Transcript SOP Certification Presentation

WELCOME TO
The Standing Ovation
Program
Trainers and Reviewers
Certification Presentation
This presentation was compiled by
Chuck Alexander
Vice Chair of the Standing Ovation
Program on the Society Music &
Performance Committee
Chuck’s Contact Information
E-mail: [email protected]
Snail Mail:
44-B Elmer Avenue
ORILLIA, Ontario L3V 2S7
Canada
Phone: (705) 325-5694
Fax: (705) 325-1541
What is the Standing Ovation
Program?
• It is a non publicized evaluation between only
the chapter and the Standing Ovation Reviewer.
• It is an evaluation of a performance for both
choruses and quartets.
• It will recognize strengths in the performance.
• It will provide suggestions and recommendations
to enhance the next performance.
• It will address not only the music side of the
performance but will examine the venue and the
technical aspect of the show.
When barbershoppers perform
they:
• Sing
• Dance
• and Speak.
• That’s called “Entertainment”
• That’s called “Show Business”.
The Reviewer
- is like a “coach” as he gives:
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Direction
Resources
Friendship
Suggestions
Recommendations
Encouragement
The Reviewer
• Should have background knowledge in the BHS
style.
• Should be experienced at a high level of singing
and performing.
• Should have experience and knowledge in the
workings of theatre and show production.
• They are NOT to consider themselves judges
but modern day Siskel & Eberts (two thumbs
up).
The Review Covers
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Facilities
Song Selection
Quality of Singing
Song Sequence
Entrances and Exits
Non-Singing Commentary
Costume & Grooming
Overall Entertainment Value
General Comments
Facilities
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Parking; lighting; distance to entrance
Handicapped access
Lobby / Foyer
Auditorium
Lighting
Sound
Temperature
Seating comfort
Sightlines
Washrooms
Facilities – What to look for:
• Is the parking close by? Is it well lit? Is it
ample for the number in attendance?
• Does the facility provide for the
handicapped both inside and outside?
• Has the lobby/foyer been decorated to
promote the theme of the show?
• Are there BHS/Chapter promotional
materials available to the public such as
chapter brochures or the sale of CDs?
Facilities – What to look for:
• Has the stage/auditorium been decorated?
Were props utilized as part of the
performance?
• Was the lighting set properly so that all on
the risers can be seen or when the quartet
acknowledges the audience?
• Was the sound system properly set? Was
there any feedback? Could the Emcee be
heard?
Facilities – What to look for:
• Was the temperature in the
theatre/auditorium/church set properly?
• Were the seats comfortable?
• Were ushers trained to know seat locations?
• Were sightlines to the stage/risers clear for all
patrons?
• Are washrooms nearby and well marked? Do
they meet the needs of the size of audience?
Song Selection – Did it contain:
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Traditional barbershop
Broad barbershop umbrella
Novelty
Show tunes
Comedy
Inspirational / religious
Contemporary
The order of songs will dictate the
flow of the performance
• Opener: a familiar song, short up-tune with a “hello”
feeling or a song related to the show theme; should
contain a strong visual package.
• Another up-tune in a different key. No introduction – go
right into it.
• An easy-beat song or swing number.
• A familiar ballad.
• A novelty song (comedy, solo, dance number, patriotic,
religious).
• A medley or easy-beat tune (or a strong inspirational
number) with a possible key change, a visual package, a
big tag).
Important Note – there are four
times throughout a performance to
“grab the audience’s attention”
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The Opener
The Closing of the First Half
The Opening of the Second Half
The Finale
Song Selection – What to look for:
• Was there a variety of songs from the
various song categories?
• Did the performers include visual
packages in the performance?
• Did they do the songs in “packages”?
• Did the guests follow the theme of the
show?
Quality of Singing
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Singing
Musicality
Presentation
Words
Notes
Intonation
Energy
Discipline
Quality of Singing – What to
address:
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Tune-ups; breathing; vowel matching.
Were songs started with confidence?
Did they know the words and notes?
Were the songs performed at the same
level of volume or did they include
dynamics in the performance?
• Did voices stick out?
• Did a visual package interfere with the
quality of singing?
NOTE
• A reviewer should take into consideration the
level of chorus or quartet they are reviewing. Not
every chorus or quartet performs at a level of an
International competitor. When addressing the
strengths and weaknesses within the
performance, keep this in mind.
• Know the character makeup of the chorus or
quartet before attending the performance. Have
they competed lately and if so, at what level? If
not, investigate the history of the chapter and
their average age.
Song Sequence
• Opener – Was it strong with a visual
package?
• Flow – Were packages of songs used?
• Interest – Did they follow the show theme?
• Closer – Did they save the “best for last”?
Entrances & Exits
• Plan – Was a curtain used? Was it timely?
Did the MC speak while the chorus
entered or exited?
• Discipline – Was it done quietly or could
you hear talking behind the curtain? Did
they use side curtain entrances and exits
for the quartets when the chorus was
forming on the risers?
Non-Singing Commentary
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Amount
Timing
Quality
Material
Entertainment
Value
Non-Singing Commentary – What
to watch for:
• Did they use an Emcee or did members of the
chapter act as Emcee?
• If it was the latter, were those who spoke
properly placed on the risers? Did they use
cordless microphones?
• How often did the Emcee speak and was he
timely in getting to the podium?
• Did he use a script and was it directly related to
the theme of the show or the songs being sung?
Non-Singing Commentary – What
to watch for:
• Did the Emcee “entertain” or did he or she
just read a prepared script?
• Did any quartets have too much nonsinging commentary, especially guest
quartets?
• Was the subject matter of any jokes within
the society guidelines of acceptability?
Costume & Grooming
• Appropriate – Theme related and were
changes involved?
• Fit – Did they?
• Stage worthy – Was it?
• Grooming – Was makeup used and
evident due to its application?
Guest Performers
• Did they add to the overall show?
• When they performed, did they overstay their
welcome?
• Did a quartet sing or just want to tell jokes?
• Did the show focus on any “youth” within its
presentation?
• Did it come from another area of artistry?
• Did they talk amongst themselves while
performing or did they talk to the patrons?
Programs
• Did it include information on the society,
the chapter, the chorus, the director and
the guest quartets?
• Did it include the list of songs being
performed? (Not recommended). It should
just identify the order of appearance.
• Did it recognize corporate supporters as
well as advertisers?
Overall Entertainment Value
• Relationship with the Audience – Did the chorus
or quartet include the audience as part of the
performance?
• Enjoyment of the Performance – Did the
audience show their pleasure during the
performance or did they “sit on their hands”?
• Comedy – Did the chorus or quartet and the
Emcee add some comedy in their performance?
General Comments
• Compliment promotional aspects seen.
• Encourage the use of the show to promote new
membership.
• Play the role of the “politician”; be constructive
through suggestions and recommendations;
don’t just criticize.
• Footnote: Let the patrons sitting beside you
know what you are doing; don’t be afraid to ask
them to provide input for your review.
General Comments
• Promote the use of coaching through
district and society programs to improve
performances.
• Promote the use of the Standing Ovation
Program with local chapters of the SAI and
HI to solicit new reviewers from this area
of barbershop.
Tools of the trade
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Clipboard
Small penlight flashlight
Pens
Review sheets for each performer
Blank sheets for notes (Write only on the
front page; do not write on the back of the
page.)
The Review
• I recommend the KISS (Keep It Short and Simple)
method of doing the report.
• Cover it in point form to prevent it from being long
winded.
• Highlight the songs performed; their strengths and
weaknesses in point form but give an overall rating of the
singing as this is what its all about. Remember, we are
NOT to act as “judges” but are to focus on “the overall
performance”.
• Do NOT just criticize a performance but make use of the
words “suggest” or “recommend” when doing the review.
“If Possible, Go The Extra Mile”
• The biggest complaint heard from chapters is “Why can’t
the reviewer attend a rehearsal prior to the performance
to address problems ahead of time?”
• If the reviewer lives within a reasonable distance from
the chapter, have them offer to attend a complete
chapter run through of the show prior to the show night.
• While this would take place in the chapter normal
meeting facility, it would address the order of music, flow,
how it is being performed. Only the technical aspect of
the show, would be left to the chapter to address in the
theatre, auditorium or church.
Duties of the SOP Chairman
• Ensure that the district has reviewers in all regions within
the district.
• Run a certification class at least every two years.
• Maintain a record of how many reviewers were
performed for choruses and quartets.
• Be proactive in the district. Get the word out to chapters
and quartets on the SO Program through bulletins,
conventions, COTS, HEP schools.
• Best method for success is direct phone contact when a
chapter requests a show clearance date.
• Send any testimonials to the Chuck Alexander, Society
Vice Chair – SOP at [email protected].
Duties of the Reviewer
• Once assigned to a chapter show, contact the chapter
and find out how many shows are being performed. I
recommend that the reviewer attends the first
performance so that any technical problems are
addressed before the next performance.
• Find out who the guest performers are then contact them
for possible reviews.
• Even if a quartet does three or four songs, the reviewer
can still do a “Mini Review” on their performance.
• Report to the District SOP Chair how many reviews were
completed at each show they attend.
Concluding this session
• Make use of your contacts with SAI and HI.
Include them in your certification classes. Offer
to do reviews for them in return for their service
as a SOP Reviewer.
• The success of the Standing Ovation Program is
dependant upon active District Members who
offer their services as DVP M&P, SOP
Chairmen, District SOP Trainers, District SOP
Reviewers.
• On behalf of the Society Music & Performance
Committee, thank you for taking the time to
attend this training session.