Musical Theatre Dance
What to Prepare
In a Musical Theatre Dance Performance, the Thespian(s) must present one (1) dance selection from a published score written for a musical theatre scene with a focus on dance performance that does not exceed five (5) minutes in length. The adjudicators will consider how well the piece is danced as well as how well it is acted. Thespians must also adhere to the following:
- Thespians may present solo, duet, or group dance numbers. A Solo Musical Theatre Dance performance is defined by the International Thespian Excellence Awards as a piece from a musical theatre scene that includes a dance performance for an individual. A Duet Musical Theatre Dance performance is defined as a piece from a musical theatre scene that includes a dance performance for two (2) players. A Group Musical Theatre Dance performance is defined as a piece from a musical theatre scene that includes a dance performance for three to sixteen (3-16) players. In each case, every participant must be actively involved in the dance chosen for performance.
- Review the Rights & Licensing page to ensure that the chosen material is eligible to be performed for Thespy adjudication.
- All dance performances must be accompanied by pre-recorded music 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. Acceptable formats include selections from a cast album or recorded piano accompaniment following the score. If highlighting only a dance section from a longer musical number that includes singing, it is acceptable to present only the dance section.
- This is a dance-focused category. Singing, dialogue, and lip-synching are not allowed, except to include brief moments of vocalization, if required to perform the piece.
- In a Solo Musical Theatre Dance performance, one (1) chair may be safely used. In a Duet Musical Theatre Dance performance, two (2) chairs may be safely used. In a Group Musical Theatre Dance 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, layong 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 adjustments to choreography are needed in the adjudication room.
Slating: All 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., The dance section of "Shoeless Joe from Hannibal, Mo." from Damn Yankees for a Group Musical Theatre Dance entry);
- Name of the playwright(s) and/or composer(s).
A slate might sound like this: "Hello. My name is Jane Smith from Troupe 561, and I’ll be performing Cassie's dance from 'Music and the Mirror' from A Chorus Line by Marvin Hamlisch and Edward Kleban."
After the slate, time begins with the first musical note or acting beat (if it precedes the first 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 Acting Categories
In all Musical Theatre Dance categories, the skills measured by the adjudicators during the performace are:
- Use of transitions into and out of character;
- The ability to create a believable character;
- Communication of character and relationship through dance and movement;
- Musical theater dance technique;
- Use of expression and physicality in the dance format;
- Integration of body, movement, dance and staging.
Musical Theatre Dance Rubric
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 characters, distinctive final moment and transition out of character into exit.
At standard
Clear articulation of name and selection; recognizable transition into characters, final moment and into exit.
Near Standard
Moderately clear articulation of name and selection; transition into characters and/or final moment may or may not be present.
Aspiring to Standard
Unclear articulation of name and selection; transitions into characters and/ or final moment are not evident.
CHARACTERIZATION
Emotional and physical believability and commitment to character; choices that demonstrate a relationship with real or implied partner(s).
Above Standard
Character is consistently emotionally and physically believable; committed choices prompt intuitive reaction to real or implied partner(s).
At standard
Character is frequently emotionally and physically believable; committed choices and tactics prompt identifiable reaction to real or implied partner(s).
Near Standard
Character is infrequently emotionally and physically believable; choices prompt some reactions to real or implied partner(s).
Aspiring to Standard
Character is rarely emotionally and physically believable; choices and tactics are not evident.
TECHNIQUE
Pace, rhythm, physicality, and control that aligns with the score.
Above Standard
Consistently poised and confident with precise rhythm and pacing with mastery of balance, flexibility, range of motion, body positioning and use of space.
Movement illuminates the score.
At standard
Demonstrates confident movement with appropriate pace and rhythm with competent control of balance, flexibility, range of motion, body positioning and use of space.
Movement follows the score.
Near Standard
Demonstrates some appropriate pace and rhythm with partial control of balance, flexibility, range of motion, body positioning and use of space.
Movement mostly aligns with the score.
Aspiring to Standard
Infrequently uses appropriate pitch and rhythm with limited control of balance, flexibility, range of motion, body positioning and use of space.
Movement is frequently misaligned with the score.
EXPRESSION
Intentional use of physical expression to communicate character and reflect the story.
Above Standard
Truthfully communicates and embodies a nuanced believable character through physical expression.
At standard
Consistently portrays a believable character through physical expression.
Near Standard
Inconsistently portrays a believable character through physical expression.
Aspiring to Standard
Rarely portrays a believable character through physical expression.
MOVEMENT & PHYSICALITY
Gestures, facial expressions, blocking, and movement/dance that communicate emotion, subtext and story. This is the union of technique and expression.
Above Standard
Gestures and facial expressions consistently communicate appropriate character emotions and meaning; blocking and movement/dance are varied, purposeful, and enhance the story.
At standard
Gestures and facial expressions frequently communicate appropriate character emotions and meaning; blocking and movement/dance are varied, purposeful, and support the story.
Near Standard
Gestures and facial expressions infrequently communicate appropriate character emotions and their meanings; blocking and movement/dance are mostly align with the story.
Aspiring to Standard
Gestures and facial expressions are limited and fail to communicate suitable character emotions or meaning; blocking and movement/dance seems misaligned with the story.
EXECUTION
Sustained concentration and commitment to moment-to-moment choices and integration of all elements of performance to create a believable character and tell a story.
Above Standard
Concentration and commitment to moment-to-moment choices are sustained throughout.
All elements of performance work together seamlessly to create a nuanced believable character/relationship that tells a story.
At standard
Concentration and commitment to moment-to-moment choices are mostly sustained.
Elements of performance work together to create a believable character/ relationship that tells a story.
Near Standard
Concentration and commitment to moment-to-moment choices are inconsistently sustained.
Elements of performance occasionally work together to create a believable character/ relationship that tells a story.
Aspiring to Standard
Concentration and commitment to moment-to-moment choices are limited or absent.
Elements of performance rarely work together to create a believable character/ relationship that tells a story.
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