How Well Do You Really
Know the Showmanship Category?
By Renee Porzel, Melodeers Chorus, Region 3
A non-Sweet Adeline friend of mine recently entered a sewing contest
because she was confident in her skills as a seamstress. She chose
a dress pattern, and bought all the fabric, zippers and buttons
she needed to complete the dress. She spent hours working on it,
and felt sure she would win the contest. When she arrived at the
contest site, she decided to wander around and “size up”
the competition. She became concerned when she noticed there was
not another dress entered in the contest. Everyone had sewn a pair
of pants with a jacket to match. She had entered a suit contest
and made a dress!
I couldn’t believe it! How could she have made this mistake?
Didn’t she read the fine print? Didn’t she study the
rules? Sweet Adelines would never do such a silly thing! We would
carefully construct a suit that fit the rules because we know all
about competing. We would never leave the outcome of the contest
to chance by being unfamiliar with the rules. Ridiculous!
And yet, many Sweet Adelines DO compete without a clear understanding
of the four categories in our contest system. Every year we spend
hours preparing to compete. We commit ourselves to performing at
a high level, and giving 100 percent at all times. We take the stage,
sing our contest package, and eagerly await the judges’ scores
and scoressheets.
But are we really prepared?
Have YOU read the Judging Category
Description Book (JCDB)?
Are YOU familiar with the components of each category?
Do YOU know your own skill level in each of these areas?
The Judging Category Description
Book (JCDB) is the ultimate source of information for contest. It
discusses each area of concentration, and defines what each judge
is looking and listening for as she judges. Every chorus and quartet
should own one, and every member should read it. It is available
from International Sales, and it is money well spent.
Going on stage without ever reading this detailed book is exactly
like sewing a dress for a suit contest! We need to study each of
the categories so that we can present a complete product specifically
designed for our contest system.
This series on The Visual Plan has focused on our choreographer’s
responsibilities and our own individual attitude about our participation.
Now we are ready to examine some of the small details that make
the showmanship category unique and vital to our success on the
contest stage.
In the JCDB, the focus of the showmanship category is defined as,
“the evaluation of the salesmanship of the musical product.
This includes the elements of preparation, the visual plan and the
creating and communication of the on-stage magic. With effective
showmanship the performer is able to enhance what the listener hears
by reinforcing it with what the viewer sees, creating a total performance.”
For many, the first two things that come to mind when thinking of
showmanship are choreography and costume. While both of these are
enormously important, they are not the only crucial ingredients.
Our success in contest ultimately depends on our vocal skills —
the only criteria that is judged in all four categories. Showmanship
judges can’t reward a fancy choreography plan filled with
intricate front row choreography if the vocal product suffers during
the performance. The flashiest costume in the world can’t
mask vocal skills that are weak and lack stamina. However, the last
thing you want to do is detract from your performance with things
that are easy to plan. You can’t possibly put your best performance
on stage if you have makeup that is unevenly applied or pale under
lights, costumes that don’t fit well or are wrinkled, or hair
that is messy.
When I asked fellow showmanship judges what they notice first as
they judge, their answers focused on non-singing things like confidence,
stage comfort and immediate command of the stage. Each of these
are displayed before the first note is sung, highlighting the need
for attention to the small details of the category. One judge commented
that, “The 30 percent prep should be an automatic 30 points
... without blinking an eye. Performers should come to the stage
prepared in every way. It’s simple.” We expect competitors
to take advantage of these points, and earn every one of them through
complete attention to detail. While they do not supersede vocal
skills, choreography or costume, they are the glue that holds the
visual performance together.
Entrance/Break/Exit
There is only one chance to
make a first impression, and yet planning the entrance/break/exit
is often overlooked by competitors. One judge observed that she
instantly feels at ease when a group walks on with a confident attitude.
Another noted that preparation and command are obvious to her right
away, and set her up for a positive experience. We can all tell
if you are genuinely excited about performing, and if you feel confident
about your product. Fully plan and rehearse the entrance, the break
between your songs and your exit to present a strong frame for your
performance. Don’t get bogged down rehearsing perfectly matched
footsteps. Rather, approach it as your handshake with the audience.
It is your chance to let your group personality shine through, and
your opportunity to display how much you love performing.
Pitch Pipe Technique
The showmanship judge is the
only one responsible for evaluating whether your pitch is taken
with ease. The JCDB states that a “faulty start, can result
in a lower score in the sound, music, and expression categories
because pitch was not firmly established. If the performer loses
composure because of an insecure start, the score in the showmanship
category will also be affected.” You will not lose points
for taking a pitch on stage, but will be rewarded for beginning
your performance together and firmly anchored in the same key. Carefully
assess whether or not your group can handle an offstage pitch, or
whether you can solidly start a song without singing a tune-up chord
before deciding how to begin your performance. All four judges are
waiting to hear and see your best start, and it’s imperative
that you plan this completely, and remember the purpose of pitch
pipes in your performance.
Makeup/Grooming
As performers, we all want to
bring our own individual style to our performance. The JCDB contains
the definition of what the judges are looking for in this area.
It says, “To reinforce the unit appearance, the performer
strives to apply makeup in such a manner that individuals blend
into an overall picture. The primary purpose of stage makeup is
to define facial features so that the audience is aware of, and
can respond to, the performer’s facial expressions.”
It also says, “the showmanship judge bases her evaluation
of makeup on the overall unity and effectiveness of the performers’
makeup, not on the colors, product or techniques used.” Ultimately,
it would make everything easier if we were all required to wear
the exact same makeup, and had one accepted hairstyle for the stage.
Of course, that wouldn’t reflect our personalities or allow
us to individualize our performances! Your responsibility is to
test whatever makeup you choose to make sure it maintains its color
under very bright lights, and be sure that everyone applies the
makeup with exactly the same intensity for the stage. Hairstyles
should have height on top and frame the face without shading the
eyes. No one member should draw the eye because of a totally unique
hairstyle. The key is to create a visual picture that is unified
and provides no distractions. Both of these aspects of the category
within your control, and should be easily accomplished without taking
time away from singing rehearsal.
Posture
Simply put — stand up
straight! Good posture telegraphs confidence and poise, and is the
proper position for singing. It makes you look energized, and helps
your costume fit correctly. This detail is something each competitor
can monitor individually and continue to improve.
Unity
Unity is something we must strive
for in every area of our performances. While the music category
includes musical unity under barbershop style, showmanship is the
only category with unity as a separate line item. The JCDB defines
it as “the performing group, whether it be chorus or quartet,
is a unit a single entity, and care must be taken in planning all
facets of the presentation so that the group appears to be a unit
rather than a collection of individuals.” Visual unity is
accomplished through unified choreography by all members, unified
facial involvement, unified commitment to performance energy, and
a unit approach to characterization. We must evaluate your groups’
ability to present a po—lished and unified visual picture,
and carefully planning every part of your contest set will help
establish the unit look that is desired.
All of these things influence showmanship judges as we evaluate
your chorus or quartet. We view your vocal skills as the foundation
of your final product, and base our scores on how well integrated
the vocal and visual products are throughout the performance. We
are influenced by unified stamina, consistent facial involvement
from beginning to end, sincerity and professionalism as you perform.
One judge said she is looking for “how real the performance
comes across.” She assesses whether the contestant is “giving
instead of worrying about getting.” While many still consider
the showmanship category to be the last piece of the puzzle, it
actually encompasses everything we need to establish rapport with
our audiences. The more we are willing to explore new and creative
ways to share the messages of our songs, the more alive and vibrant
our performances will become.
The examination of characterization, costumes, choreography and
energy could fill an entire book — or at least another article!
They are areas of concentration all groups need to focus on every
time they stand on the risers. Cleaning up the more technical ingredients
listed above will help define your contest performance, and raise
your ability to make an impact from the stage.
Showmanship judges look forward to seeing the creative and totally
unified performances you will give at contest this year. We all
look forward to seeing your best and witnessing your onstage magic!
