact, it is possible (though not advisable) for the duties of the MDC representative, the host and the tech director to be carried out by one individual. Ideally, there would be three different persons to share all the duties.

Festival hosts will be selected and contacted following initial registration in November. Information and paperwork for Hosts will be distributed by the MPA in January.  Information will be distributed to individual schools by the Host Directors. 

The festival host will send out an informational packet to visiting schools including the following:

NOTE:  The letter should include a notice to the effect that it is each director's responsibility to inform his or her students to secure their own money and personal possessions during festival weekend. The MPA, host director, and host school are not responsible for lost money or possessions.

The festival host and tech director will supervise Tech Day. At that time, they will provide a tentative schedule for festival weekend, including times for tech checks and performances, a scheduled director's meeting and any other planned activities.  They host should also have a draft of each school’s program information for proofreading.

Tech day should include the opportunity for all schools to see the lighting that will be available during the Festival weekend.  It is understood that the lights being demonstrated will be properly patched, aimed, focused, and gelled so that what is being demonstrated is what will actually be available.  In addition, the host needs to demonstrate any special equipment or lights installed by other schools.  Therefore all specials etc. need to be in place to be demonstrated to other schools. In the case of a school that finds it impossible to install a piece of equipment in time for the demonstration, the host should make sure at least that the other directors are aware that it will be in place the following weekend.

Example One: School X would like to install a strobe over the center stage, but they need it during the week for a performance. The solution is for the host to inform all other directors on tech day that one will be available during the weekend.

Example Two: School Y has a conflict and finds it impossible to drive 250 miles each way for tech day, and they would like to have the host install four 6" x 12" Lekos with gobos. The solution if possible is for the host to install the instruments or if that is not possible to at least clearly inform all the directors on tech day that they will be hung, and then make sure they are ready for tech checks on festival weekend.

Usually good communication will avoid problems, but the host should be clear on one point. Any equipment that is not in place for demonstrating on tech day (or indicated by the host that it will be in place), must be installed and removed during the five-minute set up/strike time.

On festival weekend, the festival host will provide each school with a packet including:

The festival host shall provide a room for each school to call its base, and there should be a team of student hosts who assist visiting schools with finding their way around. The student hosts should assist visiting schools during registration and as needed during the weekend.

The festival host shall arrange for an area for critiques, a workspace for the judges, and a director's lounge.  It is advisable to have an area where students can congregate and many hosts find that a concession area in the cafeteria can be a very profitable fundraiser during the weekend.

Festival workshops and other activities vary from site to site.

Program

Festival programs are the responsibility of the festival host who relies on the timely arrival of information from participating schools. Schools are asked to have their program information to hosts by the end of February vacation. This way, hosts can have a rough copy available for proofreading on tech day. A sample program page is detailed below. It is even possible for directors to help hosts by possibly sending their program information on a computer disk in the appropriate format, font, etc.

Festival programs should contain the following in addition to one page for each participating school:

Coordination with MPA Rep

The festival host should contact the MPA Rep and should send on necessary information such as directions to the site. The MPA Rep will arrange for a meeting of the judges on the Friday afternoon of festival weekend. The clerk of the judges (usually the MPA representative) should conduct this meeting. Though it is not the responsibility of the Festival Host, he or she should coordinate with the MPA Rep to ensure that arrangements have been made for the judges housing, meals, clipboards, etc.

Additional Responsibitities

In the performing area, the festival host shall provide the following:

Financial responsibilities

Festival hosts are responsible for financial accounting. The host director will handle ticket sales, and it is his or her responsibility to ensure that an adequate block of seating (approximately 50%) is available for members of the general public who wish to buy tickets at the door.
Tickets are $4 (high school age or younger) and $7 (adult) for each session of plays.
Ticket receipts go directly to the MPA representative.
The MPA also receives the $5 collected from schools for each registrant above the allowed number (30).

Each festival is allowed a budget of $1,500. This total includes:

Workshops are not a requirement but may be arranged by the host school at their own expense.

The festival host is not responsible for housing arrangements for visiting schools, though a list of suggestions and phone numbers should be available.

Meals and other concessions may be furnished by the host site as a fund-raiser. The host could also supply a list of local restaurants as an alternative.

The host school may also choose to raise funds during the festival weekend by selling refreshments, program ads, or by seeking local sponsorship in other ways.

Information for Judges

For obvious reasons, judging is perhaps the most important element of a good festival. Selection of candidates is made by the MPA Judging Coordinator. A list of candidates is generated from recommendations by MDC members, and the list is updated annually.

Each team of judges will be selected with the idea of providing the best possible combination of experience, areas of expertise, and professional background. The selection committee will attempt to prevent situations where the judges might have personal conflicts with each other or with any of the participating directors. In general, the committee will avoid assigning spouses to the same team, and it is usually preferable not to team up judges who are associated professionally. Travel distance will also be a factor in selecting a team of judges.

Following their selection, judges will be contacted by the MPA Judging Coordinator regarding the confirmation of dates and the updating of program bio information. In early February, selected judges will be contacted by the MPA Rep for the site, clarifying items such as directions to site, expected time of arrival, and housing arrangements if necessary.

Judges will meet with the MPA representative on the Friday afternoon of festival weekend. This meeting is important to review procedures, answer questions, address concerns and to generally set the tone for the adjudication process. During this meeting, the facilities will be toured and judges should select a seat in the performance area that will be theirs for the entire festival.

During the performance sessions, the judges should strive to process their results efficiently and professionally. Judges should not confer between performances. Rank order should be determined by each judge independently, without any discussion. It is advisable for judges to fill out written critiques during the time between shows if possible; this will definitely prevent delays later in the festival. There is expected to be a 15-minute intermission between performances.

The MDC recognizes the importance of good judging and the difficulty in summing up any specific guidelines or job description for candidates. Dr. Sandra Hardy (UMO) wrote a piece which the MDC considers good advice for prospective judges:

The following are thoughts on adjudication:

An overall impression of the piece should be addressed first. An attempt should be made to create a positive, encouraging atmosphere. Aspects like impact made, feelings generated, passions felt, enthusiasm inspired, thinking provoked should help to start the process. Moving to specifics which support the judge's positive thesis should be the next step.

Broad areas to explore:

A note to judges might suggest that all aspects 1-12 should be addressed as they are successfully integrated into the whole of the theatre piece. Any aspect of theatre which stands alone fails in the overall objective of theatrical experience.

Examples:

Finally:

To what extent has the production enlisted the imagination of the audience? It feels like rain...rather than literal drops...a mist.  Or...she was very ill...rather because of the acting, blocking, lighting, prop use...than because she was vomiting.

A final question: To what extent has the theatrical moment...or production jelled...become not the sum of a number of parts but a simple, seamless, penetrating whole? If the actors involved feel characterization, understand the stage environment, capture a motivated complication and climax, are both moving and believable, comedically or dramatically, that moment must not be overlooked. Of course spontaneity, subtlety, concentration, elocution, gesture, fluency of movement, poise, rapport with ensemble, honesty of presentation are all applicable. This note is merely to stimulate some thought and integrate what you already have.

Responsibilities of  the MPA Representative

The MPA Drama Committee representative is responsible for clerking the festival as detailed below. With the assistance of the Host Director and the designated MDC representative, the MPA representative will ensure consistent adherence to festival rules and regulations and will resolve any issues involving disqualification.

Close coordination and cooperation with the host is essential.

In order that the MPA representative be as well informed as possible, it is important to carefully review the rules beforehand and to attend the clerking workshop prior to festival weekend. This workshop is usually conducted by a representative from the MDC at the January meeting of the MPA Drama Committee.

Upon notification of site assignment, the MPA Rep should make contact with the Festival Host and the designated judges to discuss arrangements for housing, meals ets. Whenever possible, the MPA Rep will be the contact person for dealing with the judges before and during Festival weekend. The MPA Rep should set up a meeting with the judges to take place at the site on the Friday afternoon of the Festival weekend. It is strongly recommended that the MPA representative visit the site prior to festival weekend to become more familiar with the facilities.

Festival Weekend

The MPA representative should arrive complete with stopwatches, clipboards, penlights, etc. on Friday, in time to make sure things are set up for the judges' meeting. Usually the judges' meeting is late afternoon, ensuring enough time to review procedures and to tour the facilities. The judges will also need time to eat before the performances.

During each session of plays, the MPA representative will ensure that:

Critiques

Critiques are timed by the MPA Rep, with prearranged signals for the judges.

The MPA representative usually gives a silent signal at four minutes, then an audible one at five. It is important to keep critiques moving along on schedule, and it is the responsibility of the MPA representative to keep judges from being long-winded.

Critiques are supposed to be a positive learning experience ("if this play were to go on, here are a few suggestions."). Judges should be reminded that their comments are to focus on the students and their accomplishments, not the aspects of the show that were the director's choice.

Collect judge comment sheets for duplication and distribution to directors at the close of the festival.

Awards

The responsibility for the distribution of certificates, trophies, and other awards is shared by the MPA Rep and the three judges. The MPA Rep should give the introductory remarks, thanking the host etc.

The MPA representative will announce the name of the alternate and then the school(s) chosen to advance to the next level of competition. When more than one school in a class is advancing, the winners are to be announced in random order and this should be indicated to festival participants in order that there not be an implied "first place winner."

Financial Coordination

The MPA representative will deposit gate receipts in the nearest Key Bank on the first banking day following the festival and forward the duplicate deposit slip and revenue verification form to the MPA office.

The Festival Host should complete the appropriate forms ("Request for Payment of Site Expenses," etc.) and return them to the MPA office within one week of the festival. DO NOT PAY BILLS FROM TICKET SALE INCOME.

Protests/disqualifications

In the event of a protest or the possibility of disqualifying a play, follow the Drama Bulletin and Expanded Rules closely. Consult with the MDC representative if necessary, and contact the MPA Drama Committee chairperson and/or the MDC chairperson if appropriate.

In the event of a disqualification, that school will not be part of a final preference rating, but its individual actors and crew are still available for any festival awards and commendations. It should never be announced that a school has been disqualified; rather, the director should be informed privately of the situation. As soon as possible after the festival, the MPA representative should inform the MPA Drama Committee chairperson of any action involving a disqualification.

Reporting results At the conclusion of the festival, the MPA representative should fax or e-mail the Festival results to the Festival Coordinator. They may also wish to submit a report to the MPA Drama Committee commenting on the festival and offering any suggestions for its improvement.

Rank order sheets and other confidential materials should be destroyed at the conclusion of the weekend.