Musical Theatre Performance
What to Prepare
In a Musical Theatre Performance, the Thespian(s) must present one (1) musical selection from a published score written for musical theatre that does not exceed five (5) minutes in length. The adjudicators will consider how well the piece is acted as well as how well it is sung. Thespians must also adhere to the following:
- Thespians may present solo, duet, or group performances. A Solo Musical Theatre Performance is defined by the International Thespian Excellence Awards as a piece from a musical theatre score that includes vocal music written for an individual. A Duet Musical Theatre Performance is defined as a piece from a musical theatre score that includes vocal music written for two (2) players. A Group Musical Theatre Performance is defined as a piece from a musical theatre score that includes vocal music written for threee to sixteen (3-16) players. In each case, every participant must be actively involved in the song chosen for the performance.
- Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespy adjudication. Purchasing a vocal selections book or musical score does not secure the rights to perform the work for Thespy ajdudication.
- All musical theatre performances must be accompanied by pre-recorded, non-vocal musical accompaniment in MP3, M4A, WAV, or AIFF format (must be an audio file, not a video file). It is strongly recommended that the file be downloaded onto a device (e.g., smartphone, computer) rather than relying on a streaming file as internet connectivity can be unreliable in various settings. A sound system will be provided for playback, but performers may choose to bring their own Bluetooth speaker if they desire. No live music is permitted, including live accompanists. Tracks may not include background vocals. A capella performances are not permitted unless the selection was specifically written to be performed as such in the musical.
- The combining of multiple characters' lyrics to create a solo performance is not allowed.
- The performance may contain dialogue if included in the libretto, however, it should primarily be a "sung and not spoken" selection.
- In a Solo Musical Theatre Performance, one (1) chair may be safely used. In a Duet Musical Theatre Performance, two (2) chairs may be safely used. In a Group Musical Theatre Performance, up to six (6) chairs and one (1) table may be safely used. No other scenic elements or furniture are allowed. "Safely" means that items may be used in a safe manner but should not be used as props (e.g., pushed over, lifted, etc.). Sitting on, laying across, and/or standing upon a chair is usually acceptable so long as safety is the priority (i.e., if a chair has wheels, it would not be considered safe to stand upon). Thespians may not stand on a table. Thespians should take this into consideration when rehearsing their entry in case adjustements to blocking/choreography are needed in the adjudication room.
Slating: All Musical Theatre Performance Categories
Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance, but is simply an informative introduction to the piece. This is an opportunity for students to be themselves and address the adjudicators in a comfortable, polite, and brief manner. The slate should include the following information:
- The Thespian’s name (or names, for group categories);
- Troupe number;
- Title of selection being performed or work being showcased (e.g., "Don't Rain on My Parade" from Funny Girl for a Solo Musical Theatre Performance entry);
- Name of the playwright(s) and/or composer(s).
A slate might sound like this: "Hello. My name is John Smith from Troupe 561, and I’ll be performing 'Oh, What a Beautiful Mornin'' from Oklahoma! by Richard Rodgers and Oscar Hammerstein II."
After the slate, time begins with the first word, musical note, or acting beat (if it precedes the first word or note) of the presentation. If a Thespian exceeds the time limits stated above, the adjudicator or room monitor will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification.
Dress Code: All Categories
For all categories (performance and technical), Thespians will present themselves at adjudication or in their submission video as a blank slate, refraining from wearing clothing and/or accessories that distract from the performance or presentation. The goal is to level the playing field and allow the focus to remain on the work, not the aesthetics of the presenting Thespian(s). Thespians should follow these guidelines:
- Dress in simple, modest attire suitable for a professional interview or audition, in black or dark colors. Clothing should be appropriate for the situation so as not to limit or restrict movement or affect the performance. For technical categories, Thespians may choose to follow the guideline above or wear the black/dark-colored clothing traditionally worn by technicians.
- Acceptable footwear is neutral, not distracting, and may include character shoes and dance shoes (if category appropriate), dress shoes, sneakers, or boots.
- Theatrical makeup, costumes, and props are not permitted.
- Avoid wearing distracting items such a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.
Skills Measured: All Musical Theatre Performance Categories
- Use of transitions into and out of character;
- Ability to create a believable character;
- Communication of objective, tactics, and relationships through both dialogue and music;
- Use of focus and concentration;
- Vocal skill, technique, and expression;
- Use of dance and/or movement;
- Integration of voice, body, movement, and staging.
Musical Theatre Performance Rubric
ACTING TRANSITIONS
Slating that includes articulation of name and selection, transition into and between characters, final moment, and transition out of character into exit.
Above Standard
Clear articulation of name and selection; intuitive transition into and between characters, distinctive final moment and transition out of character into exit.
At standard
Clear articulation of name and selection; recognizable transition into and between characters, final moment and into exit.
Near Standard
Moderately clear articulation of name and selection; transition into and between characters and/or final moment may or may not be present.
Aspiring to Standard
Unclear articulation of name and selection; transitions into and between characters and/ or final moment are not evident.
CHARACTERIZATION
Emotional and physical believability and commitment to character; choices or tactic towards an objective that create a relationship with real or implied partner(s).
Above Standard
Character is consistently emotionally and physically believable; committed choices and tactics toward an objective prompt intuitive reaction to real or implied partner(s).
At standard
Character is frequently emotionally and physically believable; committed choices and tactics toward an objective prompt identifiable reaction to real or implied partner(s).
Near Standard
Character is infrequently emotionally and physically believable; choices and tactics toward an objective prompt some reactions to real or implied partner(s).
Aspiring to Standard
Character is rarely emotionally and physically believable; choices, tactics, objectives and a relationship to a real or implied partner(s) are not evident.
SINGING TECHNIQUE
Pitch, articulation, pace, rhythm, projection, breath support and control that follows the score.
Above Standard
Consistently on pitch, appropriate articulation and pace, precise rhythm, and varied projection, with skillful phrasing and strong mechanical skills proven by breath support/control, tone, and placement, and use of ranges, always follows score.
At standard
Frequently on pitch with appropriate articulation, pace, rhythm, projection, breath support and control; follows the score.
Near Standard
Infrequently on pitch with inconsistent articulation, pace, rhythm, projection, breath support and control; usually follows the score.
Aspiring to Standard
Rarely on pitch with limited articulation, pace, rhythm, projection, breath support and control; frequently deviates from the score.
SINGING EXPRESSION
Musical expression that communicates and reflects the character’s emotions and subtext.
Above Standard
Intuitively integrates voice, lyrics, and music to truthfully communicate and portray a believable character through emotions and subtext.
At standard
Integrates voice, lyrics, and music to communicate and portray a believable character through emotions and subtext.
Near Standard
Inconsistently integrates voice, lyrics, and music to communicate and portray a character through emotions and subtext.
Aspiring to Standard
Rarely integrates voice, lyrics, and music to communicate and portray a character through emotions and subtext.
MOVEMENT & DANCE
Gestures, facial expressions, blocking, and movement/dance that communicate the character’s emotions and subtext.
Above Standard
Gestures and facial expressions consistently communicate appropriate character emotions and their meanings; blocking and movement/dance are varied, purposeful, and reflect the character’s emotion and subtext.
At standard
Gestures and facial expressions frequently communicate appropriate character emotions and their meanings; blocking and movement/dance are varied, purposeful, and reflect the character’s emotion and subtext.
Near Standard
Gestures and facial expressions infrequently communicate appropriate character emotions and their meanings; blocking and movement/dance generally reflect the character’s emotion and subtext.
Aspiring to Standard
Gestures and facial expressions are limited/absent and rarely communicate suitable character emotions; blocking and movement/dance does not reflect the character’s emotion and subtext.
EXECUTION
Concentration and commitment to moment- to- moment choices; integration of voice, body, and emotions create a believable character/ relationship that tells a story.
Above Standard
Concentration and commitment to moment-to-moment choices are sustained throughout the performance; integration of voice, body, and emotions create a believable character/ relationship that tells a story.
At standard
Concentration and commitment to moment- to-moment choices are sustained throughout most of the performance; integration of voice, body, and emotions create a frequently believable character/relationship that tells a story.
Near Standard
Concentration, and commitment to moment- to-moment choices are inconsistently sustained; integration of voice, body, emotion choices create a sometimes-believable character/relationship that tells a story.
Aspiring to Standard
Concentration and commitment to moment- to-moment choices are limited or absent; voice, body, emotion choices rarely create a believable character/ relationship that tells a story.
Download a rubic for Solo Musical Theatre Performance specifically designed for deaf and hard of hearing participants.
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