Changes also under consideration for Creative Week 2020
In light of the global coronavirus outbreak, The One Club for Creativity has taken the precautionary measure of switching from in-person to online judging for nearly all disciplines this year for its two global awards shows, The One Show and ADC 99th Annual Awards.
The One Show experienced a record year, and top creatives from 38 countries will serve on juries for the two shows. Judging was set to start next week in New York, followed by two weeks in San Juan, Puerto Rico and a fourth week in New York.
“We could have replaced non-U.S. jury members with creatives based here, but that’s not who we are,” said Kevin Swanepoel, CEO, The One Club. “The One Show and ADC Annual Awards are leading international awards programs, and it’s imperative that we maintain the same global integrity and quality to the judging process.”
The club is well prepared to facilitate expanded online judging, since early rounds of entries submitted throughout the year in The One Show’s quarterly entry system are already judged on an existing digital platform. This expanded online judging will happen this year only, with in-person judging resuming next year.
All jury members reviewing work online this year will also be invited to return as in-person judges for next year’s One Show 2021 and historic ADC 100th Annual Awards.
For a few ADC 99th Annual Awards disciplines–Brand/Communication Design, Motion/Film/Gaming Craft, Packaging & Product Design and Publication Design–with juries largely made up of U.S.- and Canada-based creatives, judging will continue to be held in person at The One Club gallery space.
Creative Week 2020
Depending on how the global outbreak progresses, The One Club is also considering potential changes to this year’s Creative Week in May, when The One Show 2020, ADC 99th Annual Awards and Young Ones Student Awards (which are judged online) gala ceremonies are held in various New York venues.
Many Creative Week attendees are from overseas and could face travel restrictions. Again out of an abundance of caution, the club is discussing possible alternative ways to announce this year’s Pencil and Cube winners to the global creative community.
“Unlike Cannes, which is a for-profit business that has to answer to shareholders and generates most of its revenue from its festival, The One Club is a non-profit organization that produces many initiatives throughout the year and does not depend solely on its awards festival,” said Swanepoel.
“Our top priority is the well being of the creative community. Should we need to, we have the option of not holding a global gathering of creatives at our festival and putting them potentially at risk because our decision about Creative Week is not based on revenue,” he added.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More