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Creating Dynamic Student Experiences in Theatre

The International Thespian Society

The International Thespian Society (ITS) is the only theatre honor society for middle and high school students in the United States. Affiliation brings credibility and distinction to students, theatre programs, and schools. It is a visible, positive symbol of the quality of your theatre program.

ITS recognizes, rewards, and encourages student achievement and celebrates the work of students in all aspects of theatre – performance and production. Each student is honored on an international level and gain access to opportunities and resources beyond those of their school.

The International Thespian Festival Main Stage

The Main Stage program at the International Thespian Festival (ITF) honor students, educators, and school theatre programs by showcasing their outstanding work in theatrical production on the largest of stages – in front of thousands of fellow Thespians and theatre educators at the annual event on the campus of Indiana University.

The Prince of Egypt | Virginia Thespians | Troupe 8104

Overview & Eligibility

During the fall semester prior to ITF, Thespian troupes may have one of their live, full-length productions (play or musical) adjudicated for constructive feedback and the chance to be invited to perform on the Main Stage at ITF. Following the adjudication and selection process outlines in this guide, a select number of outstanding productions will be invited to perform in the ITF Main Stage.

There’s nothing like the thrill of performing for thousands of fellow Thespians, at the ITF Main Stage is where your troupe can do just that!

Live Productions

A “live production” is defined as an onstage, in-person play or musical. Video recordings of performances submitted for adjudication purposes must be of a live production and may not include video editing, graphic enhancements, animations, or other elements that do not appear live onstage.

Feedback Only

Troupes interested in receiving feedback for educational purposes may opt out of consideration for the ITF Main Stage. Simply indicate so by checking the “Feedback Only” box on the application form.

Eligibility

Any Thespian troupe in good standing with the parent organization (EdTA/ITS) is eligible for Main Stage adjudication. To be eligible for performance at ITF, productions must be staged during the specified adjudication period.

To give as many troupes as possible the chance to perform at ITF, troupes selected to perform on the Main Stage are not eligible for certain other performance opportunities during ITF (e.g., the Chapter Select One-Act Showcase). Troupes selected to perform on the Main Stage are not eligible to perform on it in consecutive years.

Troupes must be available to present their productions on any of the scheduled ITF dates in any Main Stage venue. The ITF staff and production team will assign performance dates and venues based on each production’s requirement and how they best fit into the overall ITF programming schedule.

Troupes will be notified of their assigned venue and performance dates in advance so they may secure licensing agreements for the performances. If chosen, directors must provide proof of licensing agreements and any relevant insurance certifications for the planned Main Stage performances. (Additional approvals are required. See “Production Requirements.”)

Time Limit

The maximum length of any Main Stage performance is 2 hours and 45 minutes, including one 15minute intermission (if applicable). Productions that exceed this time limit will not be considered for the ITF Main Stage. The length of the performance at ITF must be consistent with the timing of the adjudicated performance.

Production Submission Requirements

Application

The Main Stage Adjudication Application Form should be completed online by the Troupe director in collaboration with the production’s director (if they are not the same person). Each troupe may only submit one production for adjudication per academic year. There is no fee to apply for ITF Main Stage Adjudication.

Visit itf.schooltheatre.org/main-stage.cfm to submit an application and review important deadlines.

Licensing Requirements

Troupes submitting productions for Main Stage adjudication must adhere to the legal requirements of mounting the production at their school as set forth in their licensing agreement and provide documentation along with their application as proof of compliance.

• A video license from the licensing agency must be submitted with the application that allows recording of at least one performance to be shared with EdTA for adjudication (or troupes may submit an ITF Main Stage Video Adjudication Permission Form signed by the licensing agency who represents the title).

• The troupe/school must pay all royalties and adhere to the policies in the production contract with the licensing agency in order to be eligible for the Main Stage at ITF.

Video Requirements & Recommendations

The recording submitted for adjudication must be a one-camera recording that can show the entirety of the playing space. Zooming and panning are allowed (and encouraged to help the adjudicators give feedback on various aspects of the performance), but there may be no editing between multiple camera angles during the performance. The recording should only stop during intermissions. Any edits will result in the video being flagged for disqualification.

Make the best recording you can of your show. It should let the adjudicators see and hear the performance as well as possible; ideally, as if they were there in person.

Follow these recommendations to capture a clear, cohesive performance that allows the adjudicators to view all aspects of your production:

• Ensure that the single camera is set up so that audience members do not block the view of the stage while seated or standing.

• Be sure to check the sound balance between any musical accompaniment and vocalists before recording your performance. Conduct sound tests if necessary to ensure a desirable mix on the final recording so the performances can be clearly heard by the adjudicators.

• Test light levels on the recording device before recording your performance to avoid washout and/or shadowy video captures. Check multiple lighting cues to see how each reads on camera and ensure your camera operator knows how to adjust for clarity during filming.

Submitting Your Materials

Directors submit their productions’ videos for adjudication along with the application and aforementioned licensing materials via EdTA’s online submission portal. Videos should be uploaded to a secure hosting platform such as Vimeo or YouTube with the appropriate privacy settings that allow the video to be viewed by anyone with the link. The link should then be posted in the application. It is a violation of your licensing agreement to make the video publicly available for viewing without the express written consent from the rights holder.

Adjudication Process

Adjudication Panels

After directors submit their production videos, the adjudication process begins. EdTA assigns multiple judges to evaluate each production, utilizing a cadre of trained adjudicators. Assignments are based on availability and adherence to the criteria below to ensure fairness.

Conflicts of Interest

Adjudicators must disclose any conflicts of interest prior to adjudicating a production. Adjudicators will not be assigned to evaluate a production should any of the following conflicts of interest arise:

• The adjudicator and/or their troupe is also submitting a production for Main Stage consideration.

• The production to be adjudicated is from the adjudicator’s home EdTA chapter.

• Any other conflicts of interest the adjudicator discloses.

Evaluation and Feedback

Productions will be evaluated based on the appropriate Production Adjudication Rubric (musical or play; see the attached rubrics at the end of this guide.) Feedback from the adjudicators will be shared with each director via email.

Education is central to the adjudication process. The evaluation rubrics are designed to provide educational feedback to directors and students involved with the production, regardless of whether the production receives an invitation to perform on the Main Stage at ITF.

Selection Process

Understanding How Shows Get Invited to ITF

Following adjudication, highly rated production move into the selection process. Members of the EdTA staff consider the following factors (detailed in the selection rubric at the end of this guide).

1. Adjudicator Feedback – Productions should demonstrate notable achievement in one or more areas of the rubric. While strong feedback is an important factor, it is one of several elements that inform final selection (see below).

2. Diversity, Equity, and Inclusion – As part of its racial equity action plan, EdTA strives to represent diverse races, ethnicities, gender identities, and abilities in the casts, crews, directors, playwrights, and/or subject matter of the productions selected to present at ITF.

3. Technical Needs – Productions’ technical fit for the Main Stage venues, logistics, and event schedule is considered.

4. Variety – Creating a well-rounded Main Stage lineup (across a single season and/or consecutive years) that includes a variety of genres and titles and that first the themes and needs of the festival.

ITF Main Stage Director & Troupe Requirements

Pre-Festival Planning

1. Communication – All correspondence from EdTA regarding the ITF Main Stage will be communicated to the troupe director. This individual should add events@schooltheatre.org to their safe sender lists to avoid missing critical information blocked by firewalls.

2. Casting – Submit any changes to the ITF staff for approval by the ITF event registration deadline.

3. Licensing – Obtain additional approval from the licensing agency for two in-person performances during the week of ITF. Any additional royalties incurred for the ITF performances must be paid by the troupe/school.

4. Logistics – The troupe leader must complete the following by the deadlines published at itf.schooltheatre.org/main-stage.cfm:

• Participate in one to two (1-2) pre-production meetings with ITF staff and production team.

• Submit lighting plots and stage plans (blueprints, scenic renderings, scale drawings, photos of each scenic configuration, etc.) and all technical specification forms.

• Coordinate all shipping and transportation logistics.

• Submit digital programs (that include any updated cast, crew, advertisements, thank-you notes, etc.). Paper programs are not permitted at ITF.

• Provide licensing agreements and all required insurance certificates.

• Optional: Participate in a site visit 60-90 days prior to ITF for planning purposes. Each troupe may send up to two (2) adults for a two-day, one-night campus visit. Participation is highly recommended.

Bringing Your Cast, Crew & Production

1. Registration – The Primary Adult Leader (PAL) of the performing troupe must register cast, crew, adult production crew, volunteers, and musicians for the festival by the ITF event registration deadline. If the troupe director is not the same individual as the PAL, the troupe director must ensure this step is completed. All adults registered with a Main Stage production (who are over age 18 on the first day of the festival) must consent to a background check.

2. Housing – The PAL must submit housing assignments and parking pass requests by the ITF housing deadline.

At the International Thespian Festival

1. Production Meeting – Main Stage directors must attend at least one (1) production meeting and venue tour prior to their performance date.

2. Load-In & Load-Out – Troupe are responsible for mounting and striking the set and must comply with IATSE regulations. Troupes are allowed a maximum of eight (8) hours to set up (may be split over two (2) consecutive days depending on venue scheduling) and two (2) hours to strike. Additional load-in and lout-out time is not permitted.

3. Production Elements – All scenery, props, costumes, makeup, etc., must be supplied by the performing troupe.

4. Lighting & Sound – Performance venues have various lighting and sound equipment available, but they may not fill the needs of your production. The ITF staff and production team will work with Main Stage troupes to accommodate their own lighting/sound elements if needed.

5. Safety – Productions must adhere to venue regulations and stage safety guidelines (see pg. 8).

Venue & Technical Specifications

Performance venues are large to medium-scale, professional auditoriums with anywhere from several hundred to several thousand seats. The ITF staff and festival production team will assign performance dates and venues based on each production’s requirements and how they best fit in the overall ITF schedule. Per the eligibility requirements, troupes must be available to perform in any venue on any day of the festival.

Some performance venues have agreements with the IATSE labor union. Performing troupes should be aware that additional venue requirements must be adhered to due to the agreements in place with IATSE and their procedural standards. Likely, these requirements will modify how the production is set up, run, and struck by student crew in some of the venues at ITF. Specific union requirements as well as ITF/Indiana University policies and venue specifications will be shared with performing troupes prior to their arrival at ITF for planning purposes.

Stage Safety Guidelines

To support our teachers and provide a safe performance experience, EdTA and ITF have partnered with the United States Institute for Theatre Technology (USITT) to provide stage safety resources and educational materials. The following standards must be reviewed and adhered to by any troupe performing on a Main Stage at ITF:

• Walking and Working Surfaces (OSHA 1910.25)

• Guidance on OSHA Standards for Work Surfaces/Platforms

• Stairways and Ladder Safety (OSHA 1926.1052)

• Guidance on OSHA Requirements for Guardrail and Safety Railing Compliance

Checklist: Preparing Your Production for ITF

Items That Must be Included in Application

 Primary Adult Leader’s contact information

 School information

 Administrator’s name and contact information

 School type

 Grade levels served

 Student enrollment

 Title I status

 Theatre program budget

 Year of last ITF Main Stage performance (if applicable)

 Core production information

 Title

 Author(s)

 Licensing agency

 Performance dates

 Brief description of the director’s concept

 Performance running time

 Production budget

 Inclusive and culturally responsible practices

 Company details

 Number of student and adult cast members

 Number of student and adult musicians

 Number of student and adult crew members and/or adult volunteers

 Production video for adjudication

 Link to video (e.g., Vimeo or YouTube link)

 Video license or signed ITF Main Stage Video Adjudication Permission Form

 Show program (digital or PDF)

 Troupe Director and Administrator Acknowledgements Form

Items That Must be Included in Acceptance of Invitation

 Production details

 Content overview

 Set description

 List of special effects and equipment needed

 List of props and stage weapons used

 Licensing agreement for ITF performances (a letter requesting free or reduced licensing fees is provided with the invitation)

 Promotional details

 Short marketing description of show

 Mature content alerts

 School/troupe social media handles

 Show logo and key art graphics

 Production photos (3-5)

 (Optional) Video of company reacting to the news they have been invited to perform on the ITF Main Stage

 Estimated set-up time (8 hours max.) and strike time (2 hours max.)

Items that Must be Included in the Technical Survey (Post-Acceptance)

 Contact information for troupe director and secondary contact person

 Performance running time

 Description of any element or content affecting how the audience experiences the production, including:

 Mature content

 Gun shots or loud noises

 Flames/smoke

 Haze/fog

 Strobe lights

 Extended full blackouts (5 seconds or longer)

 Portrayal of cigarette/cigar smoking or vaping

 Use of stage weapons (guns, knives, swords, etc.)

 Live animals onstage

 Company members with a certified service animal

 Cast/crew entering, exiting, or performing from the house

 Updated company details (see above)

 Detailed description of set, props, and special effects (including any flying effects and the professional company used to execute them

 Detailed description of lighting, projections, and sound design

 Detailed description of costume design and dressing considerations (i.e., quick changes, needs for available dressing room space, and ADA considerations)

 Transportation details (including number, size, and parking needs of vehicles used for loadin and loud-out.

 Shipping and dumpster needs

Adjudication Rubric

Category Superior (4) Above standard

Excellent (3) At standard

Good (2) Near standard

Pace

The production moved smoothly, and the pace assisted the mood of the show.

Staging

The blocking and staging were interesting, organic, and justified by the actors; stage pictures created were effective.

The production moved smoothly most of the time, and the pace assisted the mood of the show.

The blocking and staging were mostly interesting, organic, and justified by the actors; stage pictures created were mostly effective.

Fair (1) Aspiring to standard

The production moved smoothly some of the time, and the pace assisted the mood of the show. The production rarely moved smoothly, and the pace rarely assisted the mood of the show.

The blocking and staging were somewhat interesting, organic, and justified by the actors; stage pictures created were somewhat effective.

The blocking and staging were rarely interesting, organic, or justified by the actors; stage pictures created were rarely effective.

Characterization

All characters were believable and there was depth in the development of each character

Actors were committed to their characters and played objectives rather than emotions.

Most characters were believable and there was depth in the development of most characters. Most actors were committed to their characters and played objectives rather than emotions.

Some characters were believable and there was depth in the development of some characters. Some actors committed to their characters and played objectives rather than emotions.

Few, if any, characters were believable and/or displayed depth in their development. Few actors committed to their characters and played objectives rather than emotions.

Ensemble

The entire cast developed a community onstage. Everyone was engaged in the action and relationships were clearly defined.

Most of the cast developed a community onstage. Most were engaged in the action and relationships were mostly defined.

Some of the cast developed a community onstage. Some were engaged in the action and relationships were somewhat defined.

Few of the cast developed a community onstage. Few were engaged in the action and relationships were rarely defined.

ITF Main Stage Production Selection Alignment Guide

(4)

Adjudication

What can we learn about the production’s strengths based on the adjudicators’ feedback?

Adjudication placed this production solidly in the Superior range. Based on the adjudication, all elements of the production worked together seamlessly.

Diversity, Equity, Inclusion & Accessibility

How does this production align with EdTA’s goal of providing a Main Stage lineup that promotes diversity, inclusion, and cultural competency by representing diverse races, ethnicities, gender identities, and abilities in the cast, crew, director, playwright, and/or subject matter?

The production is culturally responsive to the needs of the school community and features diversity in its many forms, both onstage and backstage. The application demonstrates deep commitment and actions taken to prioritize EdTA’s racial equity plan and mission towards inclusion.

Adjudication placed this production solidly in the Excellent range. Based on the adjudication, most elements of the production were strong.

The production is mostly culturally responsive to the needs of the school community and features some diversity in its many forms, both onstage and backstage. The application demonstrates commitment and actions taken to prioritize EdTA’s racial equity plan and mission towards inclusion.

Adjudication placed this production solidly in the Good range. Based on the adjudication, some areas of the production need refinement

Adjudication placed this production solidly in the Fair range. Based on the adjudication, many areas of the production need refinement

The production is somewhat culturally responsive to the needs of the school community and features limited diversity in its many forms, both onstage and backstage. The application somewhat demonstrates commitment and actions taken to prioritize EdTA’s racial equity plan and mission towards inclusion.

There is little evidence of cultural responsiveness practices or inclusion and rarely features diversity in its many forms onstage and/or backstage. The application does not demonstrate commitment and/or actions taken to prioritize EdTA’s racial equity plan and mission towards inclusion.

Category Superior (4) Above standard

Technical Needs

How well does this production adhere to the technical requirements and limitations of the venue, time limits, and available equipment?

Variety & Relevance

How will this production contribute to EdTA’s goal of creating a well-rounded Main Stage lineup that includes a variety of genres and titles that fit the themes and needs the festival and highlights the students and the storytelling?

The application demonstrates an exceptional commitment to creating a show that can seamlessly travel, with evidence that all aspects of the production will work within the parameters of the available equipment, time, and space.

The production’s genre, unique voice, timely topic, and/or innovative production qualities are compelling and would enhance the variety of the lineup

Excellent (3) At standard

Good (2) Near standard

The application demonstrates a commitment to creating a show that can travel; the production will work within the parameters of the available equipment, time, and space.

The application somewhat demonstrates a commitment to creating a show that can travel; the production will work within the parameters of the available equipment, time, and space with some modification.

The production’s genre, voice, topic, and/or production qualities are compelling and would make a relevant addition to the lineup.

The production’s genre, voice, topic, and/or production qualities are somewhat compelling but are similar to many other current or recent offerings. The production would add somewhat to the variety of the lineup.

Fair (1) Aspiring to standard

The application rarely demonstrates a commitment to creating a show that can travel; the production’s technical needs will not work well within the parameters of the available equipment, time, and space.

The production’s genre, voice, topic, and/or production qualities don’t offer a compelling reason to include it and/or it does not add to the variety of the lineup.

A part of the selection process is to produce a well-rounded “season” of shows to highlight during the festival, much as theatre educators choose their season s. This means featuring different types of productions and seeking to avoid repetition from year to year. In your opinion, which of these categories does this production best represent in the overall ITF lineup? (Choose one.)

 Familiar or “iconic” title that represents a significant contribution in theatre history

 Showcases diversity and demonstrates inclusive practices

 Large scale/spectacle that will thrill

 Smaller scale with emphasis on effective storytelling

 New/recently released work

 Popular/trending show

 Innovative/unique perspective

Has this production been featured on the ITF Main Stage in the past two (2) years? Yes  No 

Harry Potter and the Cursed Child: