Dates and Venues

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TheatreFest 2020 Dates & Venues

Local TheatreFests

Northland
Dargaville, 25/26 July, venue Dargaville Little Theatre
Contact - Deborah Steele - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Fiona Armstrong, Auckland
Closing Date for Entries – Friday 3 July

Auckland
South Auckland, 19/20 June, venue Dolphin Theatre, Onehunga
Adjudicator – Johnny Givins, Auckland
Closing date for Entries - Friday 30 May

Waikato/Bay of Plenty
Dates and venue yet to be confirmed
Adjudicator – Jonathan Harris, Auckland

Hawkes Bay
Napier, 25/26 July, venue Napier Repertory Theatre
Contact - Adrienne Hurley - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Hilary Norris, Wellington
Closing Date for Entries – Friday 3 July

Taranaki/Whanganui
New Plymouth, 27 June, venue NP Little Theatre
Contact - Andy Priest – This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator –
Closing date for Entries - Friday 5 June

Manawatu
Palmerston North, 20/21 June, Globe Theatre
Contact – Graeme Johnston - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator - Jillian Carpenter, Wellington
Closing date for Entries - Friday 30 May

Wellington/Wairarapa
Masterton, 25/26 July, venue Majestic Theatre, hosted by Masterton Theatre Company
Contact - Paul Percy - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Rob Ormsby, Wellington
Closing Date for Entries – Friday 3 July

Top of the South – Marlborough/Nelson
Havelock, 18/19 July, Havelock Town Hall, hosted by Havelock Theatre Company
Contact - Ian Cameron - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Bryan Aitken, Christchurch
Closing Date for Entries – Friday 26 June

West Coast/Buller
Westport, 25/26 July, NBS Theatre, Westport, hosted by Buller Community Arts Council
Contact - Mary McGill - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator –Pam Logan, Blenheim, to be confirmed
Closing Date for Entries – Friday 3 July

Canterbury
Christchurch, Youth TheateFest 4/5 July, Adult TheatreFest 25/26 July - venues to be confirmed
Contact - Mandy Perry - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Annette Thomson, Christchurch
Closing Date for Entries – Youth TheateFest - Friday 12 June, Adult TheatreFest 3 July

Otago
Dunedin, 25/26 July, Logan Park High School
Contact - Diane DePres - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – David Chambers, Christchurch
Closing Date for Entries – Friday 3 July

Southland
No TheatreFest planned as yet

Regionals

Lower North Island Regional TheatreFest
Masterton, 8/9 August, Harlequin Theatre
Contact - Paul Percy - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Laurence Wiseman, Christchurch

Upper North Island Regional TheatreFest
Hamilton, 15/16 August, Hamilton Playbox, Riverlea Theatre
Contact - Lorna Ashton - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Laurence Wiseman, Christchurch

Lower South Island Regional TheatreFest
Queenstown, 8/9 August, Wakatipu High School
Contact - Jake Hansen - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Lara Mcgregor, Dunedin

Upper South Island Regional TheatreFest
Westport, 15/16 August, NBS Theatre, Westport, hosted by Buller Community Arts Council
Contact - Mary McGill - This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator –Lara Macgregor , Christchurch

TheatreFest National Finals

Court Theatre, 5/6 September, Christchurch 
Contact - Bryan Aitken – This email address is being protected from spambots. You need JavaScript enabled to view it.
Adjudicator – Steven Arnold, Auckland

2020 Olga E Harding Award

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Olga E Harding Playwriting Award; New NZ Play

The Olga E Harding Playwriting Award; New NZ play is named after one of the founding members of New Zealand Theatre Federation (now Theatre New Zealand) who for many years was actively involved with the British Drama League – BDL and who, after the formation of NZTF, became one of its Presidents.

This award is an important part of Theatre New Zealand’s TheatreFest and is awarded annually for the best new script of a play entered into TheatreFest that year.

The Play is assessed separately from the productions and is not seen by the assessor. The outcome is not known till the awards on final night.

The requirements of the Award is that it is to be up to 50 minutes performing time and that it receives a production in a Local TheatreFest in the year that the script is written and that it has not had a public performance more than three month prior to being presented at the local TheatreFest.

Details of the 2020 Olga E Harding Playwriting Award, New NZ play are -

The assessor for 2020 is Roanna Dalziel, Literary Manager, Court Theatre, Christchurch

All playwrights are urged to enter The Olga E Harding Playwriting Award; New NZ as the benefits are twofold. The script is assessed in order to allow for the playwrights to receive positive feedback on their writing, which will assist with any future writing and they also get to see a live production of their script on stage.

Assessor’s Criteria

  • Character: are the characters clearly distinguished, well-developed, consistent and interesting.
  • Story Structure: is the story well set-up, developed and resolved. Is the identity and goal of the protagonist clear. Is their journey plausible, surprising and engaging.
  • Theatrical Potential: is there action (including character interaction) or just exposition. Are elements of set, lighting, sound and/or movement suggested which will support and enhance the story.
  • Imagination: has the playwright created a world worth looking at, been novel or brave in selecting elements of that world. Does the writer seek to take the audience on a journey beyond everyday experience, or deeper into everyday experience.
  • Ideas and Intentions: what themes is the writer exploring. How well do they facilitate this.

You can download information by clicking here

TheatreFest Conditions of Entry

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Theatre New Zealand TheatreFest

CONITIONS OF ENTRY

  • There is no restriction on the nature of the presentation.
  • There must be at least two performers.
  • Presentations must be under 50 minutes in length.
  • Scene changing during a presentation and opening and closing music, if used, must be included in this time limit.
  • The timing of a presentation will be from when house lights go down at the beginning of the presentation to when the house lights come up at the end.
  • A maximum of 10 minutes is permitted for setting and a maximum of five minutes for striking. Groups will not be held responsible for technical delays caused by factors beyond their control.
  • Presentations will be allocated up to 60 minutes for a technical rehearsal at Local, Regional and National TheatreFest’s.
  • Groups are responsible for obtaining all Performing Rights and making all Royalty payments in connection with their presentation at their Local and Regional TheatreFest.
  • Theatre New Zealand will apply for Performance Rights and pay any Royalty fees (if applicable) for all presentations performing at the National TheatreFest.
  • Performing Rights must be obtained before rehearsals begin and Royalties must be paid prior to performance. Proof that Performing Rights have been obtained and that Royalties have been paid, must accompany the TheatreFest Entry Form.  Further clarification on Rights and Royalties can be sought from the TheatreFest National Administrator.
  • Where composite, cut or adapted versions of plays are presented, written permission from the
    Playwright or the Playwright’s Agent for such a presentation, must accompany the TheatreFest Entry Form.
  • For plays obtained via the internet, copies of the web page authorising performances and/or cuts and adaptations must accompany the TheatreFest Entry Form.
  • APRA Performance Rights and Licence
    • Performance Rights and Music Licence must be obtained from APRA before rehearsals begin.
    • Proof of obtaining Performing Rights and an Agreement with APRA must accompany the TheatreFest Entry Form.
    • No APRA licence is required for playing music in the auditorium of a theatre, as the lights go down at the start of a production, during scene changes, during the interval, and after the final curtain or blackout of a production.
    • If music is used within a presentation, groups must check with APRA on whether or not a Licence is required.

COST OF ENTERING THEATREFEST

TheatreFest Entry Fee

The current entry fee is $80 per entry for member groups (or $100 for non-members) and is for each entry regardless of how many presentations a group/school is entering.

This Entry Fee is paid to TNZ, not the local organisers and covers administration costs of running TheatreFest.
Payment of the entry fee is by direct credit into the TNZ bank account or by posting in a cheque. Details are on the Entry Form.

TNZ Membership Fee

Non-financial groups or schools who wish to enter TheatreFest competitively must become members and pay the annual membership fee of $100.00 by direct credit into the TNZ bank account.

Those wanting an adjudication but not wanting to enter competitively can do so by paying the $110 entry fee and not becoming members and paying the $100 membership fee.

TECHNICAL REHEARSAL – up to 60 minutes per presentation

The TheatreFest Organisers, at all levels, will provide groups with information on the venue’s stage setting, lighting and sound that will be available for that TheatreFest.

Providing special effects, specialist or additional settings, lighting and sound is the responsibility of each group. Information about these must be provided to the TheatreFest Organisers with the Entry Form.

If strobe lighting is used in a presentation, a warning must be printed in the programme.

Technical rehearsals are to be used wisely, they are to rig lights if necessary, run lighting cues, check entrances and exits, and to assess the venues performance area for acoustics etc. Where possible, avoid doing a full run of the presentation.

Please note that the host venue is not responsible for providing furniture and props, these are the responsibility of each team.

LOCAL TheatreFest

  • These are organised locally in accordance with the TheatreFest Conditions of Entry and TheatreFest Rules.
  • A Local TheatreFest is financed from local funds.
  • Teams entering a Local TheatreFest competitively must be available, if selected, for the Regional and National TheatreFest.
  • There is no limit to the number of presentations an Adjudicator, at a Local TheatreFest, can recommend advancing to a Regional TheatreFest, including recommending that no presentations go forward if none are of a sufficient standard.
  • The maximum age for actors in a youth presentation is 20 years at the time of the Local TheatreFest. The ages of the Director and crew are irrelevant.
  • There is no limit to the number of presentations a group may enter at Local TheatreFest level.
  • If a Local TheatreFest is not being held, then a group may enter a TheatreFest in another area but only with the consent of its Organising Committee, or they may have their presentation adjudicated as a single entity and be considered for selection to a Regional TheatreFest

REGIONAL TheatreFest

There will be one Adjudicator for the two North Island Regional TheatreFest’s and one Adjudicator for the two South Island Regional TheatreFest’s. After adjudicating the two TheatreFest’s each Adjudicator is assigned to, they will confer to select the plays to advance to the National TheatreFest. Teams will be asked to supply the Regional TheatreFest Organising Committee with information such as stage, lighting and sound plans, any Technical support required for their rehearsal and information for the programme such as cast and crew list etc.

NATIONAL TheatreFest

Up to eight presentations are selected from the Regional TheatreFest to advance to the National TheatreFest.

Teams will be asked to supply the Regional TheatreFest Organising Committee with information such as stage, lighting and sound plans, any Technical support required for their rehearsal and information for the programme such as cast and crew list etc.

PAYMENTS TO PARTICIPANTS

Performers, including musicians, who are on stage as part of the presentation, cannot receive remuneration, whether direct or indirect, for performing in any competitive presentation.

Directors & Crew may be paid, but if paid cannot appear in the presentation.

SUBSTITUTION OF CAST MEMBERS

A team going forward to a Regional TheatreFest may substitute an actor if, for whatever reason, a cast member becomes unavailable to perform at that Regional TheatreFest.

However, teams going forward to the National TheatreFest can only substitute an actor under exceptional circumstances and this can only be done in consultation with the TheatreFest National Administrator.

SCRIPTS

Groups entering TheatreFest are required to email a scanned copy of their presentation, to the National

TheatreFest Organiser, when they submit their TheatreFest Entry Form.

CENSORSHIP

There is no censorship within the TheatreFest system. However, it is advised that if a presentation has scenes or language that may cause offence then a warning should be given in the programme.

ADJUDICATION

Adjudications will consist of:

  1. General comments from the stage to the group and audience.
  2. A more in-depth discussion with the group in the Green Room at Local and Regional TheatreFest only. No Green Room discussion is held at the National TheatreFest.
  3. A written report.

USEFUL CONTACTS FOR RIGHTS AND ROYALTIES and SCRIPT INFORMATION

Playmarket
PO Box 9767
Te Aro Wellington 6049

Phone: (04) 382-8462
Fax: (04) 382-8461
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Website: www.playmarket.org.nz

Play Bureau (NZ) Ltd
Helen and Brian Horsnell
PO Box 9013
St. Clair Dunedin 9047

Phone: (03) 455-9959
Fax: (03) 455-9959
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Website: www.playbureau.com

APRA
Emma Fleetwood
Theatrical Licensing Representative
Unit 113, Zone 23
23 Edwin Street
Mt Eden
Auckland 1024

Phone: (09) 623-4724
Fax: (09) 623-2174
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Website: www.apra.co.nz

You can download this page as a document by clicking here.

Receiving an Adjudication

Theatre New Zealand TheatreFest

A GUIDE TO RECEIVING AND UNDERSTANDING THE TheatreFest ADJUDICATION
PROCESS (Prepared by ANZDA)

The adjudication process is in essence informative and educational - for the players, directors, technicians and the audience.

The Essence of Adjudication is:
Knowledge and Understanding of the Medium Used
Objectivity – Detachment – Growth – Education – Evaluation - Improvement

The Process of Adjudication is to:
Assess objectively
Give constructive evaluation
Inform the audience, performers, directors and production team

The Outcome of Adjudication is to:
Encourage performers, directors and production teams Affirm positive aspects of the work presented
Foster audience appreciation
Give constructive pointers for improvement

The Ethics of an Adjudicator is to:
Assess with objective, integrity and without prejudice or bias and to conduct themselves in a professional manner

The Adjudicator
The Adjudicator expresses their opinion of excellence, based on specialised educational training and practical experience. This could be seen as a subjective view of the acting, artistic achievement and technical skill in one production, in one theatre space, at one particular moment in time! No more no less.
The assessment framework used, considers the following aspects:

  • the play, design/concept, direction, acting, overall impression.

This brings an objective view to the Adjudicator’s thoughts.
Their responsibility is to offer a detached and impersonal view of the overall success and unity of the production. This can be confirming and dis-confirming.

Phase 1 - On-Stage Adjudication:

Its main purpose is to enlighten the audience as to genre and style, coupled with immediate constructive feed-back to the players.

This, in many cases, helps the audience understand what they have just witnessed. Particularly if it is outside their own theatrical experience. Audiences sometimes like to see if they agree with the Adjudicator, as things reach people differently.

The Adjudicator also addresses what the supports and challenges of the play/production were and how they were met. These often become the points for further discussion with the teams.

Phase 2 - Green Room Follow-Up:

One of the many difficulties new directors and teams find, is in the immediate aftermath of a performance, when the blood is running hot and the performance energy still flowing, to assimilate the comments from the stage. So in the Green Room they have the opportunity to clarify the comments made.

This is a discussion time, so teams should contribute, to make it a two way process. They can seek clarification of terms used by the Adjudicator.

It is a time for the Adjudicator to fully explain and discuss with the team more deeply what worked and what seemed not to.

Phase 3 – The Written Report:

The written report is set out with the assessment framework headings giving the Adjudicator a guide towards a balance in their comments on the production. It is where topics raised and discussed previously can be expanded and given in greater detail. It also gives you time, to digest and process those comments.

It is also here that an Adjudicator’s personal strengths and style of approach, may enhance their comments.

For instance:

  • Adjudicator 1 may focus on the literary aspects and be strong on voice work. Take their comments about the social implications and structure of the script, plus vocal dynamics and use them to deepen your production's approach to the author's intention, aligned with character growth.
  • Adjudicator 2 may be a great visual exponent or expert at physical realization. Suggesting ways of staging that could enhance the actors’ presence and character development. Use it to give variation both visually and aurally.
  • Adjudicator 3 may be an advocate of truth and depth of emotional realization. This could be tied in to thought processing and breathing patterns, in other words ‘inner action’. (Relevant also in comedy.)

Throughout the process of moving through the levels of the TheatreFest, you will receive what may at first appear to be conflicting information from each Adjudicator. It is not. This is because the current Adjudicator, has honed in on a different aspect of the production or style, to help you forward and deepen your work.

They are not telling you to change your production, but to find ways of enhancing it. It is not their job to tell you how to redirect your work. Don't be confused by this.

What they are offering are, 'ways of working'. Of uncovering and expressing, from various angles. Not re-jigging or re-directing your production.

Actors, you need to take what you can from each Adjudicator, what you understand at your current level of development and then apply it.

The same can be said of Directors. Never stop finding new ways of working yourself either. In seeking to deepen your own work - you will enhance everyone around you.

Criticism offered by an Adjudicator is most helpful when seen by directors, actors, and technicians as coming from an educational base. The emphasis should be on growth of theatre skills, stimulation of fresh ideas for discussion, and encouragement to apply newly understood theatrical principals in future productions.

The adjudication process is helping you to gain new skills, to enhance your work. "Theatre is not a way of life - but a way to life". Theatre is a team sport, it also needs camaraderie and the joy of 'playing'.

You can download this page as a document by clicking here.

You can view the ANZDA marking sheet by clicking here.

You can view the ANZDA guide by clicking here.

You can view the ANZDA contact list by clicking here.

TheatreFest General Information

Covid-19

Dear Members and all Theatre Practitioners aligned to Theatre New Zealand

These are troubling times. The very nature of who we are is being challenged.
Productions around the country are being cancelled, Professional and Community.
Games, meetings, forums, concerts, reunions, workshops, gone altogether or postponed indefinitely.
Public and community life, as we know it, the very heart of theatre, curtailed.
I feel our government has done the right thing in basically closing the borders and creating an ethic to slow and perhaps block this virus.

Our friends of Musical Theatre NZ cancelled their Annual General Meeting and Training Weekend in Napier this past month. This was also their 60th Anniversary Celebration. Our sympathy and understanding goes out to them.
Thank you to those TNZ members who have already reached out to us seeking protection measures, to keep your people safe.

Is this an advantageous time for all of us to step back and check our Theatre Health & Safety Protocols?

As I write to you there has been no ‘community-based outbreak’. But the virus is slowly seeping into the very fabric of our society.
Necessary precautions are in place around the country.
Large and middle-sized theatre groups have seen fit to curtail their activities for the autumn.
Some smaller groups with similar sized productions in country areas are hanging in there.

Keep safe. We are asking you all to follow the Ministry of Health guidelines.

TheatreFest logo

No doubt you are all wondering what is happening to our July and August TheatreFest rounds and in particular the TheatreFest National Finals, along with the 2020Vision Celebrations in September at The Court Theatre, Christchurch.
It is just too hard to assess the progress, dangers and volatility of Covid-19.

It is therefore with deep regret that Theatre New Zealand has decided to cancel TheatreFest for 2020 and also put our celebrations on hold. (News of the AGM at a later date).
With people going into rehearsal late May – we all need certainty over the coming weeks.
I am particularly cast-down as we were creating a great line-up of workshops and celebratory activities on top of the National Finals. The Christchurch team were all looking forward to hosting you here again, at last! Christchurch seems to lurch from situation to situation. What a decade!

If you are writing a new play, don’t stop. If you were developing a devised piece, find a way to keep going. If you have the rights to an exciting piece of challenging theatre, hold them!

Maybe use this enforced time-out to strategize your group’s way forward in the spring.

We are here to help, with workshops and mentoring programmes.
The year started well. Let’s pick it up later and make even stronger, more creative, more stimulating theatre in the days ahead.
Let’s also now make 2021, reincorporating all of the above, (but not the virus) a year to remember!

My regards to you all, keep safe.
Nga mihi

Te Putoi Whakaari o Aotearoa
Bryan Aitken
President


TheatreFest logo

Theatre New Zealand TheatreFest
GENERAL INFORMATION

MISSION STATEMENT

Theatre New Zealand fosters and mentors community theatre and youth groups in all aspects of theatre. This includes performance, production, staging, design and script writing, through workshops and annual TheatreFests.

HISTORY

  • Theatre New Zealand – TNZ (formerly The New Zealand Theatre Federation - NZTF) was founded in 1970.
  • The Federation represents non-professional theatre societies throughout New Zealand.
  • It became the successor to both the British Drama League (est 1932) and the NZ Drama Council (est 1945) as the one National Body to provide advice, services, support and training at all levels.

PURPOSE OF TheatreFest

TheatreFests are devoted to the improvement of theatre standards by:

  • Providing each participating group an assessment of its work in respect of creativity and technique
  • Offering constructive feedback
  • Helping the audience to a fuller understanding of the presentation
  • Encouraging friendship, learning, sharing and communicating

OBJECTIVES OF TheatreFest

  • To learn through performance and education
  • The opportunities to observe one’s peers
  • To gain enrichment by meeting other participants and groups

ADVANTAGES OF PARTICIPATING IN THEATRE NEW ZEALAND’S TheatreFest

A Stage for Every Age

  • The benefit of being assessed by an ANZDA Accredited Adjudicator, so your individual work and the production can develop to a greater degree.
  • Adjudication can validate the standard to which you are aspiring.
  • The accent of Adjudication is on creativity, direction and acting.
  • Net-working within the non-professional environment, including societies, directors, teachers and practitioners in all fields of theatre.
  • You can enter a piece of under 50 minutes duration – regardless of genre, style or author.
  • The TheatreFest format exposes participants to several styles of theatre in one evening.
  • An ideal forum for practising your craft in a supportive atmosphere.
  • A positive environment for young or new theatre practitioners to develop.
  • Awards recognise endeavour.
  • An environment in which both adults and young people can mix, work and learn off each other.
  • Productions incorporating music and dance are eligible.
  • Physical constraints regarding venues, technical rehearsals and travel, help to focus concept.
  • Progressing on to the Regional or National TheatreFest brings mana to your group.

 Secondary Schools 

  • The fostering of inter-school relationships.
  • Projects from your drama programme can be entered in the TheatreFest.
  • Meets the performance requirements of NCEA Drama Achievement Standards:
    • Level 1: 90006, 90997, 90999, 90009
    • Level 2: 91213, 91214, 91216, 91218, 91220, 91221
    • Level 3: 91512, 91513, 91515, 91517, 91519, 91520
  • Ensemble-devised class projects are eligible for entry and make good theatre.
  • It creates a forum of opportunity regardless of socio-economic situation.
  • Accommodates Sheila Winn Shakespeare entries
  • Progressing on to the Regional or National TheatreFest inspires your team to step-up.
  • Raises the profile of your school and drama course in the community and nationally.
  • Travelling to other centres places Performing Arts on a par with sporting activities.
  • Awards and cups can sit in your school alongside those of sporting achievements.

STRUCTURE OF TheatreFest

There are three levels to the TheatreFest: - Local – Regional - National

In order to progress from one level to the next, teams must enter the TheatreFest competitively and be paid members of TNZ.

Local TheatreFests can offer a non-competitive section where theatre groups or schools may enter the TheatreFest and receive an adjudication but choose not to be selected to perform at a Regional TheatreFest.

At the Local and Regional TheatreFest, teams will receive an on stage adjudication and a private oral report, as well as a written report.

At the National TheatreFest, teams will receive an on stage adjudication only, as well as a written report.

The Adjudicator recommends to the Organisers of each Local TheatreFest those presentations to be advanced to the Regional TheatreFest.

The North Island and the South Island Regional TheatreFest Adjudicators select those presentations which will perform at the National TheatreFest.

COST OF ENTERING TheatreFest

TheatreFest Entry Fee

The current entry fee is $80 per entry for member groups (or $110 for non-members) and is for each entry regardless of how many presentations a group/school is entering.

This Entry Fee is paid to TNZ, not the local organisers and covers administration costs of running TheatreFest.
Payment of the entry fee is by direct credit into the TNZ bank account or by posting in a cheque. Details are on the Entry Form.

TNZ Membership Fee

Non-financial groups or schools who wish to enter TheatreFest competitively must become members and pay the annual membership fee of $100.00 by direct credit into the TNZ bank account.

Those wanting an adjudication but not wanting to enter competitively can do so by paying the $110 entry fee and not becoming members and paying the $100 membership fee.

USEFUL INFORMATION ABOUT THEATREFEST

Adjudication

  • This is an educative process for both the teams and the audience.
  • It is not a ‘critique’ but feedback on how the production gelled.
  • The adjudicator will comment on whether they felt it served the author’s intention and genre.
  • Try not to take comments negatively in the heat of the moment after the performance.
  • This is part of the on-going creative process of learning.
  • Engage the adjudicator in conversation to better your skills.
  • Reflect on the adjudication. Adjudicators comments are intended to be constructive and educative.
  • Watch the other plays and learn from the adjudicators comments.
  • Theatre is for sharing.

 

The following are a few hints for teams and Directors going forward to a Regional TheatreFest:

  • Streamline the presentation’s set for travelling.
  • Give actors a break in the rehearsal process or they will go stale.
  • Re-check lighting plot - don’t get too complicated. This causes more tension for teams than anything else.
  • Ensure details of the Regional TheatreFest venue have been received as early as possible including stage measurements, lighting available, whether or not there is a sound system, purchase of tickets and all other relevant information regarding their TheatreFest. If this information is not received, contact the TheatreFest National Administrator who will be able to help you.

Please remember most venues are staffed by volunteers who have work commitments.

Adjudication at Regional TheatreFest

  • It will be more searching than that of the Local TheatreFest.
  • It will probably differ from that adjudication and may in part contradict it. But remember presentations change and grow and performances vary and different adjudicators can see different things.
  • Everyone should listen and learn and not have a closed mind.
  • Remember that the Director is emotionally involved.

The New Venue at a Regional or National Final

  • Don't be over anxious. Each team will have technical rehearsal time at the venue.
  • Don't try to get into the venue before the allotted time as another team will be working or the Organisers will be busy.
  • Ask where to put set, props etc and arrange to take them away the same night.
  • Lighting: This is the first priority and while the technical crew and Director are doing a cue run, the actors should be testing voice levels at the same time.

Director - Have A Positive Experience

  • Remember that the Director sets the tone.
  • Keep worries to yourself.
  • Be positive in your approach to the new venue.
  • Seek help but don't expect the Organisers to do everything for you.
  • Keep your actors on task.
  • The only time you should look at your script is to give the lighting cues.

You can download this document by clicking here.