Adjudicators, Bias and Criticism

After reading Ron Banks critique of Mike AnthonyÂ’s play in The West Australian (Saturday 31 January), I wondered how some of those who have expressed their anger about adjudication processes in recent weeks, would react to a similar methodical analysis. I suspect not well, for what appears to annoy the most, is the perception of personal bias. And yet, bias will always play a part in the judgment of any work in the arts.

I’m one of those bored to tears by the whole Irish thing, yet I consider Mike Anthony a good bloke and very talented. I also thoroughly enjoy time-out with the vampire books of Anne Rice, but literature critics don’t even bother to review them. I went to see “Japanese Story” in Kings Park last night. It was the second time I’d seen the film, as I like it so much. However, half a dozen people around me, loathed it and regretted coming.

WhoÂ’s right and who is wrong?

This leads to the arguments of those who would declare one set of theatre skills far more important than the other, which indirectly makes me smile, remembering an old joke about which was more important – the brain or the anus.

I am sure everyone is aware of the term “beautifully crafted.” To me, that phrase sums up the essence of an award winning play, musical, or film. There may be technical mistakes, there may be actors less skilled than others, however, the overall production is so good (how important does that make the director and technical crew?), that the production is clearly worthy of award. It will be interesting to watch how “Lord of the Rings” fares in the Oscars.

It is human nature to need acknowledgment and encouragement from families and peers, it’s vital to our psyche and our emotional growth. It’s also essential to learn from and understand our mistakes and perhaps just as important, to see things from another’s point of view – walk a mile in their shoes. Of course, criticism must always be given with the intention of helping someone to improve.

Where then for the process of adjudication? Some have asked for access to adjudication meetings and notes, but for what purpose? Although the adjudication process involves critiques of productions, the end-design of an award system is not the release and discussion of individual judgements of a production, rather the sum of judgements of a selection of productions.

It would appear, that with the very best of intentions, the Finley Award system has accidentally become unwieldy, in terms of sheer numbers of adjudicators and their ability (in the fullest sense of the word), to properly review every production. As more and more theatre groups seek sponsorship money and in consideration of the many people in community theatre who desperately wish to become professionals, itÂ’s obvious that the adjudication system must become more professional.

There is, for instance, no place for someone like myself seeking to adjudicate musicals, I’m biased, I don’t like them. Come to think of it, there’s no place for me adjudicating anything – I don’t have the expertise. However, there is equally, no place for an adjudicator who “only does musicals,” or falls asleep half way through a production. It would seem obvious that the adjudicator system needs revamping to be based on a group of people, with a well rounded, balanced and experienced understanding of theatre and the various crafts within.

Possibly this would entail a core group of four adjudicators, with two or three reserves. The adjudicators would be required to see all entered productions, (not necessarily together), with a reserve taking someoneÂ’s place in case of illness etc. Naturally an adjudicator would not be able to produce or direct a play entered for the FinleyÂ’s during their term of adjudication and would have to declare any interest in a particular club / production and step down from adjudicating that particular event. Equally, if a club kicks up a fuss about giving tickets to the adjudicators, they simply arenÂ’t adjudicated.

Of course, as with any organisation, there are always those frightened of change, or unwilling to lose control, not to mention the fear of that tap on the shoulder. So whilst the necessary changes may not be instantly achieved, they will happen. There are some very experienced, thoughtful and determined people currently serving as adjudicators, ITA committee members and interested theatre people, who have been and are putting enormous effort into bringing about the changes people are rightly clamouring for. IÂ’m prepared to bet that the accolades for next years Finley Awards will have the ITA Committee members in tears of joy.
Cheers
Greg Ross

NB: These are my private thoughts and are in no way meant to represent those of other ITA committee members.