How Does the Production Response Process Work?

• The foundation of KCACTF is production response. Effective theatre is assessed by its ability to involve audiences in an experience that is both stimulating and illuminating, which emphasizes the spoken word; physical interpretation of the text; genuine emotions; and relationships between characters. Schools wishing to participate in KCACTF enter at least one production for response.
• Simply put, a Production Response is an opportunity for a visiting faculty member to attend a performance and participate in a dialogue after the show about the production and its process.

Here’s how the process typically works, but expectations may be adjusted to meet the needs of schools.

1.  The School enters the Production for a response here.
2.  KCACTF assigns Production Respondent(s).
3.  Director and Respondent(s) coordinate date(s) to see the show.
4.  If travel time for a respondent to a school exceeds 3 hours, it is appreciated, but not required, when the school can offer a hotel room or other modest accommodation for the night (not necessarily for matinee performances). This should be clearly communicated in advance between School and Respondent.
5. On the day of the response, in ideal cases, the respondent and director (and perhaps a department representative, especially if the director is a guest artist) may meet prior to the show to get some background context for the production. It is a nice tradition, but not required, that the school hosts invites the respondent to meet over a casual lunch or dinner, if time allows.
6.  The Response is typically held immediately following the performance. KCACTF Production Response sessions should employ active anti-racist, anti-bias practice, and engage students, guest artists and faculty in meaningful inquiry.
7.  Most responses take about 45 min to 1 hour and should begin with a brief introduction of what KCACTF is and the opportunities the Festival provides for their creative and career development.
8.  The majority of our production respondents have participated in various professional development and respondent orientation sessions. Our process is grounded in the Liz Lerman “Critical Response Process” (or CRP) approach. As such, the respondents are there to lead a discussion, not pass judgment or “adjudicate.”
9.  Following the discussion, the Respondent will want to meet with the director and/or department representative briefly to discuss potential commendations to offer to students, answer questions and provide supporting information about how students can then participate in the festival.
10. Within a few days of the Response session, the Respondent will complete a Production Response form to document any special commendations. This may include Meritorious Awards, nominations for Acting Scholarship Auditions, notes about the potential to have a production bring a “snippet” of a show to the “Invited Scenes” showcase, and more. For Participating Productions, it will also note whether the Respondent and Selector have chosen to “hold” the show for consideration to be invited to perform at Festival.
11. Last but not least…watch your inbox (and social media!) for information, guidelines and deadlines for registering for and participating in the upcoming Festival. Communication begins to ramp up in October…and continues all through January. It is important to reserve hotel nights for the Festival by the deadline — they will book up!

It’s only fair!

• As most of you know, it takes a village to ensure that every production entered in our region has a viable respondent. Once again, I ask that your department supply as many respondent visits as you consume. Respondents should have attended the Respondent Workshops at the Regional Festival, or a similar workshop offered by our respondent coordinator. However, given the demand for respondents, occasionally an “untrained” colleague is sent out. If you are interested in becoming a respondent, fill out our new respondent form.

What to do about a “bad” respondent?

• Try as we might to avoid it, occasionally, a school reports an unsatisfactory experience with a respondent. Sometimes, this is a clash of cultures of criticism, and even a “good” respondent can have a bad night. After your production response has occurred you will receive a “response to the respondent” form to fill out. Please let us know what went wrong  using this form. We can’t address problems if we don’t know they exist. Likewise—this can also be your chance to tell us about an excellent respondent!