Transcript SOP Colored Certification Presentation

WELCOME
To the
Standing Ovation Program
Trainers and Reviewers Certification
Class
This presentation has been
complied by Chuck Alexander,
Vice Chair of the Standing Ovation
Program on the Society Music &
Performance Committee
Graphics are compliments of
Harry Stegenga.
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 only between the
chapter and the Standing Ovation Evaluator.
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
 Speak
• That’s called “Entertainment”
• That’s called “Show Business”
The Public’s Perception
The Reviewer
- is like a coach as he gives:
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 & Ebert (two thumbs up)
The Review Covers
 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?
Traditional
barbershop
Broad
barbershop
umbrella
Contemporary
Song Selection –
Did it Contain:
Novelty
Inspiration
/ religious
Show tunes
Comedy
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 during a
performance to “grab the audience’s attention”
Closing of 1st
Half
The Opener
Opening of
2nd 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
Singing
Discipline
Musicality
Presentation
Energy
Intonation
Words
Notes
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 stand 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
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
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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 Emcee speak while the chorus 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 the 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?
effective?
Was it
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, I thank you for taking the time to attend this
training session.