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 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 technical performance of the play must also 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 set up and strike.

Thirty participants (cast, crew, and adults) will be provided admission credentials; schools registering more than 30 will be charged $5 for each additional person.

No live animals may be used in production.

Schools wishing to be eligible for advancement from the State Festival to the New England Festival must file the eligibility form (download from this site) and pay the registration fee to the MDC chair prior to the regional festival.

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. In addition to script considerations, use of props and the onstage actions of the actors and actresses during a performance should not reflect gratuitous or inappropriate sexual content.

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

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. Music and/or choreographed movement may be used to enhance a non-musical production. Using the "book" from a musical, however, is not allowed even though the music itself from the show is not used. It is not the intention of the festival to perform musical theater. 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.

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 have been prepaid. 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 which 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 production 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 its play and five minutes to strike. Any production that exceeds five minutes at either end (even if only by one second), will be disqualified.

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.

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 6'6"). 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 noon 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.

The use of liquids on-stage will be limited to a maximum of 5 gallons subject to host school policies.

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 of any kind (flash pots, flash paper, flash paper guns and other small theatrical flash products) is 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.

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 Class 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 mail an information packet containing a stage diagram, lighting plot, sound availability, etc. Also included will be forms that need to be filled out by the director regarding final registration, program information, meal service and other information specific tothe school's regional. It is important to have all these forms back to the host director by the end of February vacation in order for a draft of the festival program be ready for proofreading on 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 at which the host facility is examined and important festival information is distributed by host directors (final festival schedules, program information for proofreading, etc.).

On tech day, complications resulting from advance requests and from built-in limitations within the facility will be resolved and all special equipment will be demonstrated and/or installed. Any school unable to attend tech day should notify its host director. 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.

The tech director at each festival site should be familar with the TD checklist.

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 sound board operators to familiarize themselves with the technology at the host school.

Tech day is not the time to fine-focus special lights, set light levels or cyclorama colors, set sound levels, 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 whatever 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 noon). It is recommended that tech day be scheduled so that schools with special installations come early, and schools with few special requests come following special installations. This will ensure that all equipment is available to all schools.

The host director will schedule a specific time for demonstration of the basic lighting set up (usually late morning or early afternoon). 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.

Visiting schools must furnish their own special equipment if it is not available at the host school. If a particular piece of equipment that a director wants to use is not available through the host school, he/she 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.

Program Information Sheet

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:

1. A list of festival personnel including host, tech director, MDC and MPA representatives.

2. A list of pertinent festival and house regulations to include the following:

Doors will close two minutes before curtain.

No one will leave or be admitted to a performance except in an emergency.

There will be a ten-minute intermission between plays.

Photographs may not be taken during a performance.

Critique sessions to follow each session of plays. These are open to all directors and to the cast and crew of the play being critiqued.

Names and biographical information of judges.

Sample program layout:

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 which makes 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 the performances or tech times.

The customary procedure is to schedule performances on Friday evening and then again on Saturday afternoon and evening. Occasionally host schools 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.

Setup/Strike

The host director will set the order of presentations taking the following factors into consideration:

1. Schedule conflicts by participating schools (jazz festival, sports events, O.M., etc.)

2. Presentation of a balanced program (three heavy dramas in the same session is not a good idea)

3. Technical considerations (set storage problems, or the aiming of lights, etc.)

4. Other factors that may affect the smooth operation of the festival.

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. The 55 minutes includes any time for set-up and strike. 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.

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 (you provide your own gels and frames), set extension cords (you 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 as to where the work may be done.

Just prior to performance, each school will put up its set in under five minutes using the following procedures (which will also be used for timing the strike at the end of the performance).

Timing Setup/Strike

Setup and strike are limited to exactly 5 minutes each. They are to be timed with a stopwatch. There will be a backup timer, but this watch will be used only in case the official timer's watch malfunctions. After reviewing the procedures with the cast and crew of a school, the crew that needs to go to the booth will be allowed to go. They will be timed separately. The official timer will say "Is everyone ready?" When they are, the timer will say "5,4,3,2,1, GO." As each successive minute passes, the timer will call out "You have 4 minutes left. You have 3 minutes left. You have 2 minutes left. You have 1 minute left." If the school has not yet cleared the stage when 1 minute is called, the timer will then call out LOUDLY "You have 45 seconds left. YOU MUST BE CLEAR WHEN I SAY ZERO OR YOU WILL BE DISQUALIFIED." "You have 30 seconds left." "You have 15 seconds left." Timer will then count 10, 9, 8 and so on to zero. When a school has completed its setup or strike and all people, scenery, props etc. are removed from the stage, their director will say "Clear."

It is a good idea for the host tech director to go over the light patch with each school just prior to its five minute setup in order to ensure that lights are set up the way they should be for a school. No school shall be allowed to pre-set its scenery (for example: after the last show in the afternoon if they were first in the evening).

(Reminder: one second over is technically a 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.

Performances

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 without all judges being present.

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.

Timing Performances

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 fromt he host tech staff). The timers will follow the official Timing Protocol. In each timed situation, there should be at least one timer in addition to the official timer. If the first watch or timer experiences technical difficulties, the second timer's watch will be the official time.

The official time in the production begins with the first sound or light. It is the responsibility of individual directors to notify the MPA representatives 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.

Procedure for Timing Performances

Performances are limited to 40 minutes exactly. One second over disqualifies a production. Timing begins at the first sound (live or recorded) or first light, whichever is first. NOTE: A production may use some low lighting (usually blues) to place actors, but will go to blackout again before officially starting the performance and the official time. There will be 1 backup timer. If the official timer finds that the production is over the time limit, the second watch will be consulted. If the backup watch has the production under 40 minutes, it will be the official time. A school can only be disqualified if BOTH watches are over 40 minutes (unless the primary watch malfunctions). If the first watch or timer experiences technical difficulties, the second timer's watch will be the official time.

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.

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.) Directors have been known to have their stage manager pull the curtain instead of risking disqualification.

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 by 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 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, and for 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 score each play using the MDF Score Sheets. The numerical rankings of the three judges will be totaled and the schools with the highest totals will be selected to advance to the next level. In the case of a tie, the school that has the highest point total from the "Total Production Impact" category will be named champion. If there still remains a tie, then each judge will rank order the tied schools and the school with the lowest total will be declared the winner.

Critiques are usually scheduled to immediately follow each session of plays. Some host may, however, shedule 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.

Judges will also write comments on the MDF Score Sheets which will be completed before the awards ceremony and delivered to the directors at the close of the festival.

A school that wishes may record its own critique, but it is not the responsibility of the host school to supply the equipment.

Examples of reasons for disqualification:

1. Exceeding the performance time limit for any reason.

2. Exceeding the setup/strike technical time limits (this includes even just a "final adjustment" on a set after the five-minute set up time is finished.)

3. The use of open flame, pyrotechnics, or live animals in a production.

4. Performance of material that is "musical theater."

5. Failure to pay royalties or arrange cutting/adaptation rights prior to performance.

6. Participation by students who do not meet local eligibility standards.

7. Adult involvement in performance. (Adults are allowed to be involved only during setup and strike.)

8. Leaving a stage light, practical light, projection light, etc. on after the five-minute setup and strike.

9. Placing actors on stage in view of the audience and judges before being told to do so by the festival TD.

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.

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.

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.

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 the students that the students must secure their own money and personal possessions. The MPA, host director, and host school are not responsible for lost money or possessions.

Festivals are run by a team that includes the festival host, the festival tech director, and representatives from the MDC and the MPA.

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."

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 representaive, the MPA representative will attempt to ensure consistent adherence to festival rules and regulations and will resolve any issues involving disqualification.

The Maine Drama Council Representative is available at the regional level to offer rules clarification as needed by the MPA representative. At the state finals, the MDC representative will work directly with the MPA representative to clerk the judges, prepare awards, etc.

Responsibilities of the Festival Host

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, and then information will be distributed to individual schools by the Host Directors. The informational packet sent to visiting schools by the host director should include the followng items:

• A letter of introduction and welcome.
• Facility information with directions to the school, parking information, auditorium and stage diagrams as well as technical data. Hosts should try and indicate any specific features or limitations of the host facility.
• Information about tech day schedule, due dates for return of forms, and deadlines for special tech requests.
• Procedural information about food service, workshops, and other aspects of the festival.
• Appropriate forms for the visiting schools to fill out and return.
• A notice to the effect that it is each director's responsibility to inform his or her students that they must secure their own money and personal possessions. 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. They will provide, at that time, a tentative schedule for festival weekend, including times for tech checks and performances, a director's meeting and other planned activities. They should also have a draft of program information for proofing by visiting directors. Tech day should include the opportunity for all schools to see demonstrated any equipment that will be available during the festival. This would include any special equipment or lights installed by another school. Therefore, schools which intend to install any piece of equipment, should do so as early as possible so that it can be demonstrated to other schools. In the case of a school which 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. (See the separate section on "Tech Day" for more information.)

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 install four 6" x 12" Lekos with gobos. The solution is for the host to clearly inform all the directors on tech day of their availability, and then make sure they are ready for tech checks on the Friday of 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:  

• Badge/name tag for each person listed on registration form.
• Map of the school and any appropriate information regarding the parameters of use of the facility.
• Final festival schedule including all planned activities.
• Note: The schedule should include an MDC/directors' meeting usually on Saturday morning. Directors will be contacted by the MDC regarding the format and funding of these workshops, and a MDC representative will contact the host about the MDC meeting agenda.
• One program for each student. Festival program should contain the following in addition to one page for each participating school:
  1. A list of festival personnel including host, tech director, MDC and MPA representatives.
  2. A list of pertinent festival and house regulations to include the following:
  --Doors will close two minutes before curtain.
  --No one will leave or be admitted to a performance except in an emergency.
  --There will be a ten-minute intermission between plays.
  --Photographs may not be taken during a perfornamce.
  --Critique sessions to follow each session of plays. These are open to all directors and to the cast and crew of the play being critiqued.
  3. Names and biographical information of judges.
  
• Meal ticket, etc.

The festival host shall provide a classroom 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 work space 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 fund raiser during the weekend. Festival workshops and other activities vary from site to site.

The festival host should contact the MPA Rep and should send on necessary information such as directions to the site. The MPA Rept will arrange for a meeting of the judges on the Friday afternoon of festival weekend. 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.

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

Adult backstage tech supervisor (during tech day, tech checks, and all performances)

Student assistants from the host school to assist with smooth operations

Adult house manager (in charge of ticket sales, ushers, and ensuring that doors are closed before each show begins and that people do not enter or leave the auditorium during performances).

Security, parking attendants, and custodial services as necessary

Festival hosts are responsible for financial accounting. Ticket sales will be handled by the host director, 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 $1,100. This total includes:

• Host fee ($200)
• Tech director fee (if necessary)
• Custodial fees (if necessary)
• Security (if necessary)
• Program costs

Workshops are not a requirement but may be arranged by the host school AT ITS 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.

The MPA representative serves as clerk of the judges and collaborates with the festival host and the MDC representative to ensure that each festival is run as smoothly and fairly as possible. 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 February/March 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 restival 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. The MPA representative may wish to 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, etc. on Friday, in time to make sure things are set up for the judges' meeting. Usually the judges' meeting is mid- to 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:

1. The judges are in their seats prior to the start of each performance.

2. Each performance is timed by at least two official timers.

3. Set up and strike times are timed consistently by two official timers.

4. Time limits are consistently adhered to with no exceptions. In the case of a violation of time limits, the MPA representative will privately notify the director of the violation, but should not tell the judges. Disqualification does not affect a school's eligibility for festival awards, only from its ability to advance to the next level of competition.

5. The judges are quickly and efficiently moved from the performance area to the designated work area to complete necessary paperwork. The judges will fill out the score sheet for each school after its performance. The MPA representative should ensure that the judges are not influenced by each other or by anyone else at these times. The MPA representative will ensure that the decisions of each judge are made independently.

6. The judges will record scores and comments on the official score sheets (download from this site). Judges will be given the opportunity to review (and alter) their own scores for any play until the MPA representative. has verified their final rankings. This would happen after the last performance, but prior to the last session of critiques. After verifying individual results, the MPA representative tallies the results for the three judges. The judges will not confer with each other concerning rank order. Rank order will only be discussed in case of a tie in the final ranking.

7. Judges are kept current in all phases of paperwork. The judges' final decisions must be made prior to the final session of critiques. This way, awards and festival results can be printed in time for the awards ceremony. The host is expected to supply a typist.

Scoring Procedures

The MPA Representatives shall have scoring sheets filled out with the name of each school for each judge. These sheets should be put in a packet for each judge. These folders should be kept securely at each site and should not leave the site for the entire weekend.

Judges should be given the packet at the initial pre-festival meeting, at which time the MPA representative will review the scoring rubric and procedures with the judges. The judges may make changes on their score sheets up until they are collected for the final tally on Saturday night. Judges are allowed to correct errors on their individual score sheets or to adjust their scores of earlier plays based on their judgments in later plays. Judges are not allowed to confer with other judges during this process. Judges are encouraged to use pencil.

After the last critique on Saturday night, the MPA representative will collect all the score sheets from the judges and tally the final scores. Make a copy of each judge's score sheets for your own records.

The final tally will be verified by the MPA representative and one other person (designated by the MPA Rep.).

Ties

If there is a tie, it will be resolved as follows:
1. Of the schools that are tied, the one that has the highest point total from the "overall" category on the scoring rubric will be declared the winner.
2. If there still remains a tie, EACH JUDGE will INDEPENDENTLY BY SECRET BALLOT rank the TIED schools 1 (first) and 2 (second). The school receiving the LOWEST TOTAL will be declared the winner.

After the award winners have been determined, the MPA Representative will keep the master tally sheet and send it to the MPA office. The master tally sheet may not be released to the schools, the public, or the press. The judges' score sheets will be returned to the appropriate school. Keep a copy of the judges' score sheets in case there are questions at a later date.

Disqualifications will be noted on the final tally sheet, but neither the score nor the rank order will be changed.

Critiques

During each session of critiques, the MPA representatives will ensure that:

1. Critiques are timed, with prearranged signals for the judges.

Judge #1 Five minutes

Judge #2 Five minutes

Judge #3 Five minutes

Student's time Five minutes

20 minutes total

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.

2. Critiques are 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.

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

At the awards ceremony, the MPA representative will insure that:

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

2. For each class the MPA representative will announce the name of the alternate and then the school 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 rank order with the top scoring school announced last.

Financial Coordination

1. The admission receipts may be handled in two ways by the MPA representative.
a. They may be deposited using the deposit slip provided in the nearest Key Bank. The duplicate deposit slip should be sent with the revenue verification form to the MPA.
b. They may be deposited in the MPA representative school's activity account. A check from the activitiy account should be sent with the revenue verification form to the MPA.

2. 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.

Miscellaneous

1. 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.

2. In the event of a disqualification, the school will be listed with its score and "DQ" written in after the score, 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.

3. 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.

4. Hold onto a copy of the judges' score sheets and bring them to the next MPA Drama Committee meeting.

5. Each school should be given an envelope at the conclusion of the awards ceremony containing their judge sheets and a copy of the list of all awards given.

Responsibilities of the Festival Tech Director

The Festival Tech Director should be an adult who is responsible for smooth and consisten technical operations. It is the responsbility of this individual (in conjunction with the Host Director) to oversee tech day, coordinate all tech checks, supervise set u 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.

Tech Director Checklist

Tech Day

Schools expecting to install equipment will arrive early. Meet briefly with the group from each school separately. Introduce your crew so they know who to ask questions. Make a check list to record notes from each school about the following:

Confirmation of the tech check and performance schedule.

• Discuss where they will loa-in and out of the building and stage.
• Size of their set and where they might store it. It's also handy to know when they intend to load back into their truck.
  
• Spike tape color. Host school will supply tape.
• Special equipment (of their own) that they would like to install on tech day. Remember it must be left on-site and be available to others (as long as the performance schedule permits).
• Special equipment of yours that they would like to use (lights, etc.).
• Special equipment they intend to install during their 5-minute setup.
  

At the meeting for all directors (around 11:00).

• Demonstrate all lights in the rep plot.
• Demonstrate all specials that are hung (including your own) or at least where you'll be hanging them. Aski if any other schools want to use them. If they do, figure out whether the schedule will make it possible and record the information on your checklist.
  
• Demonstrate sound equipment.
• Demonstrate any other equipment they should know about.
• Go over procedure for tech checks.
• Go over procedure for setup/strike. Show them where the "line" will be for start and finish.

Tech Checks

• Make sure each school is ready a few minutes before their official time begins.
• You should not have to adjust your schedule if they aren't ready.
  
• About 2 minutes before they start their tech check, speak to the cast and crew so they all hear you. Go over the procedure. Tell them where their set will go at the end of the 55 minutes.
• Explain the timing procedure.
• Answer questions.
• Begin timing by calling out "5,4,3,2,1, GO"

Set-up, Strike and Performances

• Tell each school in advance how you will get them to the backstage for setup. You may want them to wait in their room unitl the school before them is out of the way.
• When they are ready and you have checked to see all their specials are circuited etc., clal them all together and make sure they are clear about:
  1. The timing procedure.
  2. Where the "line" is that indicates that you are "clear" of the stage.
  3. where you want them to gather at the end of the five minutes.
  4. The procedure for starting their show. NO one starts unless they get the official word fromthe house manager (or some other official person). How the signal will get from the house manager to the person who has the first cue.
  5. The procedure at the end of the performance (gather in the same location to get ready for strike. Tell them not to start strike until you give the official word).
  6. Any other questions they might have.
  
• Send the booth crew to the booth or light and sound control area.
• When the remaining crew is ready, begin timing procedure.

At the end of the 5-minute setup, gather everyone together again and review the procedure from that point.

• Explain how actors will get into places before the start of the show and if they will need to use blues or other low light to see.
• Remind them that any adjustment of the set or tech equipment between the end of the 5-minute setup and the start of the performance is grounds for disqualificiation.
  
• Remind them that they should not begin the strike at the conclusion of the performance, but that they should gather in the designated area backstage and wait for your instructions.
• Let the judges know you are ready for them.

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, aareas 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 fo rthe iste, 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 qustions, 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. Scores for each play should be determined by each judge independently, without any discussion. It is advisable for judges to fill out score sheets completely (including written comments) 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 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:

A note about student direction and student-written plays.

No special consideration should be given to schools with student directors or who perform plays written by students.

The following are thoughts on adjudication:

A. 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.

B. Broad areas to explore:
1. characterization
2. thematic clarity
3. strength of ensemble
4. performance craft
5. sets
6. costumes
7. lighting
8. props
9. poise and confidence of cast
10. level of difficulty
11. originality of interpretation
12. degree of stimulation created

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 peice. Any aspect of threatre which strands alone fails in the overall objective of threatrical experience.

Examples:

Do the actors establish clear, viable relationships which read? Are characters developed gradually with specificity to motivate ultimate climax? Is there imaginative use of space; is the set designed to enhance time, place, atmosphere, character and action? Are costumes reflective of character, mood, and climate? Are props designed for symbolic suggestion or clarity of character or theme? Is lighting used for allegorical definition? Does the imagery created by technical theatre enhance the poetry - the language of the piece?

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.

A Note for Directors About Critiques

It is the responsibility of the 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.

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Maine Principals' Association Drama Committee

Charles "Rick" Ash, Coordinator, Camden Hills Regional High School
Rebecca Bubar, Princpal, Brewer High School
Pam Bush, Assistant Principal, Mount Desert Island High School
Jim Chasse, Principal, Orono High School
Howard Jack, Assistant Principal, Westbrook High School
Lynda Letteney, Principal, Mt. View High School
Robin Lisherness, Coordinator, Skowhegan
Chris Moreau, Assistant Principal, South Portland High School
Cheryl Quinn, Principal, Mountain View Youth Develpment Center
Eric Waddell, Principal, Presque Isle High School

Timothy Ryan (Freeport) 2009
Dan Wheeler (Cony) 2009
Tim Wheeler (Madison) 2009
Ginny White (Caribou) 2009

Richard Kimball (Brewer) 2010 - Chair
Allison Machaiek (Rockland) 2010
Ryan Nored (Erskine) 2010
Dede Waite (Falmouth) 2010

Doug Clapp (Ft. Kent) 2011 - Treasurer
Lynne Erkinnen (Catherine McAuley) 2011
Beth Goodwin (Central) 2011
Dick Mullen (Cape Elizabeth) 2011
Maura Smith (Madison) 2011
Robin Lisherness (Skowhegan) 2011 (alternate)

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