TABLE OF CONTENTS. Rules and Regulations Important Dates and Deadlines School Information Kelly Critics Program...

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1 TABLE OF CONTENTS Rules and Regulations... 2 Important Dates and Deadlines... 6 School Information... 8 Kelly Critics Program... 9 Jimmy Awards Information Judging Criteria Gene Kelly Awards Form Examples Page 1

2 2019 GENE KELLY AWARDS RULES & REGULATIONS CONTACT INFORMATION: The school must send all completed forms and requested materials to the Pittsburgh CLO Academy of Musical Theater. All materials must be sent either via or mail to the information below: Materials to: Mail Materials to: Gene Kelly Awards Pittsburgh CLO Academy 130 CLO Academy Way Pittsburgh, PA Gene Kelly Awards Contact Information: Kiesha Lalama, Director of Community Engagement and Strategic Initiatives & Gene Kelly Awards Director Michael J. Cerchiaro, Education Programs Manager Jim Scriven, Associate Education Director Nicole Lakovic and Emma Cook, Gene Kelly Awards Coordinators Phone: Social Media: Facebook Gene Kelly Awards for Excellence in High School Musical Theater DEADLINES The school contact person must complete online forms by the due date listed. Access to the forms will become unavailable after the posted due date. This package includes the following examples of forms: Performance Details, Production Budget, School Parking, Best Musical Nominee Information, Finale Participants, Video, Program Photo, Nominee Acceptance, Social Networking Liaison, and the Best Actor/Actress and Best Supporting Actor/Actress forms. All links to the forms are ed to the contact and available on pittsburghclo.org. Click on Education, Programs, Gene Kelly Awards. Page 2

3 EVALUATIONS All schools will receive an on-site production evaluation by four members of the judges panel. After the on-site visits, these designated judges will complete comprehensive written critiques and scores of the productions. The written evaluations will be mailed to the school contact person after June 1, JUDGING PROCESS THE SCORES OF THE JUDGES WHO SEE THE ENTIRE LIVE PERFORMANCE WILL BE WEIGHED 65%. THE SCORES OF THE JUDGES WHO SEE ONLY THE VIDEO WILL BE WEIGHED 35%. Four judges will see each show. If a show is double-cast, it will be seen once. The school chooses the cast that will be judged. All scores are calculated and kept sealed by Deloitte until the awards ceremony. Upon the completion of adjudicating your performance, the judge(s) have the option to submit 3-5 recommendations for you to include on your DVD. These recommendations will be sent to you the Monday following the final judged performance. ORCHESTRA/MUSIC 10% of the student orchestra may be professional musicians in addition to the conductor. Schools that use more than one adult/professional musician per nine musicians in the student orchestra are ineligible for the Best Orchestra award. All schools must utilize the talents and resources of their own school. The school must retain the orchestra score until the nominations are announced, so that the Pittsburgh CLO Orchestra can perform the music from the nominated shows in all categories. Arrangements will be made by the Pittsburgh CLO with the various licensing houses for the schools to retain their music through the awards evening without charge. NOMINATIONS The process for announcing the nominations is currently being determined. More information will follow soon. Schools nominated for Best Musical in each budget category must adhere to the following: Each nominated school must submit one, maximum length of 4-MINUTES and 30-SECONDS production number to be performed during the awards ceremony. The production number must be performed in the original format, as written in the script. Only one song is accepted. Due to licensing rights, NO medleys or creative interpretations of any kind are permitted. If necessary, the performance may include up to four spoken lines to segue into the song. The orchestra score must be delivered to the Pittsburgh CLO Academy no later than Friday, May 10, All necessary cuts, to adhere to the 4-MINUTE, 30-SECOND maximum should be clearly marked in pencil for the selected number. The Pittsburgh CLO reserves the right of final approval of the chosen number given program length and stage logistics. Page 3

4 VIDEO FILE IT IS IN YOUR BEST INTEREST TO SUBMIT THE HIGHEST QUALITY FILE POSSIBLE. THIS WILL GIVE EVERY JUDGE AN ACCURATE REPRESENTATION OF YOUR STUDENTS EFFORTS. The school is required to upload video files, one week after the closing performance. Schools whose final performance is the weekend prior to, or the week of, the final judges meeting (May 3 rd ), must submit a video no later than May 1 st, Any video files submitted after the deadlines as listed above, risk the chance of not being viewed at the final judges meeting. Individual files must highlight the following performance components along with the Video Form provided by the Pittsburgh CLO: Overall Production Highlight (3 minute maximum) o Excerpts from 2-3 full ensemble numbers not to exceed 3 minutes in total length. o Choose highlights that best represent your production o File Production_School Name_Show Title Full Orchestra (1 minute maximum - for eligible schools) o Student orchestra, including brief shots of each section (strings, woodwinds, brass, percussion, etc.) o One full orchestra shot photographed from the conductor s perspective o File Orchestra_School Name_Show Title Best & Best Supporting Actor/Actress (1 minute maximum per performer) o The school must submit 1-minute video segments of performers who would possibly be considered for the Best Actor/Actress or Best Supporting Actor/Actress Awards categories. (All nominated actors MUST have their own separate file of their performance. Do NOT put all or several nominees on the same clip) o Choose highlights including: strong vocals, acting, and dance. If applicable. o File name: Best Actor/Actress_Last Name, First Name_Role_School Name_Show Title Please adhere to the following video requirements: 1. All segments must be filmed during the actual performance, not staged scenes at a different time. 2. The file MUST be clearly named with your school name, the clip name, and Actor/Actress. 3. The video must be submitted within one week of your final performance date. Schools whose final performance is the weekend prior to, or the week of, the final judges meeting (May 3 rd ), must submit a video no later than May 1 st, Any video files submitted after the deadlines as listed above, risk the chance of not being viewed at the final judges meeting. 4. Do not send a video recording of your entire production. Information on how and where to upload the files will be sent. The right to video your performance was given for the exclusive use by the Pittsburgh CLO Gene Kelly Awards judging process. Any school that is found taping a performance for any other purpose will be disqualified from the event. This includes making DVD/Videos of the production for sale, a violation of copyright laws. Page 4

5 BEST ACTOR & ACTRESS WINNERS Upon winning the Gene Kelly Award for Best Actor or Actress, each winner will be awarded a $5,000 cash scholarship generously provided by Point Park University to be applied to any college of their choice and will travel to New York City to participate in the Jimmy Awards on Broadway. SHOW PROGRAM Each school should also send pages from their show program no later than one week after the performance. Programs are used to verify titles, spelling, numbers, etc. Please upload a PDF version of the following pages: o Cover o Title Page (noting author credits, etc.) o Cast & Crew List o Production Team List o Scenes & Songs Program files must be received one week after your final performance and no later than May 1, Information on where to upload will be sent at a later date. PROGRAM PHOTO Each school should send a color photograph of their production for inclusion into the Gene Kelly Awards playbill and Penn Avenue Poster: The photograph should be uploaded in a.jpg format, 300 dpi resolution. Please title the file: School_Show Title. Photograph must be received by Friday, April 26, Information on where to upload will be set at a later date. PROGRAM AD The Pittsburgh CLO will provide artwork (via ) to be placed in your school s musical program. The ad serves to promote the high school as a participant in the Gene Kelly Awards ceremony. Color, black and white, and sized versions of the ad will be available for downloading from pittsburghclo.org beginning on February 4 th. Page 5

6 Friday, January Last day for participating schools to drop out Monday, January Participants Meeting - Pittsburgh CLO Academy at 5 p.m. Monday, February 4... Judges Meeting - Pittsburgh CLO Academy at 5 p.m. Friday, April Cash, Ambassadors, and Guild Scholarship nomination forms due March, April & May... Video files uploaded and program pages due one (1) week after your final production. No later than May 1, 2017 Friday, April Best Musical Nominee Selection form due Friday, April Program photo from each school due Friday, May 3... Judges Final Meeting - Deloitte at 5 p.m. Week of May 6... Schools notified of nominations. Group ticket order form sent to all schools via . Day After Nominations... Schools can begin to submit completed group ticket order forms to Pittsburgh CLO. Ticket orders are granted on a first come, first serve basis at 9 a.m. Friday, May Nominee Acceptance Form due Best Actor/Actress & Best Supporting Actor/Actress Information Forms due Finale Participants Form due Orchestra scores from each nominated: Best Production (no medleys) Best Actor (song to be selected by GKA Music Director) Best Actress (song to be selected by GKA Music Director) Sunday, May 12.Lead nominees audition for industry professionals Monday, May Deadline for Group Ticket Orders. Friday, May Tickets Go on Sale to the Public Please Note: It is very rare that tickets are available for public sale. Please encourage purchasing tickets through a participating school whenever possible. To purchase tickets call or go to pittsburghclo.org May 19, 20, Mandatory Opening Number Rehearsal for Best Supporting Actor/Actress May 19, 20, 21, 22, Mandatory Finale participants rehearsals Pittsburgh CLO Academy Best Actor/Actress and Medley Rehearsals May Gene Kelly Awards rehearsal and show Page 6

7 2019 GENE KELLY AWARDS LIST OF PARTICIPATING SCHOOLS Avonworth Baldwin Bishop Canevin Brentwood* Central Catholic/Oakland Catholic Chartiers Valley Deer Lakes Elizabeth Forward Hampton Keystone Oaks Montour Moon North Hills Our Lady of the Sacred Heart Penn Hills Pine-Richland Pittsburgh Allderdice Pittsburgh Brashear Pittsburgh CAPA Plum Senior Propel Braddock Hills Quaker Valley Redeemer Lutheran Riverview Serra Catholic Seton-LaSalle Sewickley Academy Springdale Jr-Sr St. Joseph Steel Valley Sr* West Allegheny Westinghouse Arts Academy Woodland Hills Page 7 *Indicates school is participating on an individual level only

8 2019 GENE KELLY AWARDS SCHOOL MUSICALS AND DATES School Show Performance Dates Avonworth The Little Mermaid April 5, 6, 12, 13 Baldwin Mame April 10, 11, 12, 13 Bishop Canevin Pippin April 25, 26, 27 Brentwood Mary Poppins April 11, 12, 13 Central/Oakland Catholic Chicago April 11, 12, 13 Chartiers Valley Sister Act March 6, 7, 8, 9 Deer Lakes Mamma Mia! April 12, 13, 14 Elizabeth Forward Mamma Mia! April 11, 12, 13, 14 Hampton Chicago April 5, 6, 12, 13 Keystone Oaks Beauty and The Beast March 28, 29, 30 Montour Footloose April 5, 6, 7, 12, 13 Moon Mamma Mia! March 14, 15, 16, 17 North Hills Tuck Everlasting March 21, 22, 23, 28, 29, 30 Our Lady of the Sacred Heart Once Upon a Mattress March 1, 2, 3, 9, 10 Penn Hills The Addams Family April 26, 27 & May 3, 4, 5 Pine-Richland Guys & Dolls March 8, 9, 15, 16 Pittsburgh Allderdice Leader of the Pack April 4, 5, 6, 7 Pittsburgh Brashear Little Shop of Horrors March 28, 29, 30 Pittsburgh CAPA Sister Act March 28, 29, 30, 31 & April 5, 6, 7 Plum The Wizard of Oz April 11, 12, 13 Propel Braddock Hills Once on this Island February 1, 2 Quaker Valley Shrek the Musical March 7, 8, 9 Redeemer Lutheran Mary Poppins April 5, 6 Riverview Shrek the Musical March 28, 29, 30, 31 Serra Catholic The Wizard of Oz April 3, 4, 5, 6 Seton-LaSalle Joseph and the Amazing Technicolor Dreamcoat March 7, 8, 9 Sewickley Academy Beauty and The Beast February 28, March 1, 2 Springdale Mamma Mia! March 29, 30, 31 St. Joseph In the Heights April 4, 5, 6, 7 Steel Valley The Sound of Music February 21, 22, 23, 24 West Allegheny The Addams Family March 22, 23, 24, 29, 30 Westinghouse Arts Academy Footloose April 12, 13, 14 Woodland Hills Mamma Mia! April 26, 27 & May 2, 3, 4 Page 8

9 2019 GENE KELLY AWARDS KELLY CRITICS PROGRAM To reach as many students as possible, the Pittsburgh CLO created the Kelly Critics program in partnership with Dr. Christopher Rawson, Senior Theater Critic of the Pittsburgh Post-Gazette and longtime member of the University of Pittsburgh English Department. It provides an opportunity for students in Kelly Awards schools to enjoy and write about musical theater. Each participating school chooses no more than two student Kelly Critics and an adult coordinator, someone DIFFERENT from the Gene Kelly Awards representative. The coordinator serves as liaison between the Kelly Critics, the CLO, and Dr. Rawson, helping to make sure the students see the shows and submit their reviews Kelly Critics CANNOT be involved in the musical. Otherwise, they can be any students, although juniors or seniors are preferable. Students are invited to an optional one-time seminar at the Post-Gazette, where Dr. Rawson gives them a pep talk and introduces them to theater reviewing, describing its pleasures and pitfalls. This year s seminar will be in late February, date to be determined. Each Kelly Critic is assigned by the Gene Kelly Awards staff to review two musicals by other Gene Kelly schools. For each show, they are given two tickets so that a friend or parent can accompany them. Each school in the Kelly program agrees to provide up to four pairs of tickets for Kelly Critics from other schools. Kelly Critics their reviews to Dr. Rawson within a week of seeing the performance. He provides feedback, does some light editing and posts them on the High School Musicals section of the Post-Gazette s website, under the A&E / Theater & Dance tab. Each year one Kelly Critic is recognized with a Gene Kelly Award and a cash scholarship. No school is obligated to participate in the Kelly Critics program, but since other schools students will be reviewing your shows, why not give your students a chance to do the same, learn something about real-world writing and see their work published on the Post-Gazette website? (Participation also looks good on a college application.) If interested, please contact Nicole Lakovic and Emma Cook (gkawards@pittsburghclo.org) with the name, address, and phone number of the teacher who will coordinate your two Kelly Critics. Teacher information needs to be submitted ASAP. If you have any questions about Dr. Rawson s mentorship or the Post-Gazette s part of the program, contact him at cchr@pitt.edu. Page 9

10 2019 JIMMY AWARDS NATIONAL HIGH SCHOOL MUSICAL THEATER AWARDS INFORMATION SHEET Once again, the Gene Kelly Awards will be participating in the National High School Musical Theater Awards! This exciting program, co-founded by Nederlander Productions and the Pittsburgh CLO, was successful, educational and inspiring to everyone involved. The NHSMTA provides an opportunity of a lifetime for students that have a passion for musical theater! Goal: To gain national recognition for those exceptional students across the country who participate in their local high school musicals and to expose these promising young artists to career opportunities within the performing arts industry. Strategy: To invite the winners of the best actor and actress categories from high school musical theater awards from around the country, to New York City for a six-day event at New York University, Tisch School of the Arts, culminating with a live performance and awards ceremony on the Broadway stage of the Minskoff Theatre. Process: Ten-day event includes: learning an opening and closing number, performing a medley with other participants, master class workshops, private coaching, and a selection process before a panel of professional judges with nominees narrowed down for a Best Actor and Best Actress. When: Events at New York University, Tisch School of the Arts, will run Sunday, June 16, 2019 through Tuesday, June 25, The awards ceremony at the Minskoff Theater is to be held on Monday, June 24, Where: Rehearsals, master classes, and private coaching will take place in New York City at New York University, Tisch School of the Arts. One Best Actor and one Best Actress, accompanied by one chaperone will be provided accommodations, travel and meals. The final performance and award ceremony will take place on the Broadway stage at the Minskoff Theatre in Times Square. More Information: Please visit or call Kiesha Lalama at x102. Page 10

11 PITTSBURGH CLO 2019 NHSMTA SPONSOR Gene Kelly Awards and Mancini Awards Participants The Pittsburgh CLO will sponsor the Pittsburgh CLO Gene Kelly Awards and the Lincoln Park Henry Mancini Awards Best Actor and Best Actress winners to participate in the 2019 National High School Musical Theatre Awards, the Jimmy s. Each of the participating programs will select six Best Actor and six Best Actress nominees. All lead category nominees will participate in an audition process for an independent panel of industry professionals. The panel will identify four winners, one Best Actor and one Best Actress from each of the Gene Kelly Awards and Mancini Awards. The winners will represent their respective program at the national competition. Schedule February through May 3, 2019: High School musical theater production adjudications Friday, May 3, 2019: Gene Kelly Awards Judges meeting and nomination round o Six Best Actor and Six Best Actress nominees will be selected Saturday, May 4, 2019: Mancini Awards Judges meeting and nomination round o Six Best Actor and Six Best Actress nominees will be selected Week of May 6, 2019: Public announcement of all nominees for both programs Sunday, May 12, 2019: All 24 Lead nominees audition for industry professionals o o o o Six Best Actor and Six Best Actress nominees from Kelly s Six Best Actor and Six Best Actress nominees from Mancini s Kelly s Best Actor and Best Actress will be identified Mancini s Best Actor and Best Actress will be identified Sunday, May 19, 2019: Lincoln Park Mancini Awards Ceremony o Formally Announce Best Actor and Best Actress Saturday, May 25, 2019: Pittsburgh CLO Gene Kelly Awards Ceremony o Formally Announce Best Actor and Best Actress Monday, May 27, 2019: NHSMTA welcome meeting with all four winners and parents at the Academy Tuesday, May 28, 2019: Coaching begins for NHSMTA participants Nominee Audition Details: Date: Sunday, May 12, 2019 Time: 6:00pm 9:00pm Location: Pittsburgh CLO Academy Process: Each nominee will prepare and perform the following: One complete solo from their 2019 nominated role (up-tempo or ballad) One 32 bar selection NOT from the 2019 nominated role or production Qualifying songs must be a musical theater song Page 11

12 2019 GENE KELLY AWARDS JUDGING CRITERIA Page 12

13 2019 GENE KELLY AWARDS CATEGORIES Best Actor Best Actress Best Supporting Actor Best Supporting Actress Best Ensemble Best Crew/Technical Execution Best All-Student Orchestra Best Execution of Choreography Best Execution of Direction Best Execution of Music Direction Best Scenic Design* Best Costume Design* Best Lighting Design* Best Musical* *AWARDS GIVEN IN THREE BUDGET CATEGORIES Page 13

14 2019 GENE KELLY AWARDS JUDGING CRITERIA RUBRIC FOR LEAD AND SUPPORTING ROLES Ratings will be calculated according to the point scale below, and applied to a scoring sheet which may or may not include comments from the respondents. These rubrics will be made available to schools after their critique sessions. Program Directors will have the choice whether or not to share scoring sheets with their students. These ratings are meant to help students evaluate their work and are for educational purposes only. CRITERIA 1 or 2 or 3 Emerging = Rarely 4 or 5 or 6 Developing = Sometimes 7 or 8 or 9 Proficient = Often 10 Excellent = Always ACTING The actor rarely knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. Dialogue and words were rarely clearly understood with proper pronunciation and articulation for each character. Actor rarely presented natural ability, characterization or strong speech and voice. The actor sometimes knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. Dialogue and words were sometimes clearly understood with proper pronunciation and articulation for each character. Actor sometimes presented natural ability, characterization or strong speech and voice. The actor often knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. Dialogue and words were often clearly understood with proper pronunciation and articulation for each character. Actor often presented natural ability, characterization or strong speech and voice. The actor always knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. Dialogue and words were always clearly understood with proper pronunciation and articulation for each character. Actor always presented natural ability, characterization or strong speech and voice. SINGING Actor rarely sang with emotional understanding, adequate volume, proper diction, correct pitch and tone, supported breathing and dramatic expression. The actor rarely delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection. Actor sometimes sang with emotional understanding, adequate volume, proper diction, correct pitch and tone, supported breathing and dramatic expression. The actor sometimes delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection Actor sometimes sang with emotional understanding, adequate volume, proper diction, correct pitch and tone, supported breathing and dramatic expression. The actor sometimes delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection Actor always sang with emotional understanding, adequate volume, proper diction, correct pitch and tone, supported breathing and dramatic expression. The actor always delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection DANCING Dancing rarely enhanced and complemented the content of the show. Dancer rarely knew the routines, demonstrated technique, energy and style throughout the performance. Dancing sometimes enhanced and complemented the content of the show. Dancer sometimes knew the routines, demonstrated technique, energy and style throughout the performance. Dancing often enhanced and complemented the content of the show. Dancer often knew the routines, demonstrated technique, energy and style throughout the performance. Dancing always enhanced and complemented the content of the show. Dancer always knew the routines, demonstrated technique, energy and style throughout the performance.

15 2019 GENE KELLY AWARDS JUDGING CRITERIA RUBRIC FOR OVERALL CATEGORIES Ratings will be calculated according to the point scale below, and applied to a scoring sheet which may or may not include comments from the respondents. These rubrics will be made available to schools after their critique sessions. Program Directors will have the choice whether or not to share scoring sheets with their students. These ratings are meant to help students evaluate their work and are for educational purposes only. CRITERIA 1 or 2 or 3 Emerging = Rarely 4 or 5 or 6 Developing = Sometimes 7 or 8 or 9 Proficient = Often 10 Excellent = Always EXECUTION OF DIRECTION Execution of direction rarely displayed a creative, original vision into the overall performance. The performance rarely seemed organized, fluid and cohesive throughout. Production rarely comprehended the objectives, obstacles and text (script) of the piece. The cast rarely knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. The production rarely created a unified, harmonious environment considering: casting, creativity, fluidity, tempo and overall. Execution of direction sometimes displayed a creative, original vision into the overall performance. The performance sometimes seemed organized, fluid and cohesive throughout. Production sometimes comprehended the objectives, obstacles and text (script) of the piece. The cast sometimes knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. The production sometimes created a unified, harmonious environment considering: casting, creativity, fluidity, tempo and overall. Execution of direction often displayed a creative, original vision into the overall performance. The performance often seemed organized, fluid and cohesive throughout. Production often comprehended the objectives, obstacles and text (script) of the piece. The cast often knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. The production often created a unified, harmonious environment considering: casting, creativity, fluidity, tempo and overall. Execution of direction always displayed a creative, original vision into the overall performance. The performance always seemed organized, fluid and cohesive throughout. Production always comprehended the objectives, obstacles and text (script) of the piece. The cast always knew their relationships to the other characters, to the world, to the period, social status, and the environment with effective emotional transitions. The production always created a unified, harmonious environment considering: casting, creativity, fluidity, tempo and overall. EXECUTION OF MUSIC DIRECTION Pace and rhythm rarely supported the actors understanding of the piece throughout the performance; the story played out and music delivery rarely enhanced the mood and atmosphere of the play. The musical climaxes were rarely developed. The cast rarely delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection. Pace and rhythm sometimes supported the actors understanding of the piece throughout the performance; the story played out and music delivery sometimes enhanced the mood and atmosphere of the play. The musical climaxes were sometimes developed. The cast sometimes delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection. Pace and rhythm often supported the actors understanding of the piece throughout the performance; the story played out and music delivery often enhanced the mood and atmosphere of the play. The musical climaxes were often developed. The cast often delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection. Pace and rhythm always supported the actors understanding of the piece throughout the performance; the story played out and music delivery always enhanced the mood and atmosphere of the play. The musical climaxes were always developed. The cast always delivered each song through believable characterizations with strong vocal tone, rhythm, intonation and projection. EXECUTION OF CHOREOGRAPHY Dancing rarely showed originality or creativity; formations and combinations of steps were rarely visually effective and appropriately synchronized. The dancing rarely developed the story line or made good use of cast talent, music dynamics, level changes, and floor space. Dancing sometimes showed originality or creativity; formations and combinations of steps were sometimes visually effective and appropriately synchronized. The dancing sometimes developed the story line or made good use of cast talent, music dynamics, level changes, and floor space. Dancing often showed originality or creativity; formations and combinations of steps were often visually effective and appropriately synchronized. The dancing often developed the story line or made good use of cast talent, music dynamics, level changes, and floor space. Dancing always showed originality or creativity; formations and combinations of steps were always visually effective and appropriately synchronized. The dancing always developed the story line and made good use of cast talent, music dynamics, level changes, and floor space.

16 2019 GENE KELLY AWARDS JUDGING CRITERIA RUBRIC FOR OVERALL CATEGORIES cont d CRITERIA 1 or 2 or 3 Emerging = Rarely 4 or 5 or 6 Developing = Sometimes 7 or 8 or 9 Proficient = Often 10 Excellent = Always The costuming rarely represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The costuming sometimes represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The costuming often represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The costuming perfectly represented the idea(s) of the play and demonstrated a meaningful, unified production concept. COSTUME DESIGN Costumes were rarely appropriate to represent time and place, establish character, enhance theme and mood, and create dramatic environments. Costumes were sometimes appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. Costumes were often appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. Costumes were always appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. LIGHTING DESIGN The lighting rarely represented the idea(s) of the play and demonstrated a meaningful, unified production concept. Lighting was rarely appropriate and applied the functions of lighting to represent time and place, establish character, enhance theme and mood and create dramatic environments. The lighting sometimes represented the idea(s) of the play and demonstrated a meaningful, unified production concept. Lighting sometimes appropriate and applied the functions of lighting to represent time and place, establish character, enhance theme and mood and create dramatic environments. The lighting often represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The lighting often appropriate and applied the functions of lighting to represent time and place, establish character, enhance theme and mood and create dramatic environments. The lighting perfectly represented the idea(s) of the play and demonstrated a meaningful, unified production concept. Lighting was always appropriate and applied the functions of lighting to represent time and place, establish character, enhance theme and mood and create dramatic environments. The stage arrangement rarely represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The stage arrangement sometimes represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The stage arrangement often represented the idea(s) of the play and demonstrated a meaningful, unified production concept. The stage arrangement perfectly represented the idea(s) of the play and demonstrated a meaningful, unified production concept. SET DESIGN Theatrical settings and design elements were rarely appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. Theatrical settings and design elements were sometimes appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. Theatrical settings and design elements were often appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments. Theatrical settings and design elements were always appropriate to represent time and place, establish character, enhance theme and mood and create dramatic environments.

17 2019 GENE KELLY AWARDS JUDGING CRITERIA RUBRIC FOR OVERALL CATEGORIES cont d CRITERIA 1 or 2 or 3 Emerging = Rarely 4 or 5 or 6 Developing = Sometimes 7 or 8 or 9 Proficient = Often 10 Excellent = Always The actors rarely listened to each other and reacted accordingly. Rarely demonstrated effective group dynamics and awareness. The actors sometimes listened to each other and reacted accordingly. Sometimes demonstrated effective group dynamics and awareness. The actors often listened to each other and reacted accordingly. Often demonstrated effective group dynamics and awareness. The actors always listened to each other and reacted accordingly. Always demonstrated effective group dynamics and awareness. ENSEMBLE There was rarely a smoothness of action which indicated plenty of rehearsal and cooperation among the actors, musicians and production team. There was sometimes a smoothness of action which indicated plenty of rehearsal and cooperation among the actors, musicians and production team. There was often a smoothness of action which indicated plenty of rehearsal and cooperation among the actors, musicians and production team. There was always a smoothness of action which indicated plenty of rehearsal and cooperation among the actors, musicians and production team. PRODUCTION The appropriateness of the musical rarely showcased the diverse talents of the performers and produced elements of quality musical theater. The theme was rarely evident through the music, movements, props, and costumes. The appropriateness of the musical sometimes showcased the diverse talents of the performers and produced elements of quality musical theater. The theme was sometimes evident through the music, movements, props, and costumes. The appropriateness of the musical often showcased the diverse talents of the performers and produced elements of quality musical theater. The theme was often evident through the music, movements, props, and costumes. The appropriateness of the musical always showcased the diverse talents of the performers and produced elements of quality musical theater. The theme was always evident through the music, movements, props, and costumes. CREW Stage crew rarely performed cues and technical responsibilities seamlessly according to established theatrical practice and standards of safety. Stage crew sometimes performed cues and technical responsibilities seamlessly according to established theatrical practice and standards of safety. Stage crew often performed cues and technical responsibilities seamlessly according to established theatrical practice and standards of safety. Stage crew always performed cues and technical responsibilities seamlessly according to established theatrical practice and standards of safety. ORCHESTRA The instrumental ensemble rarely demonstrated each student s skills in music performance, leadership or musicianship. The synchronicity between the music, acting and dance elements were rarely developed. The instrumental ensemble sometimes demonstrated each student s skills in music performance, leadership or musicianship. The synchronicity between the music, acting and dance elements were sometimes developed. The instrumental ensemble often demonstrated each student s skills in music performance, leadership or musicianship. The synchronicity between the music, acting and dance elements were often developed. The instrumental ensemble always demonstrated each student s skills in music performance, leadership or musicianship. The synchronicity between the music, acting and dance elements were always developed.

18 Judges forms can be found and submitted online at GENE KELLY AWARDS PERFORMANCE CRITIQUES School: Date of Show: Show: In your critique, please be constructive and helpful. These critiques are designed to help the schools make improvements in their productions. Critiques will be given to each school after the awards unattributed. Please return your critique from each school you have visited, along with your Judging Sheets ASAP! Please keep in mind: Set design Light design Choreography Costume design Direction Orchestra Crew Overall production What did you enjoy most about the production? What were the show s strongest points? What could be improved? Other comments: Judge s Signature:

19 2019 Gene Kelly Awards JUDGING SHEET School: Show Director: Date: Judge: Score each category on a 1-10 scale, with (1) being the lowest and (10) being the highest score possible. Thus, a score (1) = Low (10) = Perfection *Type refers to Male Actor(MA), Female Actor(FA), Actor Name Role Type* Natural Ability Male Supporting(MS), or Female Supporting(FS) Acting Singing Dancing/ Movement Characterization Speech/ Vocal Vocal Tone Rhythm & Intonation/ Musicianship Projection Tech- nique Energy Style Overall Performance (out of 10 pts) OFFICE USE ONLY Please refer to the character sheet in your packet Please return 3-5 days after performance

20 2019 GENE KELLY AWARDS FORMS **ALL FORMS MUST BE COMPLETED ONLINE** Visit: Page 20

21 Due: February 8, 2019 Form will ONLY be accepted via online submission GENE KELLY AWARDS SOCIAL NETWORKING LIAISON Congratulations on being nominated to feature YOUR school musical through social networking for the 2019 Gene Kelly Awards! Your friends, family and all of Pittsburgh need to experience the amount of dedication and hard work that goes into your high school s musical production. As a social networking student liaison, you will have the opportunity to boost the excitement and represent your high school musical in the best way possible! The responsibilities of a social networking liaison include, but are not limited to: Posting daily rehearsal photos, show photos, and videos of your current production to the Gene Kelly Awards Facebook page. Getting as many people as possible to like the Gene Kelly Awards page Creating "stories of the day" that feature YOUR school musical and all of the preparation! Posting the same or similar material onto your twitter page Using the hashtag, #GKA2019 for all posts Creating a Facebook Fan Page for your high school s current musical Tagging all of your posts to the Gene Kelly Award Facebook page (Gene Kelly Awards for Excellence in Musical Theater) and twitter account (@GKAwards) How much will it take for you to outshine the rest? We want to see everyone getting excited for the Gene Kelly Awards! Throughout the process, the Gene Kelly Awards staff will be watching your daily Facebook and twitter activity involving your production. There will be a Mandatory Liaison Meet and Greet on Friday, February 22, 2019 at 5:00PM at the CLO Academy (130 Academy Way, Downtown Pittsburgh). If you cannot attend this meeting, please do not accept the Social Networking Liaison position. We thank you in advance for all of your efforts and help to spread the word about your high school musical and the Gene Kelly Awards! Please fill out the form below, which can be submitted online at or detached and sent via mail to: CLO Academy, 130 CLO Academy Way, Pittsburgh, PA SOCIAL NETWORKING LIAISON INFORMATION: DUE FEBRUARY 8, 2019 Grade: Home Phone: Address: Cell Phone: School:

22 Due: April 19, 2019 Best Musical Nominee Information Form will ONLY be accepted via online submission GENE KELLY AWARDS BEST MUSICAL NOMINEE INFORMATION Due: Friday, April 19, 2019 Please Print School: Contact: Name of Show: How many students will be participating in the production number? Men: Woman: How many students are on stage at the top of the production number? Of the ten (10) available wireless microphones, how many will be utilized? Print the names of the students and their character name (if applicable) who will be using microphones: Student Character Student Character Please attach ALL of the lyrics used in your production number. **NOTE: If your school is nominated for Best Musical and will perform at the Gene Kelly Awards, your school is allowed 4 minutes and 30 seconds for this performance. The performance must be only ONE musical number NO dialogue unless it is written within the musical number. Thank you for your cooperation. Due: April 19, 2019 Page 1 of 1

23 Due: One (1) Week after your FINAL performance date DVD Form Form will ONLY be accepted via online submission. Further details will be given in February GENE KELLY AWARDS VIDEO FORM Due: One (1) Week after your FINAL performance date Schools with final performance the weekend or week of, May 3 rd, must submit NO LATER than May 1 st, 2019 Please adhere to the due date noted above. Please attach extra sheets when necessary. School: Contact: Videos are mandatory. VHS tapes and DVDs will NOT be accepted. Please do not send a recording of the entire production. To ensure the best viewing of your school s performance, remember to use the highest quality. All judges will see the segments that directly correspond to nominations. These segments may be used in the May show. All videos become the property of the Pittsburgh CLO. Use this form to record exact times and counter numbers (minutes: seconds). The segments on your video recording MUST follow the order below. EXAMPLE: Title: Counter: Length: Production_Baldwin_BigFish 00:03-03:03 3 minutes FILE 1: Production Number (3 minutes) Title: Production_School Name_Show Title Counter: Length: FILE 2: Full Orchestra (1 minute) See Rules and Regulations to determine eligibility Orchestra: Orchestra_School Name_Show Title Counter: Length: Due: One (1) Week after your FINAL performance date Page 1 of 2

24 Due: One (1) Week after your FINAL performance date DVD Form FILE 3: Best Actor/Actress (1 minute each) Best Actor: BestActor_Last Name, First Name_Role_School Name_Show Title Actor/Role: Counter: Length: Best Actress: BestActress_Last Name, First Name_Role_School Name_Show Title Actress/Role: Counter: Length: FILE 4: Best Supporting Actor/Actress (1 minute each) Best Supporting Actor: SupportingActor_Last Name, First Name_Role_School Name_Show Title Actor/Role: Counter: Length: Best Supporting Actress: SupportingActress_Last Name, First Name_Role_School Name_Show Title Actress/Role: Counter: Length: Due: One (1) Week after your FINAL performance date Page 2 of 2

25 Due: May 10, 2019 Finale Participants Form will ONLY be accepted via online submission GENE KELLY AWARDS FINALE PARTICIPANTS Due: Friday, May 10, 2019 Please adhere to the due date noted above. No late submissions will be accepted. School: Contact: Select two students to participate in the Finale Production for the Gene Kelly Awards on Saturday, May 25, These two students MUST attend ALL rehearsals in order to perform (see the schedule below). The Gene Kelly Awards Choreographer and Musical Director will make final approval. Students will perform in their schools musical performance costume. MANDATORY REHEARSAL DATES AND TIMES May 19: TBD May 20 21, 22, 23: TBD All rehearsals take place at the Pittsburgh CLO Academy on Penn Avenue & CLO Academy Way, Downtown. Use the CLO Academy Way entrance located in the alley of the Highmark/Rite Aid Drug Store Building. Parking is available at the Sixth and Penn Avenue garage. Parking tickets are validated at the Academy to reduce the parking cost to $5.00. STUDENT INFORMATION: Grade: Home Phone: Address: Cell Phone: Grade: Home Phone: Address: Cell Phone: Due: May 10, 2019 Page 1 of 1

26 Due: May 10, 2019 Nominee Acceptance Form will ONLY be accepted via online submission GENE KELLY AWARDS NOMINEE ACCEPTANCE Due: Friday, May 10, 2019 Please copy the second page of this form for any additional nominations (if applicable). School: Contact: We do not permit any adults to accept any awards, as this is a student event. Nominees for all categories will be required to attend a rehearsal. Date: May 25, 2019 Time TBA NOMINEE ACCEPTANCE INFORMATION: We are nominated for: (please include budget category if applicable) Nomination: Budget Category: Accepting this award will be: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Due: May 10, 2019 Page 1 of 2

27 Due: May 10, 2019 Nominee Acceptance Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Nomination: Budget Category: Phone: Due: May 10, 2019 Page 2 of 2

28 Due: May 10, 2019 Best Actor/Actress Information Form will ONLY be accepted via online submission GENE KELLY AWARDS BEST ACTOR/ACTRESS INFORMATION Due: Friday, May 10, 2019 NOMINEE INFORMATION: Grade: Home Phone: Address: Cell Phone: School: Show Character Please list several moments in your production where this nominee gave their best performance. The nominee will be contacted in regards to which song the Gene Kelly Awards Music Director has chosen for them to perform. Due: May 10, 2019 Page 1 of 1

29 Due: May 10, 2019 Best Supporting Actor/Actress Information Form will ONLY be accepted via online submission GENE KELLY AWARDS BEST SUPPORTING ACTOR/ACTRESS INFORMATION Due: Friday, May 10, 2019 NOMINEE INFORMATION: Grade: Home Phone: Address: Cell Phone: School: Show Character Due: May 10, 2019 Page 1 of 1