{"id":2150,"date":"2026-02-18T09:45:44","date_gmt":"2026-02-18T09:45:44","guid":{"rendered":"https:\/\/bfame.co.uk\/?page_id=2150"},"modified":"2026-02-23T09:24:07","modified_gmt":"2026-02-23T09:24:07","slug":"26-plan","status":"publish","type":"page","link":"https:\/\/bfame.co.uk\/index.php\/26-plan\/","title":{"rendered":"Bfame 26 – Timings & Arrangements"},"content":{"rendered":"\t\t
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Performing Groups and Bfame Team Information.  <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Welcome <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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Schedule for the festival at Highbury – which is, as always, subject to change.\u00a0\u00a0<\/h5>
If I’ve missed anything on here, please let me know.<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t
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Tech Times <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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We request that local groups do their tech run on:-<\/p>\n

Friday evening – 27th March.<\/strong><\/p>\n

Each group will be issued a ‘get in’ time and plus their 30 minutes tech time on stage.  <\/p>\n

Encore! – 7.15-7.45pm  (GET IN – 7PM)<\/p>\n

Oldbury Rep – 7.45-8.15 (GET-IN 7:30PM)<\/p>\n

The Grange Players – 8.15-8.45pm (GET-IN 8PM)<\/p>\n

We ask all groups to arrive for their get in on time and be ready for their allocated tech rehearsal session.<\/p>\n

Saturday – 28th March<\/strong><\/p>\n

10.30am – All groups can arrive and will be allocated a dressing room for the day. Please see dressing room information.<\/p>\n

Tech times for Saturday<\/p>\n

Impact Youth – 10.45-11.15 (GET-IN 10:30AM)<\/p>\n

Broadly Speaking Productions – 11.15-11.45 (GET-IN 11AM)<\/p>\n

During GET-INS we ask that groups keep noise down as much as possible as other groups will be having their tech time on stage.<\/p>\n

If your submission is a published play, please remember to hand your performance licence to our stage manager at the start of your tech time.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Session One & Two Information <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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There are three sessions making up Bfame, we ask that you pay to attend any session you are not performing in.\u00a0Complementary tickets will be granted to your team for your performance session.\u00a0We would recommend watching sessions you’re not performing in to support the festival and learn from adjudicators comments.<\/span>

Session One – 12 o clock

Session Two – 4 o clock

Awards Ceremony – 8 o clock

At the end of Session One and Session Two there will be the adjudication of the play performed.

Between plays there is a 20 minute interval.\u00a0

There should be a 1 hour break between each session, however time can and will slip as running times are never exact.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Performance Times <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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These are estimated and Subject to Change..<\/p>

Encore! – 12 – 12:50pm
Impact Youth 1:10 – 2:00pm<\/p>

Oldbury Rep – 4:10 – 4:40pm
The Grange Players – 5:00 – 5:30pm
Broadly Speaking Productions – 5:50 – 6:20pm<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Dressing Room Information & Arrival Time <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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Saturday – 28th March 2026<\/strong>.<\/p>

10.30am – All groups can arrive and will be allocated a dressing room for the day.\u00a0That’s your space, please picnic, rehearse, do speed runs or just relax, just keep it down whilst the stage is in use oh and leave it tidy please.<\/span><\/p>

Our green room has a kettle and is a good meeting point for all groups.\u00a0\u00a0<\/span><\/span><\/p>

Dressing rooms are allocated by the size of groups competing.<\/span><\/span><\/p>

Please remember to sign in and out of the building – the book is by the back stage door.\u00a0\u00a0<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Session Three - Awards Night <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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The plan for the awards night are currently as follows.<\/p>

8pm Curtain Up<\/p>

Welcome<\/p>

Looking Ahead to the Quarter and Semi – David<\/p>

New Youth Section – Lesley<\/p>

Bfame Excellence Award – Special – David<\/p>

Summing up of the One Act Festival – Ruth<\/p>

Summing up of the Peri Festival – David<\/p>

Intival<\/b><\/p>

The Awards – The Team<\/p>

The Bar.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Tickets <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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Grrr..<\/p>

Sadly our new and Improved<\/b> system is taking longer to work than we expected.\u00a0 We will continue to work with the company in an attempt to get this sorted ASAP, however it’s looking increasing likely that this will be moved to our quarter and semi final… SO… We will need to revert to Plan B.<\/p>

Please email Chair@Bfame.co.uk with your ticket requests and we will ensure you receive them.<\/p>

Pricing<\/u>..<\/p>

Is currently set to \u00a312 per session, per person.\u00a0 This for a single session.<\/p>

Two sessions will be set to \u00a320 per person<\/p>

Our Golden Ticket<\/b> – for all three sessions – will be set to \u00a330 per person.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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Stage Information <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tStage Plan PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tLit Areas PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Highbury Theatre have provided the above stage plan and lighting guide.\u00a0 They can be viewed by clicking on the image OR downloaded by clicking on the coloured button.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

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What are the adjudicators looking for? <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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\u00a0<\/strong><\/div>
\u00a0<\/strong>\u00a0<\/strong><\/div><\/div><\/blockquote>
I’ve been asked this a lot! Below is a brief guide.\u00a0 Obviously every adjudicator is different, so please treat this information as guidance only.<\/span><\/div>
\u00a0<\/strong><\/div>
1. STAGE PRESENTATION (15 marks)<\/strong><\/div>
While not a scientific measure, the\u00a0Stage Presentation<\/em>\u00a0category can loosely be split into three key areas:<\/span><\/div>
Set, Scenery & Props \u2013 5 marks<\/strong><\/div>
A minimal or bare stage can work well\u2014marks won\u2019t be deducted if it aligns with the production’s style, genre, or creative intent.
Ask: Are the chosen set pieces, scenery, and props suitable for the play\u2019s time period and setting?
Is the layout functional for the performers? It\u2019s common to see awkward furniture placement that hinders movement and staging.<\/span><\/div>
Costume, Makeup & Masks \u2013 5 marks<\/strong><\/div>
A \u201chead-to-toe\u201d costume checklist is essential\u2014especially for pieces with a specific period or social setting.
Common missteps include mismatched footwear or modern accessories, such as trainers in a Victorian piece. Also be mindful of contemporary details like tattoos or piercings.
Black clothing is acceptable where fitting, particularly in physical theatre. Quick costume changes for multi-role work can be effective but should be slick and stylised.
Masks can add impact\u2014if used correctly. Performers must embody the character physically, and strong vocal skills are crucial when speech is involved.<\/span><\/div>
Sound, Lighting & Tech \u2013 5 marks<\/strong><\/div>
These technical elements should be used with care and precision\u2014they have the power to transform a scene but can just as easily distract.
Avoid jarring effects like unnecessary blackouts or overpowering follow spots.
Be wary of sound levels: music or effects should enhance, not drown out, the performance. One infamous example? A deafening helicopter sound that had the audience ducking!
Music should fade out naturally\u2014abrupt cutoffs can spoil a moment.
The use of projections has increased, inspired by modern practitioners such as Katie Mitchell and Frantic Assembly, and can be highly effective when used creatively.<\/span><\/div>
2. DIRECTION (35 marks)<\/strong><\/div>
A few questions to consider.\u00a0<\/span><\/div>
Has the script been clearly interpreted?\u00a0<\/span><\/div>
Does the opening establish confidence, tone, and style?\u00a0<\/span><\/div>
Is that style consistent and suitable for the piece?\u00a0<\/span><\/div>
Are the action and pacing carefully structured, with thoughtful staging and smooth transitions?\u00a0<\/span><\/div>
Do the characters and narrative progress convincingly, with key moments clearly defined and impactful?\u00a0<\/span><\/div>
Where ensemble work is central, is it cohesive and imaginatively handled?\u00a0<\/span><\/div>
Above all, does the production move forward with clarity and intention?<\/span><\/div>
\u00a0<\/span><\/div>
This section recognises the director\u2019s vision and their ability to unite the cast in delivering a coherent, impactful production. We look for imagination, leadership, and evidence of a structured rehearsal process.<\/span><\/div>
Each element below can be marked out of 5, though flexibility is allowed depending on the nature of the production:<\/span><\/div>
  • A clear, original concept with a distinct directorial style<\/div><\/li>
  • Effective staging, movement, and use of space<\/div><\/li>
  • A coherent interpretation of the text<\/div><\/li>
  • Strong pacing, with deliberate use of silence, emphasis, and crescendo<\/div><\/li>
  • Cohesion among the cast\u2014bringing out the best in each performer<\/div><\/li>
  • Seamless integration of all performance elements<\/div><\/li>
  • Ability to highlight the emotional or thematic peaks of the play, creating moments that linger in the audience\u2019s memory<\/div><\/li><\/ul>
    3. ACTING (40 marks)<\/strong><\/div>
    This is the heart of the performance. We’re looking for believable, committed portrayals. Is the actor truly living the role? Is there strong chemistry and connection between cast members?<\/span><\/div>
    Each point is allocated up to 5 marks:<\/span><\/div>
    • Confident, well-researched characterisation<\/div><\/li>
    • Clear, expressive vocal delivery with good projection<\/div><\/li>
    • Controlled, expressive facial and physical movement<\/div><\/li>
    • Full physical embodiment of character<\/div><\/li>
    • Strong communication: with fellow actors, the audience, and internally with their role<\/div><\/li>
    • Good awareness of the piece\u2019s style and genre<\/div><\/li>
    • Ability to find and deliver key emotional beats\u2014comedy, drama, sadness<\/div><\/li>
    • High energy, visible effort, and full engagement<\/div><\/li><\/ul>
      4. DRAMATIC ACHIEVEMENT (10 marks)<\/strong><\/div>
      This final category assesses the overall impact of the performance on the adjudicator.
      It often reflects the cumulative quality of the previous three categories\u2014but also gives room to reward productions that make a lasting impression, even if there are a few inconsistencies in execution.
      A particularly moving, exciting, or imaginative performance may warrant a higher score here.<\/span><\/div>
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      1. <\/span>\u00a0GENERAL<\/span><\/span><\/h1>

      1\/1<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>The B.D.T.G. produces Birmingham\u2019s Festival of Acting and Musical Entertainment. The Festival\u00a0<\/span><\/span>B.F.A.M.E. is made up of three sections: <\/span>–<\/span><\/p>

      One-<\/span>Act.<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Adult-Group)<\/span>\u00a0\u00a0<\/span><\/p>

      One-<\/span>Act.<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Youth-Group) } Making up Festival Weekend<\/span><\/span><\/p>

      Full Length Peripertetic<\/span><\/span><\/p>

      \u00a0<\/span><\/p>

      \u00a0<\/span><\/span><\/p>

      1\/2<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>All entries must be submitted by\u00a0 returned by the due date, together with the appropriate entry fee, as indicated on the entry form.<\/span><\/p>

      1\/3<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>The results and presentation of all awards will take place on the final session of Festival Weekend.<\/span><\/span><\/p>

      1\/4<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>If the entry is copyrighted, it is the company\u2019s responsibility to see that the author’s permission is obtained for the performance and that the royalty fee is paid in advance.<\/span><\/p>

      1\/4-1<\/span>\u00a0\u00a0\u00a0 <\/span><\/b>If the text has been altered in any way for the performance, the Stage Manager will ask for proof of the author\u2019s permission.<\/span><\/p>

      1\/4-2<\/span>\u00a0\u00a0\u00a0 <\/b>The license must be presented to the Stage Manager on the morning of the performance day.<\/span><\/span><\/p>

      If not presented by the start of the performance the entry may have to be rejected.<\/span><\/span><\/p>

      1\/5<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>Groups entering the festival should have their own Public Liability Insurance cover with a reputable company.<\/span><\/p>

      1\/6<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>A full list of trophies available within the Festival is shown in Appendix. 4.<\/span><\/span><\/p>

      NOTE<\/span><\/h2>

      No award will be presented unless a standard worthy of reward, in the view of the adjudicator, or reviewers has been achieved.<\/span><\/p>

      1\/7<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>The Guild will NOT<\/u> be responsible for any expenses incurred by your production or by your participation in the Festival.<\/span><\/p>

      1\/8<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>Entries may be rejected by the Guild whose decision is final.<\/span><\/span><\/p>

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      2. <\/span>\u00a0FESTIVAL WEEKEND<\/span><\/span><\/h1>

      2\/1<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>Adult One-Act section: –<\/span><\/span><\/u><\/p>

      2\/1-1 <\/b>We are licensed as a Preliminary Round of the AETF festival scene. If you wish to enter the All-England Theatre Festival (A.E.T.F.) National Competition you must: –<\/span><\/p>

      – <\/span>Declare that intention on the \u2018ENTRY FORM\u2019.<\/span><\/span><\/p>

      – <\/span>Be willing to go forward to all subsequent rounds if selected to do so.<\/span><\/span><\/p>

      – <\/span>Abide fully with the A.E.T.F. rules, which are reproduced in Appendix. 1.<\/span><\/span><\/p>

      2\/1-2 <\/span><\/b>Any youth group who wishes to enter the A.E.T.F. section of the Festival may do so.<\/span><\/span><\/p>

      They will however be adjudicated and marked as a One Act Adult-Group entry.<\/span><\/span><\/p>

      2\/1-3 <\/span><\/b>Adult groups may use youth members to play children\u2019s parts.<\/span><\/span><\/p>

      2\/2<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>Youth One-Act section: –<\/span><\/span><\/u><\/p>

      2\/2-1 <\/span><\/b>This is run on the same lines as the Adult section, with its own set of trophies.<\/span><\/span><\/p>

      2\/2-2 <\/b>For the purposes of the One Act Youth Section. The definition of Youth is taken to be where the entire cast is under the age of 19 years on the last day of the Festival.<\/span><\/p>

      2\/3<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/b>General.<\/span><\/u><\/p>

      2\/3-1 <\/b>This festival is an open festival; however both the Adult and Youth sections will be run under the auspices of the AETF Festival Rules. Appendix. 1.<\/span><\/p>

      2\/3-2 <\/span><\/b>The stage will be set out as shown on the attached drawing. Appendix. 2.<\/span><\/span><\/p>

      2\/3-3 <\/span><\/b>Costumes and scenery are left to the discretion of the participating societies, they must however comply with the theatre Fire\/Safety regulations.<\/span><\/p>

      2\/3-4 <\/span><\/b>Ingenuity in creating the right artistic impression will be taken into account.<\/span><\/span><\/p>

      2\/3-5 <\/b>Competing groups are entitled to complimentary tickets for the session of their performance, during Festival Weekend if space allows.<\/span><\/p>

      2\/3-6 <\/b>To comply with \u2018Child Protection Procedures\u2019 children under our care will be accompanied by a suitably licensed adult at all times.<\/span><\/p>

      NOTE<\/span><\/h2>

      Parents will not be allowed back stage.<\/span><\/span><\/p><\/div>

      \u00a0<\/span><\/p>

      2\/4-1 <\/span><\/b>A copy of the script should be submitted with each entry application or as dictated on the entry form.<\/span><\/span><\/p>

      NOTE<\/span><\/h2>

      Electronic copies are not allowed. Photostat copies will not be acceptable unless written permission has been obtained from the copyright holders.<\/span><\/p>

      Original scripts should contain a brief synopsis and a character list. They should have numbered pages and be in A4 pdf format.<\/span><\/p>

      2\/4-2 <\/span><\/b>The Guild will appoint: –<\/span><\/span><\/p>

      –\u00a0 <\/span><\/span>A Stage Manager who will be responsible for the safe running and control of all back stage areas.<\/span><\/p>

      – <\/span>An Electrician who will be responsible for the control of the lighting & sound desk and Lighting & sound equipment.<\/span><\/p>

      2\/4-3 <\/span><\/b>The Guild will employ an adjudicator for the whole of festival weekend: –<\/span><\/span><\/p>

      –\u00a0 <\/span><\/span>As well as the public adjudication given following the final performance of each session, the adjudicator will be available to talk to each of the individual companies privately after the conclusion of their session\u2019s performance.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

      \n\t\t\t\t\n\t\t\t\t\t
      Rules of AETF <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/path><\/svg><\/span>\n\t\t\t<\/path><\/svg><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
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      HOW DO WE ENTER?<\/span><\/p>

      \u00a0AETF ENTRANTS RULES<\/span><\/p>

      \u00a0<\/span><\/p>

      1.\u00a0 Entry into the National Festival must be via a Preliminary Festival, either a local festival organised by the AETF or an independent local festival affiliated to the AETF.<\/span><\/p>

      2.\u00a0 Any company:<\/span><\/p>

      2\/1. Who desires to enter the AETF competition must declare this on the Preliminary Round entry form. 2\/2. Companies must provide a completed AETF Declaration immediately following their selection.<\/span><\/p>

      3.\u00a0 A company may: –<\/span><\/p>

      3\/1. Enter and opt with any number of plays in a Preliminary Festival.<\/span><\/p>

      3\/2. Enter as many festivals as they like, but can only opt from one, preferably their local Preliminary (First Round) Festival.<\/span><\/p>

      3\/3. Enter more than one Festival with different plays and opt.<\/span><\/p>

      4.\u00a0 By entering the AETF Festival companies commit themselves to performance at each level if selected and are expected to appear. Those pulling out at short notice without what is deemed reasonable cause will be refused entry for the subsequent year’s competition.<\/span><\/p>

      5.\u00a0 A company may not recast more than 25% of its roles unless it is from within the existing cast or by circumstances that are deemed extraordinary.<\/span><\/p>

      \u00a0<\/span><\/p>

      THE FOLLOWING POINTS ALSO APPLY!<\/span><\/p>

      6.\u00a0 Dramatic Schools for the training of professional actors are not eligible.<\/span><\/p>

      7.\u00a0 Any copyright recorded speech or projection of film or TV material can be used as long as proof of permission is produced.<\/span><\/p>

      8.\u00a0 Curtain calls are not permitted.<\/span><\/p>

      9.\u00a0 Written adjudications can be arranged for companies provided a written request is made to the organisers, together with necessary fee, before the festival.<\/span><\/p>

      The following are accepted by the \u2018British Final of One-Act Plays\u2019 governing body the United Kingdom Community Drama Federation (UKCDFF) and must be adhered to by all competing teams in the UK at all levels of the competition.<\/span><\/p>

      \u00a0<\/span><\/p>

      WHO CAN ENTER?<\/span><\/p>

      10.\u00a0 Any bona fide adult amateur Society, or recognised Youth Theatre.<\/span><\/p>

      Definition of a professional group: A professional group performs an activity to earn an income, whereas an amateur group performs an activity as a hobby.<\/span><\/p>

      A group\u2019s public presence\/marketing must clearly demonstrate a group\u2019s amateur status and must not promote professional work.<\/span><\/p>

      Any festival production must not be available to hire for financial gain.<\/span><\/p>

      11.\u00a0 All players must be amateur i.e. whose main income is not earned by acting.<\/span><\/p>

      \u00a0<\/span><\/p>

      WHAT CAN WE ENTER?<\/span><\/p>

      12.\u00a0 All performances are subject to the Theatres Act 1968 and must comply with its provisions regarding plays, which might be considered obscene, seditious, or libellous, or likely to incite racial hatred or a breach of the peace.<\/span><\/p>

      13.\u00a0 The entry will be a One-Act Play or an extract from a longer play. The accepted definition of a one-act entry is \u2018a coherent piece of mainly spoken drama\u2019.<\/span><\/p>

      14.\u00a0 No play in copyright may be performed without production of its performance licence and written permission must be provided for any cuts or alterations.<\/span><\/p>

      15.\u00a0 The performance must be performed as per the script provided for the adjudicator, which must be with the adjudicator at least three weeks before the performance.<\/span><\/p>

      16.\u00a0 Only hard copies of scripts are accepted. Photocopies are only acceptable with the written permission of the publishers.<\/span><\/p>

      17.\u00a0 Each entry must have a minimum of two speaking characters appearing on stage.<\/span><\/p>

      \u00a0<\/span><\/p>

      WHAT ARE THE TIME CONSTRAINTS?<\/span><\/p>

      18.\u00a0 The length of performance of the entry shall be not less than 20 minutes and not more than 55 minutes, including any time spent in changing a scene in the course of a performance or time used to set the mood by the cast or music before the tabs open.<\/span><\/p>

      19.\u00a0 Each team will be allowed 10 minutes for setting and 5 minutes for striking their set.<\/span><\/p>

      20.\u00a0 Penalties for not keeping within times for performance, setting and striking are: –<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Up to 1 minute 1 mark<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Up to 2 minutes 3 marks<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Up to 3 minutes 6 marks<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Up to 4 minutes 10 marks<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Up to 5 minutes 15 marks<\/span><\/p>

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span>Over 5 minutes Disqualification.\u00a0<\/span><\/p>

      \u00a0<\/span><\/p>

      WHAT ARE THE STAGING CONSTRAINTS?<\/span><\/p>

      21.\u00a0 Any set or scenery must be free standing within the provided \u2018black box\u2019 acting area.<\/span><\/p>

      22.\u00a0 Societies have a duty to co-operate with the Festival Stage Director in adhering to the theatre\u2019s safety rules and attending all safety briefings as required, please be aware that there may be different requirements in each country.<\/span><\/p>

      23.\u00a0 Societies must give advance notice to the Festival Stage Director of any additional equipment, which must comply with the theatre\u2019s requirements. And any effects such as naked lights or smoking, fire arms or pistol shots, knives or swords, strobes etc which the theatre will need to be made aware of.<\/span><\/p>

      24.\u00a0 Projectors and projector screens must be provided by the company and are not the responsibility of the festival. These must be rigged in the 10 minute setting time.<\/span><\/p>

      25.\u00a0 The use of any kind of microphone will not be allowed to enhance an actor\u2019s vocal projection. Microphones may still be used as a sound effect. In the interests of inclusivity microphones would be allowed in order to facilitate a deaf or hard of hearing member of the casts use of an induction loop.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

      Performing Groups and Bfame Team Information.   Welcome Schedule for the festival at Highbury – which is, as always, subject to change.\u00a0\u00a0 If I’ve missed anything on here, please let me […]<\/p>\n","protected":false},"author":1,"featured_media":1934,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2150","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/2150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/comments?post=2150"}],"version-history":[{"count":96,"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/2150\/revisions"}],"predecessor-version":[{"id":2383,"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/pages\/2150\/revisions\/2383"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/media\/1934"}],"wp:attachment":[{"href":"https:\/\/bfame.co.uk\/index.php\/wp-json\/wp\/v2\/media?parent=2150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}