Developing and Performing Short Original Plays
4 3 2 1
Dialogue sometimes reveals
Dialogue consistently reveals Dialogue generally reveals Dialogue rarely reveals character,
character, traits, personalities,
character, traits, personalities, character, traits, personalities, traits, personalities, conflict, mood,
conflict, mood, and is sometimes
conflict, mood, and is consistent with conflict, mood, and is consistent with and is not consistent with style and
Dialogue consistent with style and form. It
style and form. Feels authentic, style and form. Feels authentic, form. Does not feels authentic and is
occasionally feels authentic and/or
consistent with character voice consistent with character voice not consistent with character voice
consistent with character voice
throughout script. throughout script. throughout script.
Very original presentation of
Originality apparent with variety and Material presented with some
material, captures audience’s Unoriginal or repetitive with little or
Creative Process, blending of material. Some research originality/interpretation. Some
attention. Research apparent. no variety; lack of research hurts
Setting, Research apparent. Setting does not get in the research into topic shown. Setting
Setting serves character, theme, and play. No recognizable setting.
way of theme and story. unclear and/or underdeveloped.
Logical, fluid development of play.
Adequate development of play. Each
Each scene includes compelling Poor development of play. Scenes No development of play. Scenes
scene includes complications and is
Dramatic Action, complications and is linked with sometimes includes complications, contain no complications or
linked with transitions. Clear
Play Structure, transitions. Very clear beginning, transitions may be weak. Some transitions. Major aspects of
beginning, middle, and end serve
Conflict middle, and end serve character elements of structure are missing, structure are missing. Conflict may
character regarding solid conflict,
regarding meaningful conflict, crisis, conflict may be weak. be nonexistent.
crisis, climax, conclusion.
Character development is almost
Character is sometimes dynamic Character is mostly one-sided and
Character is dynamic and multi- non-existent. Reader feels no
and multi-dimensional. Reader can flat. Reader can perceive little into
Characterization and dimensional. Reader can empathize empathy for character. Character’s
empathize with some of the the inner workings of the character.
Empathy with the character’s situations and internal/external motivations are not
character’s situations and Character’s internal/external
clear internal/external motivations. apparent or unrelated to the
internal/external motivations. motivations are vague.
Playwright’s intent is present in
Playwright’s intent is skillfully Playwright’s intent is intertwined in
some places within the play but may Playwright’s intent is unclear,
Meaning/Intent intertwined in play and serves the play and generally serves the
not always serve the character and confused, or nonexistent.
character and story. character and story.
No errors in spelling. Grammar,
Careless errors, no proofing evident, Riddled with errors or cannot read
Mechanics and punctuation, dialogue structure is Some errors, attempt made in style.
some formatting errors/missing play because of formatting,
Formatting varied and interesting. Formatting is Few errors in formatting.
elements. interferes with comprehension.