Guide for Contest Managers: The Contest Site

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Lighting at the Contest Site

• Stage lighting instruments and dimmer controls available at the contest site are available to all for both rehearsal and performance. The Contest Manager may borrow such lighting equipment as is deemed necessary. This may include one or more “specials” available to each entry. Any changes to the information provided must be reported immediately to the participating directors.
• Since every school at a contest may not have the ability to program light cues outside the official rehearsal, the following policies shall be strictly adhered to:
  • Light plots and all pertinent schedules shall be provided to all participating schools on the same date and through the same medium. Any changes or problems that alter the information provided must be reported to all participating schools immediately. Failure to disclose this information by the host site may be a violation of the ethics code.
  • Programming of light cues by participants shall take place at the contest site during the official rehearsal period. This includes the host school if competing at the site. This does not prohibit the host from programming cues for all participants prior to the rehearsal. Programming prior to the official rehearsals is strongly encouraged when schools have 60 minutes or less to rehearse. A host site can request that all competing schools submit their cues prior to the site rehearsal. A competing school shall not preprogram their lights prior to the site rehearsal. 

  • In an effort to be equitable, it is prohibited for schools to bring pre-programmed light cues on a flash drive or other method to the site rehearsal and load the cues to the host’s lightboard.

  • Storage media (blank or pre-programmed) used to run the show for contest shall be provided by and safely stored by the Contest Manager. Such storage media shall be given to the directors at the official rehearsal and at the beginning of the setup period. The storage media shall be returned to the Contest Manager at the conclusion of the official rehearsal and performance.
  • When architectural necessity forces the light control locations to be other than backstage or in a rear booth, the location becomes, by rule, backstage.

The McCandless Method is one particular approach to providing stage lighting, first proposed in the book, A Method of Lighting the Stage, which has been through several editions.

In the McCandless Method, the actors are meant to be fully front lit but also provided with some “sculpting” of the features. Full lighting is provided by at least two lights from opposite sides, above the plane of the actors by about 45 degrees and approximately 90 degrees apart. These two lights come in from opposite directions. Top lighting may also be used for fill, as may limited footlights. McCandless described these angles as being the diagonals of a cube in the center of the acting area.

However, the key to the McCandless Method is that one light of the primary pair is “cool” relative to the other. One may be blue (a cool color) and the other amber (a warm color). Thus, one fills the shadows left by the other in a way that produces a degree of depth uncommon in real life but striking and recognizable on the stage, similar to stage makeup in the way it exaggerates and clarifies the actors’ faces.

Sound, Storage and Dressing Rooms

Sound at the Contest Site

• Sound systems may be provided by the Contest Manager as a part of the basic set and shall be available for use at rehearsal. It should be made clear that the system is on loan to each company and becomes company responsibility. Company operator error does not result in stopping/restarting of a performance
• When architectural necessity forces the sound control location to be other than backstage or in a rear booth, the location becomes, by rule, backstage.
• Companies may provide their own sound systems without approval. The sound system control should not be located in front of the stage unless factors involving architectural necessity requires its placement there.

Storage at the Contest Site

The amount of storage space that schools are provided is not regulated by League rules. Each site is limited by what you have available. The Contest Manager is urged to make certain that an equitable and safe procedure is used for storage, set and strike.

Dressing Rooms at the Contest Site

The type of dressing areas that schools are given is not regulated by League rules. Like storage, each site is limited by what is available. The Contest Manager is urged to make certain that it is equitable.

Rules Regarding Official Rehearsals

• Do not allow schools to rehearse unless they have provided you with the integrity script and music log.
• You must be available during both the rehearsals and performances. Remember, you are the official at this contest. You can't have the referee at the concession stand during the basketball game.
• Rehearsal time available to one entry shall be available to all entries. This includes rentals and site visits beyond the official rehearsal. Their availability shall be approved by the DEC.
• The official rehearsal must be at least 40 minutes long. Outside of the minimum time, there is no limit on the length OUTSIDE THE SCHOOL DAY. Official contest OAP rehearsals for zone, district, bi-district, area, region and state shall not be held on Sunday in violation of Section 900 (b). State allows a 50-minute rehearsal.
• Rehearsals during the school day are limited by TEA to one class period (defined as one hour) during the school day.
• Please observe time limits. Every cast deserves its full and equal turn on the stage prior to the contest.

Contact us immediately if “no-shows” leave you with less than three plays at a contest.

Procedures: Official Rehearsals

1. Do Your Homework: It is important that you re-read the other sections in this Handbook prior to rehearsals and contest.

2. Meet Each Company on Arrival: Meet, or have an assistant meet, each director and company as they arrive for rehearsal. Show them dressing rooms and places for make-up, scenery, costume, and prop storage.

3. Prior To Starting Rehearsal, Request From Each Director:

• The official Integrity Script with live music cues indicated. 
• Performance license
• Proof of royalty payment
• Any UIL/Publisher Approvals 

4. Prior To Rehearsal, Remind Directors of the Following:

• Time scheduled for the Directors Meeting.
• That only those directors and students entered online may be in the dressing room and that only directors, cast members, crew members and alternates (as allowed) may be in the stage area during set, performance and strike. Students designated as tech/crew must be backstage or in the lighting/sound location and not audience spectators.
• That substitutions may be made in writing by the director, principal or superintendent. Substitute Eligibility forms are found online under "Resources and Forms." A letter signed by the designated administrator certifying eligibility may be used in place of the certificate.
• That, if the site crew is responsible for operating lights, sound or curtain, the site crew will take their cues only from the designated person and no others.The site crew or timekeepers shall not make curtain or light beginning or ending cue decisions for any company.
• That the use of the basic set, unit set, properties, scenery, approved additions, and items allowed under C&CR 1033 (c) (2) (F) (i-v) shall be fully disclosed at rehearsal.
• That entrances or action through the auditorium is permitted so long as it is safe and there is nothing that requires the audience to perform with the actor. The Contest Manager shall make any decision concerning the use of the basic set and that decision shall be final.
• That special approval items shall not be shared with other companies.
• That cell phones or other electronic communications devices shall not be allowed in the backstage areas, except as allowed under rules. Light and sound spaces are considered backstage and offstage.

5. During the Rehearsal

Disclosure

TAKE TIME TO LOOK AT THE SETS AND ASK QUESTIONS IF ANYTHING LOOKS UNUSUAL OR LIKE A RULE VIOLATION. CONSULT WITH THE LEAGUE IF YOU ARE UNSURE.

“The use of the basic set, unit set, properties, scenery, approved additions, and items allowed under 1033(c))5) shall be fully disclosed to the Contest Manager at rehearsal.”

• If a director brings stage lighting instruments or set additions, other than those allowed under 1033(c)(5) or approved in writing by the League, the director shall be informed as soon as possible after a determination has been obtained from the State Office, that such additions shall or shall not be used.
• The Contest Manager may allow speakers to be set in position during the rehearsal period and left for performance.
• Sound levels must be set during the rehearsal period. Sound checks may be accomplished during set time with a headset, by amplifier instruments without speakers connected, by a monitor or speaker at such a low level that sound cannot be heard by the audience or by using the pre-recorded “pre-show announcement” available on the UIL website. (Resources and Forms)

6. SpikeTape and Glow Tape
Provide each school with their own distinct color of spike tape. The selection shall be random. Spike tape may be used to mark properties, set pieces and acting positions. Tape of any type shall not be used on elements of the Unit Set.

A minimal amount of glow tape may be used on the floor and properties belonging to the performing company. It shall be set and struck during the seven-minute set and strike periods.

7. Weapons and Stage Combat ( See Rules and Procedures on Stage weapons and Firearms) 

Contest Manager will follow procedures for handling replica firearms.

Make sure no director plans to use a real gun of any type, volatile substances or any explosive device. Check any blades or swords for safety issues. 

It is highly recommended that directors keep all weapons or replicas used as properties safely stored when not used onstage. Directors should provide these to students during setup and collect them at strike.

There are no League restrictions involving the use of blunt-tipped/ dull swords or daggers. However, any director using stage weapons should seek Stage Combat training from certified experts before starting rehearsals. State and federal laws shall be observed. Visit the Society of American Fight Directors website. (www.safd.org) Workshops are frequently offered at UIL, TxETA, Texas Thespians Conferences. 

Please check State Law regarding the use and possession of certain types of knives.

Request to see any slaps, stage combat, falls, stunt work or scenes that are elevated during rehearsal.

All weapons shall be shown to the Contest Manager at each contest. Contest Manager will follow procedures for handling replica firearms. The school's administration has signed the Compliance and Standards form acknowledging approval of all actions in the performance.

To-Do List Contest Day

• Make sure you have the judge's ballots and evaluation forms. The materials may be downloaded from the UIL website.
• Review the rules in Section 1033 of the Constitution and Contest Rules.
• Have checks, if due by contract, to pay all personnel and adjudicators.
• Confirm arrangements for hotel.
• Contact each adjudicator to confirm he or she has arrived or is on the road.
• Provide Adult Timekeepers with stop watches, instructions and the Timesheets found in the materials you downloaded.
• Make sure local site officials have taken care of the following:
  • Custodial needs
  • Unlocking all parts of the building being used
  • Air Conditioning
  • Parking
  • Security
• Take with you a “Contest Manager’s toolbox.” (see below.)
• Prepare a work space for the adjudicator(s). (Lap Desk or table with light. Provide pens, hi-liters, pencils and legal pads)
• Reserve seats for the house timers. Reserve seven seats close to the back stage access for the four alternates and the directors from the performing school to sit.

The Contest Manager's Toolbox

• UIL OAP Handbook and C&CR
• Stop watches
• Spike Tape
• Measuring Tape
• Flashlights
• Pens and Pencils
• Spare Batteries (for watches and flashlights)
• Scissors
• Sewing/Mending Kit
• Clipboards
• Snacks
• Hard Candy
• UIL Phone numbers, including State Theatre Director's Direct Number
• Basic Tools
• First Aid Kit

Procedures: Before the Contest

1. The Adjudicator(s) Workspace: Arrange adequate working space in the theatre and private (non-public) bathroom facilities for the adjudicator(s). Locate the space so the adjudicator(s) will have an uninterrupted view of the stage and be near enough to hear actors clearly.

• Provide each adjudicator with a small table or lapboard equipped with a low-wattage light controlled by a switch or dimmer. This is essential.
• Devise an area around each adjudicator that will not permit the audience to sit within two seats in any direction and sufficient working space for each adjudicator to be comfortable.
• Provide a student assistant to care for each adjudicator’s needs between plays and to communicate with you in case of difficulty. A single student can take care of a panel.

TO-DO: CONTEST DAY WHEN THEY ARRIVE

1. Meet, or have an assistant meet, each director and company as they arrive. Show them dressing rooms and places for make-up, scenery, costume, and prop storage. Show them where seats have been reserved for directors and alternates.
   • ONLY those directors and students entered on the official entry may be in the dressing room/holding areas.
2. After each school’s arrival, collect the following from them:
   • Proof of royalty payment for performance of the play at this contest. A letter from the principal shall suffice.
   • If scenes from a long play are being produced, publisher or author permission is required as per Section 1033 (c) (2) (B) for cutting.
   • UIL permission to produce plays not on the approved lists.
   • UIL permission for scenic items requiring special approval.
   • A clearly marked script indicating the text being performed and indication of live music cues. (Before Rehearsal)
   • Ask for their signed “Community Standards and Copyright Compliance Form.”
3. If rehearsal is on contest day, see section on Contest Day
4. When the Adjudicator(s) Arrive:
   • Show the adjudicator(s) the working space.
   • Provide the judging materials from the League.
   • Assure yourself that the critic is completely familiar with the official judging standards, selection of all-star cast and other League One-Act Play Contest procedures.
   • Provide a copy of the program. If requested, render illegible the names of directors and schools.
   • Adjudicators may use a secretary or assistant to take notes. They may use a laptop or other electronic devices to take notes.
5. Conduct a Directors Meeting
   • The League supports BRIEF pre-contest meetings between the critic adjudicator and the participating companies. This should be done whenever possible.

Suggested Agenda

• Meet all directors and adjudicators at least thirty minutes prior to the contest.
• Introduce adjudicators and directors to each other. There should be no attempt made to hide names of directors, schools or plays. It is permissible to introduce the director by their school and play title.
• Allow adjudicators sufficient time to discuss selection of awards, method of conducting critique, etc.
• Determine if there are company members that cannot stay for their critique as required.
• Ethical issues regarding company and audience behavior and its consequences should be discussed.
• Do not request rule interpretation of critic adjudicators at this meeting. Any help you seek from the adjudicators should be in private and is unofficial. Adjudicators are responsible for selecting advancing plays, acting awards and giving a critique. That is all. Call the League if you need help with the rules or as a last resort seek the counsel of participating directors. Obvious violations should not require discussion.
• Excuse the adjudicator(s) .
• Review the time-warning procedures to be followed with the directors and the official timekeepers.
• This is a good time to make last-minute announcements and answer any questions directors may have.

Performances: Rules Related to Set and Strike

1. General Policy

• The Contest Manager is responsible for seeing that safe procedures are maintained.
• Provide an 8' ladder for all schools to use.
• The site crew should be supportive where set and strike are concerned.
• Director(s) shall be allowed to participate in the set and strike periods so long as their departure is made during the set period or during the 60 seconds allowed to start the play and return does not take place until after the end of the performance and as directed by the Contest Manager.
• Alternates shall not be a part of set and strike unless they are being used as site crew for all participants.
• ONLY TWO dollies/handtrucks per school may be used during the set and strike periods but may not be used during performance unless they are properties prescribed by the playwright.
• An official ADULT timekeeper backstage shall give the company audible warnings as prescribed in the Time Limits section of the Handbook.
• The director or director’s designee shall declare when the official set-up and strike is completed. The company shall then have sixty seconds to begin the play.
• The use of a “magic line” or artificial boundary of any type is not required. Crossing the “line” means absolutely nothing and the setup or strike time shall only be started or ended if the company begins or ends the actual process of setting or striking. The use of this technique does nothing more than create unnecessary tension.

2. Set

• The company shall have seven minutes to set.
• Sound check is allowed only during set time with a headset, by amplifier instruments without speakers connected, or by a monitor or speaker at such a low level that sound cannot be heard by the audience or using the pre-recorded sound check available from the UIL website. (Resources and Forms)
• Lighting fixtures and projectors allowed under rules may be focused and checked during the set period with work lights and house lights on.
• The Contest Manager shall provide the director(s) with the quickest and safest route to enter the house and be seated.

3. Strike

• Strike shall commence immediately following performance or as directed by the contest or stage manager.
• The company shall have seven minutes to strike.
  • It is not the intent of this rule that a company be declared in violation of the time rules for items inadvertently left on-stage during strike and while time remains. Items hidden by any part of the basic set (drapery, house curtain, unit set, dim work lights, etc.) should not be the basis for disqualification. The Contest Manager or stage manager shall inspect the stage before allowing a company to leave.
  • Glitter, sand, stage blood, grease, powder, flour or other substances impossible to clean may result in enforcement of the 7-minute strike rule if not cleared/cleaned in time. Use common sense here. Disclose it to the Contest manager at your official rehearsal. The intent is not to make a company ineligible for advancement or ranking for leaving a few specks of glitter. Call for clarification. There is not a requirement to pull spike tape in the 7-minute strike period; however, glow tape must be pulled up at this time.
• Actors should remove make-up and costumes, including contemporary clothing used as costumes, before going into the theatre, lobby or other public areas. Many times some makeup residue or hair coloring cannot be completely removed.

Starting and Stopping a Performance

Procedures: Starting the Contest and Performances

1. The Performances: Play the shows “back to back,” using only the time actually needed to set and strike, but not more time than is permitted by the rules on this subject. Review carefully the sections on “Time Limits” and follow the prescribed sequence. There should be no delay in the set-performance strike sequence unless there is a true technical emergency “time hold.”
2. The Adjudicator: Make sure adjudicators are seated and the house is ready.

Stopping a Performance

A play may be stopped by the Contest Manager and started over under the following conditions:

• If adverse audience behavior makes it difficult for the adjudicator to hear or concentrate on a performance. If possible, the adjudicator should be consulted before such action is taken and the audience should be instructed as to proper behavior.
• If technical difficulties under Contest Manager control cause a major production problem that creates difficulty in judging a play. (power failure, fire alarms. complete failure of stage rigging to operate, lights falling, etc.).
• This should be done in case of medical emergency or situations where a participant or spectator may get injured. (broken glass, oil or powder on the floor)
• A performance shall not be stopped for technical difficulties (failure of sound or special effects, costume changes, etc.) under control of the company in performance. Try to make sure that it is a site crew problem out of company control before a performance is stopped. This often results in greater harm than good.
• The director may initiate a request but the judgment of the Contest Manager is final in all matters pertaining to stopping and restarting a contest performance.

Before Each Play Performance

• If announcements are made, the Contest Manager must clearly indicate to the performing company that announcements have concluded and when the 60 second period begins.
• Start the contest on time.
• Make announcements at the beginning of each session to the audience concerning this contest, its value and the manner of conducting it.
• Instruct the audience as to proper behavior: removing crying or noisy children, turning off cellular phones, wrist alarms, unnecessary stop watches and any electronic devices. All of these make noise and are disruptive to others. 
• Do not allow cameras or recording devices in the theatre during the performances.
• Rules do not restrict admission after a performance begins, but such entrances should be controlled so as not to disturb the audience or adjudicator.

Rules Related to Announcements and the 60 Second Rule

Role of the Site Crew

• If the site crew is responsible for operating lights, sound or curtain, make sure the company understands that the site crew will take their cues only from the designated person and no others.
• The site crew or adult timekeepers shall not make any cue decisions for any company.

Role of the Timekeepers

• REQUIRED: An official ADULT timekeeper backstage shall give the company an audible warning when the 60-second clock has begun at ten-second intervals beginning at sixty seconds through ten seconds. (i.e. “10 seconds remaining.”) The Contest Manager shall not serve as official timekeeper.

Rules Related to Performance

Prompting

• No prompting of dialogue is allowed by anyone in the offstage, backstage or out of the acting area during the performance.
• The director may not give signals or communicate in any fashion with the company during performance. This is considered participation and a violation of the contest. Schools may be declared ineligible for advancement or ranking. 
• Cell phones or other electronic communications devices shall not be allowed in the backstage areas, except when being used as properties and in "airplane" mode.
• Light and sound spaces are considered backstage and offstage.
• Any use of an intercom or other internal communication system other than the system provided to all schools shall be considered a violation of the ethics code. Only one internal communication system shall be used.

Scripts On and Off Stage

• Scripts shall not be used on stage.
• Scripts may be used for any technical purpose backstage or offstage so long as they are not used for prompting an actor onstage.
• A script shall not be used by a company member for a live offstage voice.
• A script may be used offstage by an actor to review lines as long as it is not used to prompt someone onstage or a live offstage voice.

Set and Lights

• If a director uses stage lighting instruments or scenery, other than those described in C&CR Section 1033 (c) (2) (F), without League approval, the Contest manager shall report the violation to the State Theatre Director. The incident shall be reported to the appropriate Executive Committee as a violation of the Ethics Code. The full range of penalties may apply.
• An official timekeeper shall give the company two warnings during the performance when 15 and 35-minutes have elapsed. Additional warnings will be given at 5 minutes, 3 minutes, 2 minutes, 1 minute, 30 seconds and 15 seconds remaining.
• Procedures to be followed shall be determined at the Planning Meeting, reviewed with each cast at the official rehearsal and reviewed with directors at the Director Meeting.

Rules Regarding Violations

Rules Violations

• Entries may only be declared ineligible for advancement or ranking for the following violations:

1. Use of ineligible students.

2. Exceeding the number allowed in the performing company.

3. Exceeding the time limits on performance and set-up and strike.

4. The use of firearms. The use of explosives and combustible materials.

5. The use of additional unit set.

6. The director being in the backstage areas or communicating with the company during the performance.

• If declared ineligible for advancement or ranking, the company shall be considered only for individual acting awards and be awarded only those points. The company shall receive an oral critique.

Other Violations

• Violations of other rules are considered ethics violations and shall be reported to the appropriate executive committee. The full range of penalties may apply.

Procedures: Violations

1. The Contest Manager should honor any requests from the director that the State Office be consulted. Please contact the State Theatre office for after hours contact number.
2. If a company violates provisions of C&CR Section 1033 (c)(1)(A-B) under Contest Manager supervision, you must declare the play ineligible for advancement or ranking and shall notify the director of the play as soon as reasonably possible, after the curtain falls on the performance of the play in question. If the play is declared ineligible, the adjudicator should be notified immediately thereafter. In all cases, you must notify the adjudicator of such ineligibility before the decision is made.
3. If there is a discrepancy between the times reported by the official adult timekeepers, the Contest Manager shall use the lowest of the times as the official time. The Contest Manager, after consultation with official contest timekeepers, has final judgment in determining if site crew members have caused, for any reason, a company to exceed the time limits. The clocks shall not be cleared until the company’s director has had the opportunity to see them. Screenshots of the clocks will not suffice. Keep extra stop watches available.
4. The director of a school deemed ineligible for advancement or ranking shall receive a critique in the regular order determined prior to the beginning of the contest and shall receive the “OAP Evaluation Form” from the adjudicator or adjudicators.

Any Contest Manager that believes in the educational value of this contest dreads being the bearer of bad news. You may have to inform a director that a serious violation has occured. It is important that you be prepared to explain what rule was violated or to show them the stopwatches showing that the play went over. There may be a strong aggressive response or quiet acceptance. Whatever the case, it is important that you hear them out. If you have ANY doubts or if the director requests it, please call the League office at 512-471-9996 or the State Theatre Director after hours contact number.

Emergency Judge Replacement Situations

In the case of a single adjudicator: If the adjudicator becomes incapacitated after the start of the contest, or if an adjudicator fails to show to contest by the directors meeting, the contest manager must contact the State Theatre Director immediately. The state office will secure a replacement adjudicator. The contest may be rescheduled. The contest will begin again, performed in its entirety, for the new adjudicator.

In the case of a panel: If one member becomes incapacitated after the start of the contest, the contest manager must contact the State Theatre Director immediately. The acting adjudicator shall serve as the single adjudicator for the contest. The remaining adjudicator and the acting adjudicator shall split critiques evenly. In the event that the acting adjudicator becomes incapacitated, a blind draw shall be conducted to determine who will serve as the single adjudicator for the decision-making part of the contest. The remaining adjudicators shall split the critiques.

Procedures: Conclusion of the Contest

1. Inform the audience that the awards will take place after the adjudicator(s) has rendered a decision.

2. Escort the adjudicator(s) to a private room or office where the decision may be made.

3. One designated Adjudicator shall select Acting Awards:

Level	Advancing	Alternates	Best Performers	Samuel French	All-Star Cast	HM Cast
Zone / District	3	1	2	0	8	Up to 8
Bi-District	3	1	2	0	8	Up to 8
Area	3	1	2	0	8	Up to 8
Region	2	1	2	0	8	Up to 8
State	Rank 1-6	0	2	1	8	Up to 8

 

• An “ensemble” award is reserved for groups of players that cannot be identified as individuals. Remind adjudicators that an ensemble award assigned by them to a chorus or other company group of players that cannot be individually identified counts as one individual award and thus, is given only one symbolic award that shall be retained by the school in the name of the group.
• The Best Performers shall be individuals, not groups. The two Best Performers shall not be given to a group even though they may be playing similar or ensemble roles or a chorus.
• The adjudicator shall not be required to select an all-star or honorable mention all-star cast with a fixed number of men and women, but is encouraged to choose only those who have given superior performances at that contest.
• Under no circumstances shall any adjudicator be asked to select awards described by such terms as “Best Supporting,” “Best Character,” or any others equally impossible to define or select fairly.
• A student playing a role identified as being of the opposite sex may do so without violation of any rule.
• As soon as the decision is reached, make sure the "Awards Judge" has not violated the awards rule and the ballot(s) are accurate. Now is the time to notify the adjudicator(s) of any unusual circumstances that might unknowingly create awkward situations during critiques.

5. For Panels: Draw for critique assignments, after rendering the ballot. Adjudicators should not be told the results of the contest before critiques. 

• Write the names of the  schools on slips of paper and have each adjudicator draw one name. 
• In the case of Region, the Acting Judge shall be assigned the alternate.
• The Acting awards judge should remain for the awards ceremony to verify awards are correctly presented. 

7. Review the critique method determined at the Directors Meeting for all levels of contest.

8. After decisions are rendered and following the draw for critiques, adjudicators have permission to confer regarding verbal critiques.

Procedures: Awards Ceremony and Critique

1. Announce the results and present awards. Do not ask the adjudicator(s) to announce or present awards. Some districts do not announce the alternate play when there are only five entries. Check with directors for their preference at the Planning Meeting.
2. At Region Contests: Present the advancing directors with the State Participant Guide for the next level. It should be downloaded from the UIL website. (Theatre page, High School One-Act Play: State)
3. Correct mistakes immediately. Waiting will make this worse. If you misread or give awards incorrectly, stop the process before the situation becomes more complicated. Mistakes discovered during critiques should be corrected.
4. Critiques shall be open to all. Panel Judging critiques may be given simultaneously with the consent of the participating schools. THIS IS NOT A CONTEST MANAGER OR ADJUDICATOR CHOICE. Remember that an oral critique must be given to a company deemed ineligible for advancement or ranking.
5. With panel judges, it is recommended you have timekeepers for critiques and/or audience monitors to keep the space clear of extraneous noise. 
6. Listen to the critiques. Report any ethics violations or unsportsmanlike conduct to the State Office.
7. After each critique, remind the director the written “Evaluation Forms” that have been filled out and signed by the adjudicators. This is required.
8. Adjudicators should be paid after the critique is concluded unless other written arrangements have been made. If the adjudicator is not to be paid until a later date, make sure this is clear in the original written contract. Call the League if you wish clarification. Failure to pay the adjudicator(s) as per the contractual agreement may result in a complaint being filed with the UIL State Executive Committee.

Procedures: After the Contest

1. Fill out and submit the online "Contest Managers Report Form" (All levels) to the League immediately. Keep the adjudicator’s ballot, questionnaire and timekeeper’s record. If a panel of adjudicators is used, keep all of adjudicators’ ballots and the TTAO Tabulation Tool report sheet until September 1st of the following school year.
2. Inform the State Theatre Director of withdrawal, failure to participate, failure to attend critique or any potential ethical violations by any school entered in your contest.
3. Provide the District Academic Meet Director with a copy of the "Contest Managers Contest Result and Attendance Report Form."
4. If designated to do this, certify the contest results online. This should be done no later than noon the day after the contest. Advancing schools will not be able to make substitutions until that is done.
5. Substitutions and results for area and regional contests shall be e-mailed immediately to the State Theatre Director.

Panel Judging Procedures

PROCEDURES FOR ZONE AND DISTRICT

• The first panelist is selected between August 10 and November 4. This panelist will be in charge of selecting the acting awards
• The second and third panelists are selected between November 4 and February 1.
• Contracts must clearly state that this will be a panel.

PANEL JUDGING PROCEDURES AT ALL LEVELS AFTER THE DIRECTORS MEETING

• If space does not allow for separate rooms for each panelist, we recommend that a contest official be present in the decision room and upon entering the room they should read the following statement from the UIL OAP Handbook: “Adjudicators shall not be allowed to confer or discuss the performances until after the decisions are rendered.”

DURING THE PERFORMANCES

• Adjudicators will sit in separate locations. Adjudicators will be provided adequate working conditions.
• Adjudicators will not be allowed to confer or discuss the performances until after the decisions are rendered.
• Adjudicators will be given copies of the OAP Evaluation Form. The form may be downloaded from the UIL website. (Adjudication Information)

AFTER THE PERFORMANCES

• The adjudicators will rank the plays from first to last.
• The adjudicator designated to select the acting awards will select 2 BEST PERFORMERS, 8 All-Star Cast and up to 8 Honorable-Mention All-Star Cast.
• Once the ballots are ready, the Contest Manager and another adult assistant will enter the results in the TTAO Tabulation Tool. The link can be found on the UIL and TTAO websites. The assistant will call out the rank from the ballot and the Contest Manager shall repeat the rank as it is entered. The adjudicators shall confirm the ranks are correct. If critiques happen before awards, adjudicators should not be informed of results. 
• The rankings shall be tabulated using the system and a hard copy produced.
• In case of a panel, Adjudicators will draw for the plays they are critiquing.
• IF THERE IS AN UNBREAKABLE TIE FOR THE SECOND OR THIRD ADVANCING POSITION - The Tabulation Tool shall use the ranks on the "Acting Judge's" ballot to break the tie. At state, however, we could have co-champions or co-runners-up.

AT THE AWARDS CEREMONY

Only the advancing schools will be announced. An alternate will be publicly announced if more than five schools are competing.

Immediately after awards are announced, the Contest Manager shall provide each director a copy of the TTAO Tabulation Report.

AT CRITIQUES

• Schools will be critiqued in the order determined at the directors meeting. Critiques shall be public.
• The Contest Manager shall give the directors the signed evaluation forms filled out by the three panelists after the school’s oral critique.

AFTER THE CONTEST

1. Fill out and submit the online "Contest Managers Contest Result and Attendance Report Form" (Each level has a different one and they are found at the "High School One-Act Play.") to the League immediately. Keep the adjudicator’s ballot, questionnaire and timekeeper’s record. If a panel of adjudicators is used, keep all of adjudicators’ ballots and the TTAO Tabulation Tool report sheet until September 1st of the following school year.
2. Inform the State Theatre Director of withdrawal, failure to participate, failure to attend critique or any potential ethical violations by any school entered in your contest.
3. Provide the District Academic Meet Director with a copy of the Contest Managers Contest Result and Attendance Report Form.
4. Results must be certified in the Online Entry System no later than Sunday at noon following the contest. (District and Region)
5. Results for region shall be called in to the State Theatre Director PRIOR to the awards assembly. TAB Report shall be sent to State Theatre Director post contest.
6. At Zone, District or Bi-District Contest- Method of critiques to be decided in planning meetings. (Local Decision) CRITIQUES CAN OCCUR BEFORE OR AFTER RESULTS.
7. At Area, Region- Critiques will occur after tabulation and before results are announced.

OAP Points for District, Region and State 

THEATRE

One-Act Play Ranked Plays from:

District                      20   20   20  15   0   0

Region                       20   20   15    0    0   0

State                          20   16   12   10   8   6

Individual Awards  10   8   6   0   0   0

Note: One-Act Play Points. The three unranked plays advancing from district (two from region) each receive 20 points. The alternate play receives 15 points. At State One-Act Play, points are awarded through sixth place. Points for individual acting awards are: each best performer receives 10 points; each all-star cast receives eight points; and each honorable mention all-star cast receives six points. An individual acting award assigned to a chorus or other group of players counts as only one individual award and shall be allocated the appropriate points. One-Act Play points shall not be awarded for zone, bi-district or area contests. No points awarded to local technical crew awards.

TTAO OAP TABULATION TOOL ( subject to change) 

The TTAO OAP Web-Based Tabulation Tool executes the ranking procedures for multiple adjudicators based on the process found in the C&CR and this Handbook.

You may access this free tool by going to the link found on the UIL website. It can be found on the Theatre page under “Resources and Forms” and at every contest level page.

It is compatible for MAC and PC.

A printer is required for making hard copy sheets to send to distribute to the directors and to provide to the state office if requested.

Contest Managers should take time to explore and try out the software before attempting to run a contest using panel judging.

Contest Managers should review the document A GUIDE TO UNDERSTANDING THE TALK TAB SOFTWARE