|
The following
information has been provided to the Submission Panel prior to the opening
of Submissions. The submission criteria are points-based, though the
individual weightings have been omitted from this document.
OzMade Musicals 2005
Assessment Criteria
AIM: To provide a clear and uniformly observed set of Musical Theatre
Works Selection criteria for OzMade Musicals 2005.
RATIONALE FOR CRITERIA:
The following criteria pre-supposes that:
| 1) |
Any
works examined will be rehearsal-ready: libretto and piano score
supplied. |
| 2) |
In
that the Musical Theatre form invites the expression of, but is not
limited to, text-spoken, text-sung, and, text-danced, the
criteria that follows will demand that works will meet these
requirements. |
| 3) |
All selections will
invite an elite rendering. |
| 4) |
In the interests of
economy in story-telling, the use of significant component of
technical theatre device is encouraged to be present in the work
examined. |
| 5) |
In the interests of
economy in story-telling, the use of a significant component of
underscoring, motif themes, etc. is encouraged to be present in the
score of the work examined. |
| 6) |
Works that are
presented with a demonstration CD are not to be advantaged. |
| 7) |
'Maverick' songs,
scenes, dances, etc. of
exceptional quality found in works that would otherwise be
unsuitable for OzMade Musicals (as per the points above), are not to
be denied performance possibilities, but should come under
individual scrutiny as 'stand alone' works (see 'Stand Alone Works
Criteria'). |
OUTCOME:
-
A selection of works that
advance/sustain the Music Theatre form.
-
A selection of works that
attract an OzMade Musicals audience.
-
A selection of works that
encourage a 'return-business' audience.
-
A selection of works that
could, by virtue of the panel's scrutiny and considered opinion, attract
investment.
TABLE OF CRITERIA FOR EACH MUSICAL THEATRE WORK
|
STORY |
| |
Was
the story told economically? |
| |
The
story, where necessary, is propelled by any of (but not limited to)
the following devices (Conflict, Drama, Transitional, Romance,
Comedy of any form [vaudeville, absurdist, burlesque, satire, etc.]
Dance, Movement, Potential for the use of Technical Theatre, Text
[Spoken or Sung]). |
|
TEXT |
|
Close
observation will be made of the writer's ability to complete the
stories related to the major protagonists with economy. It is
advised that over-writing be avoided. OzMade encourages that
writers acknowledge the dimensions brought to the piece by the work
of, but not limited to, the actor/director/design/technical
personnel etc. |
| |
Characters clearly developed |
| |
Consistency in speech/language patterns across all characters |
| |
Drama-advancing dialogue (includes music, dance and technical
theatre) |
| |
Time/space delineations made clear |
| |
Music
/ Orchestration / Underscoring |
|
CONCLUSION |
| |
Overall potential for OzMade Musicals |
TABLE OF CRITERIA FOR 'STAND ALONE' WORKS
*For the purposes of this criteria, 'work', can be defined as a song,
scene, dance section, or other theatrical 'moment' which can be
considered for presentation outside of the musical from which it has
been extracted.
|
QUALITY |
| |
The
work's story is propelled by, but not limited to, any of the devices
of: Conflict, Drama, Romance, Comedy, Transitional Device, Potential
for the use of Technical Theatre. |
| |
Quality of the Spoken, Danced, Physical Theatre or Sung Text (where
appropriate) |
| |
Quality of the Music / Orchestration / Underscoring (where
appropriate) |
|
CONCLUSION |
| |
The
exposition (musical, textual or other) of the character's situation
justifies a 'stand alone' rendering. |
| |
Overall potential for OzMade Musicals |
|