While attempting to place a numerical score on an actor’s performance or a designer’s concept and execution of their work is difficult, ATAC judges should do their best to evaluate the performance/design fairly and uniformly. There should be NO consideration given to the subject matter of the production. Unless it is an Original Script, judges are not to take CONTENT into account when scoring a show.
The ATAC judging system asks judges to score each element of the production on a scale of Zero (0) to Ten (10). While it is true that the Producing Company and/or the Director of the production decide which category (Lead or Support) and actor is placed in, it is possible that an actor could be placed in the wrong category. IE. generally speaking, most shows can not have all leads; a person that appears in only one scene, or has very few lines usually would not qualify as a Support). So, judges should be aware of the guidelines for inclusion in each category. Also, it is less than likely that all aspects of a production (all actors and every technical element) will end up EXCELLENT. Judges must look at each actor/designer category individually when deciding on a score.
To be considered as a Leading Role, ALL four requirements should be met.
If not all requirements can be met as a Leading Role, then Supporting Role should be considered.
The character or characters who drive the main plot or theme of the show. The main plot should revolve around this character or characters. Some shows may have several leads (as when a show follows several stories as main plots).
The lead character undergoes a change during the course of the play.
The lead character is usually in every act.
The lead character has the majority of solos (in musicals) or the majority of spoken dialogue.
To be considered as a Supporting Role, ALL four requirements should be met.
If not all requirements can be met as a Supporting Role, then category consideration is not allowed.
The supporting character usually assists or interacts with the lead character(s).
The supporting character may be involved in a subplot or secondary plot.
The supporting character has good character development and is well-rounded.
The supporting character usually has at least one solo (in musicals), is involved in a majority of ensemble numbers/scenes or has a great deal of dialogue.