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WGI FT. LAUDERDALE REGIONAL


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Editor’s note: I wish I didn’t have to do this, but I know what will happen if I don’t: some of you people will get your panties so impossibly bunched-up that assistance from a medical professional might be needed to successfully “unbunch” them.

So, here goes:

The following review represents MY personal opinions and observations ONLY. I am neither currently nor have I ever been affiliated directly in any capacity whatsoever with any guard - active or defunct - competing in any class of any circuit.

I’m relating MY ideas and views ONLY. Nothing more, nothing less. Ok…??? Can we please remember this and not work ourselves into lather over anything that might be mentioned in this or any other review posted in this forum…???

Thank you.

- The management

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INDEPENDENT WORLD

NEI – Ruthless Gravity

This show puts a high-beam spotlight on the ensemble’s terrific weapons work and on their dance/body skills. And they execute those areas VERY well. They don’t flag a whole lot, which is kind of a minus in my book. But that’s just me.

Personally, I think this show is a bit of a return to the previous direction that NEI was taking, in other words, the direction that they were heading prior to last season. (I was such a HUGE fan of their ‘09 show…!!!) If you were to ask me, I’d say that this show is a step backward for NEI.

For me, this show has a lot of visual distractions. The uniforms are little too colorful and unnecessarily complicated. The floor – although intriguing in a graphic sense – doesn’t really let the performers and the work read as well as those things could be reading. The staging/drill was a little “all over the place” for my taste.

Those observations very much are the expression of my personal preferences. Again, that’s just me.

But, the show has been scoring extremely well all season, so what do I know?

:smile:

And with that being said, let me state LOUDLY and that the overall quality of performance that NEI is putting on the floor right now is really top notch. They handle their equipment great and the book is VERY demanding. And their attention to the movement/body component of the program is really working out well for this show.

This should be a fabulous show by the time it gets to Dayton.

BRADDOCK INDEPENDENT – The Passion

Hands down, this was my favorite show of the evening. And I was surprised at how much I liked it.

I think we’ve all heard at least some of the back story about Braddock’s unusual season, having started learning another show only to jettison it completely in favor of this one: a show touching on the final hours in the life of Jesus Christ.

Well, the choice to change shows seemed to have work out.

Like last year’s show, this isn’t a traditional “booty Braddock” production. Although, the ladies certainly are dressed with enough sex appeal to spend some time in club on South Beach.

From a design standpoint, the theme is conceptualized remarkably well. It’s not overtly “religious.” Not preachy. And it’s not obvious, exploitive or graphic in any way.

The storyline is choreographed to a rich, dark, alt-rock opera-esque soundtrack by Peter Gabriel that evokes the emotional and spiritual turbulence of the last hours in the Earthly existence of Jesus Christ. At key moments, featured performers collapse, as if dying, and stand/pose briefly with arms extended, as if on the crucifix. But these moments are indeed, brief, and integrated beautifully in a stylistic sense. I’m EXTREMELY impressed with the sophisticated and thoughtful manner in which this type of potentially exploitive – or otherwise disturbing - imagery has been integrated into the dance/body work and the overall visual line of the show. In other words, the designer(s) of this show DIDN’T take the easy way out.

The floor design - and someone help me with this – is mostly blank except for the stage right back corner where there’s a sketchy, blurry, line drawing representation of “something.” I think the image might be an abstract version of Jesus’ face on the shroud of Turin? Or maybe it’s an abstraction of the crown of thorns? I wasn’t quite sure, but that was OK. The feeling generated by that graphic element – almost like a rushed, impromptu charcoal scribbling - really did complement the aesthetic choices for the show and heighten the overall visual package.

Costuming cues are taken from Roman military togas that would have been worn crica. the time of the crucifixion. And just to be clear, the guard ISN’T wearing togas. This is a conventional uni in every way. But the women’s version of the garment shows just enough skin to let everyone know that the Braddock Independent of season’s past is still in there someplace just below the surface. Really a great look for this program.

Lots of dance/body and a great deal of attention to weapons work. Someone correct me if I’m wrong – but I think the majority of this show is carried by weapons and dance/body. Which is fine with me because Braddock is executing their weapons and body work quite well for this point in the season. Nice ensemble sections and really terrific soloists.

Aside from the ending section, this show didn’t feature a lot of flag work, as I’m remembering. One nice section of flag work, though, showcases 8-10 members using a really cool flag with an image of an unraveled crown of thorns. Very nice touch. And the finale is staged around an ensemble phrase of red flags. (Note: these still might be the temporary silks. They looked a little like your garden variety red, rectangular, rip-stop nylon practice flags.)

Now, I’ve gone on record previously as saying that I’m a HUGE fan of the “booty Braddock” productions staged by this perennial crowd-pleasing guard. However, I believe this show both stylistically and intellectually represents yet another major step forward for this program. Maybe they’ll come back next year and shake their money makers again. (I’d certainly endorse that plan...!!!) But this performance proves that the Braddock program can handle with equal ease ANY type of show that THEY choose to do.

Can’t wait to see how this progresses throughout the remainder of the season.

PREMONITION – Obsessed

This show is about obsession. But not, like, a “Calvin Klein” type of obsession. No. Think: “the boy who couldn’t stop washing his hands” obsession.

When this program was announced, I was skeptical, to say the least.

But let me say right up front that I was VERY pleasantly surprised at how well this idea was executed. From beginning to end, lots of really well thought-out elements were brought to this show. And those elements both express clearly the idea of “obsession” and keep the production moving forward in a way that’s interesting as well as engaging.

So, in my book, Premonition definitely earns bonus points for showing us something new.

The set design includes a series of doors – actual residential “front doors” that look like they came from the Home Depot. At one point, the “obsessed” performers check them repeatedly to make sure that the doors are locked. And, of course, eventually they open the doors and incorporate them into their equipment work: tosses that go over the door frame, etc., all quite nicely done.

This guard always knows what to do to get the audience going - and they definitely do that again this year. Great tricks, solid equipment work throughout and an ending flag feature that perfectly captures the chaos/mania/anxiety/frenzy that must bombard the psyche of anyone who “can’t stop checking the front door.”

This group could very well be on their way to another appearance in IW Finals.

EDITOR’S NOTE: Here’s my one “aw, shucks” moment for Premonition.

Now, I knew this would happen eventually. I just wasn’t ready for it yet. Apparently, Premonition’s “Double Rifle Diva” has moved on. I gotta admit, I was just a little bummed-out to see that she’s not a member of this year’s talented ensemble. Good luck and God’s speed, Double Rifle Diva.

Seriously, though, her amazing abilities as a performer really did help this up-and-coming guard to create a lot of really well-deserved, positive “buzz” about Premonition’s crowd-pleasing shows. I hope that this skilled performer finds a way to channel her amazing energy to the current members of Premonition. (I think she’s already doing it…!!! They perform the heck out of EVERYTHING…!!!)

FAHRENHEIT – P.S.: I love you

The show is constructed around love letters from someone’s dead husband, set to "Unchained Melody" – you know, the ballad from “Ghost.”

Right up front, I need to say that conceptually and stylistically, this type of show just isn’t my cup of tea. I’m 100% uninterested in weepy, tearful, sorrow-filled “loss” shows.

So, I’m mostly going to take the high road and not say a whole lot here. And, honestly, I wasn’t paying super close attention to the performances, anyway. I kinda watched the whole thing with one eye closed. I just wanted it to be over.

That said, the performance level of the show seems to be progressing at a pace that should allow Fahrenheit to put up a really good challenge for a spot in Finals this year.

Edited by Mr. Know it all
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Editor’s note: I wish I didn’t have to do this, but I know what will happen if I don’t: some of you people will get your panties so impossibly bunched-up that assistance from a medical professional might be needed to successfully “unbunch” them.

So, here goes:

The following review represents MY personal opinions and observations ONLY. I am neither currently nor have I ever been affiliated directly in any capacity whatsoever with any guard - active or defunct - competing in any class of any circuit.

I’m relating MY ideas and views ONLY. Nothing more, nothing less. Ok…??? Can we please remember this and not work ourselves into lather over anything that might be mentioned in this or any other review posted in this forum…???

Thank you.

- The management

- - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - -

INDEPENDENT WORLD

NEI – Ruthless Gravity

This show puts a high-beam spotlight on the ensemble’s terrific weapons work and on their dance/body skills. And they execute those areas VERY well. They don’t flag a whole lot, which is kind of a minus in my book. But that’s just me.

Personally, I think this show is a bit of a return to the previous direction that NEI was taking, in other words, the direction that they were heading prior to last season. (I was such a HUGE fan of their ‘09 show…!!!) If you were to ask me, I’d say that this show is a step backward for NEI.

For me, this show has a lot of visual distractions. The uniforms are little too colorful and unnecessarily complicated. The floor – although intriguing in a graphic sense – doesn’t really let the performers and the work read as well as those things could be reading. The staging/drill was a little “all over the place” for my taste.

Those observations very much are the expression of my personal preferences. Again, that’s just me.

But, the show has been scoring extremely well all season, so what do I know?

:smile:

And with that being said, let me state LOUDLY and that the overall quality of performance that NEI is putting on the floor right now is really top notch. They handle their equipment great and the book is VERY demanding. And their attention to the movement/body component of the program is really working out well for this show.

This should be a fabulous show by the time it gets to Dayton.

BRADDOCK INDEPENDENT – The Passion

Hands down, this was my favorite show of the evening. And I was surprised at how much I liked it.

I think we’ve all heard at least some of the back story about Braddock’s unusual season, having started learning another show only to jettison it completely in favor of this one: a show touching on the final hours in the life of Jesus Christ.

Well, the choice to change shows seemed to have work out.

Like last year’s show, this isn’t a traditional “booty Braddock” production. Although, the ladies certainly are dressed with enough sex appeal to spend some time in club on South Beach.

From a design standpoint, the theme is conceptualized remarkably well. It’s not overtly “religious.” Not preachy. And it’s not obvious, exploitive or graphic in any way.

The storyline is choreographed to a rich, dark, alt-rock opera-esque soundtrack by Peter Gabriel that evokes the emotional and spiritual turbulence of the last hours in the Earthly existence of Jesus Christ. At key moments, featured performers collapse, as if dying, and stand/pose briefly with arms extended, as if on the crucifix. But these moments are indeed, brief, and integrated beautifully in a stylistic sense. I’m EXTREMELY impressed with the sophisticated and thoughtful manner in which this type of potentially exploitive – or otherwise disturbing - imagery has been integrated into the dance/body work and the overall visual line of the show. In other words, the designer(s) of this show DIDN’T take the easy way out.

The floor design - and someone help me with this – is mostly blank except for the stage right back corner where there’s a sketchy, blurry, line drawing representation of “something.” I think the image might be an abstract version of Jesus’ face on the shroud of Turin? Or maybe it’s an abstraction of the crown of thorns? I wasn’t quite sure, but that was OK. The feeling generated by that graphic element – almost like a rushed, impromptu charcoal scribbling - really did complement the aesthetic choices for the show and heighten the overall visual package.

Costuming cues are taken from Roman military togas that would have been worn crica. the time of the crucifixion. And just to be clear, the guard ISN’T wearing togas. This is a conventional uni in every way. But the women’s version of the garment shows just enough skin to let everyone know that the Braddock Independent of season’s past is still in there someplace just below the surface. Really a great look for this program.

Lots of dance/body and a great deal of attention to weapons work. Someone correct me if I’m wrong – but I think the majority of this show is carried by weapons and dance/body. Which is fine with me because Braddock is executing their weapons and body work quite well for this point in the season. Nice ensemble sections and really terrific soloists.

Aside from the ending section, this show didn’t feature a lot of flag work, as I’m remembering. One nice section of flag work, though, showcases 8-10 members using a really cool flag with an image of an unraveled crown of thorns. Very nice touch. And the finale is staged around an ensemble phrase of red flags. (Note: these still might be the temporary silks. They looked a little like your garden variety red, rectangular, rip-stop nylon practice flags.)

Now, I’ve gone on record previously as saying that I’m a HUGE fan of the “booty Braddock” productions staged by this perennial crowd-pleasing guard. However, I believe this show both stylistically and intellectually represents yet another major step forward for this program. Maybe they’ll come back next year and shake their money makers again. (I’d certainly endorse that plan...!!!) But this performance proves that the Braddock program can handle with equal ease ANY type of show that THEY choose to do.

Can’t wait to see how this progresses throughout the remainder of the season.

PREMONITION – Obsessed

This show is about obsession. But not, like, a “Calvin Klein” type of obsession. No. Think: “the boy who couldn’t stop washing his hands” obsession.

When this program was announced, I was skeptical, to say the least.

But let me say right up front that I was VERY pleasantly surprised at how well this idea was executed. From beginning to end, lots of really well thought-out elements were brought to this show. And those elements both express clearly the idea of “obsession” and keep the production moving forward in a way that’s interesting as well as engaging.

So, in my book, Premonition definitely earns bonus points for showing us something new.

The set design includes a series of doors – actual residential “front doors” that look like they came from the Home Depot. At one point, the “obsessed” performers check them repeatedly to make sure that the doors are locked. And, of course, eventually they open the doors and incorporate them into their equipment work: tosses that go over the door frame, etc., all quite nicely done.

This guard always knows what to do to get the audience going - and they definitely do that again this year. Great tricks, solid equipment work throughout and an ending flag feature that perfectly captures the chaos/mania/anxiety/frenzy that must bombard the psyche of anyone who “can’t stop checking the front door.”

This group could very well be on their way to another appearance in IW Finals.

EDITOR’S NOTE: Here’s my one “aw, shucks” moment for Premonition.

Now, I knew this would happen eventually. I just wasn’t ready for it yet. Apparently, Premonition’s “Double Rifle Diva” has moved on. I gotta admit, I was just a little bummed-out to see that she’s not a member of this year’s talented ensemble. Good luck and God’s speed, Double Rifle Diva.

Seriously, though, her amazing abilities as a performer really did help this up-and-coming guard to create a lot of really well-deserved, positive “buzz” about Premonition’s crowd-pleasing shows. I hope that this skilled performer finds a way to channel her amazing energy to the current members of Premonition. (I think she’s already doing it…!!! They perform the heck out of EVERYTHING…!!!)

FAHRENHEIT – P.S.: I love you

The show is constructed around love letters from someone’s dead husband, set to "Unchained Melody" – you know, the ballad from “Ghost.”

Right up front, I need to say that conceptually and stylistically, this type of show just isn’t my cup of tea. I’m 100% uninterested in weepy, tearful, sorrow-filled “loss” shows.

So, I’m mostly going to take the high road and not say a whole lot here. And, honestly, I wasn’t paying super close attention to the performances, anyway. I kinda watched the whole thing with one eye closed. I just wanted it to be over.

That said, the performance level of the show seems to be progressing at a pace that should allow Fahrenheit to put up a really good challenge for a spot in Finals this year.

Here's my thoughts with your same disclaimer.Also no connections to the groups

North East Independent: I would have to agree 100% I thought last year they FINALLY took a big step just to take a step backward. I totally agree about their costuming also. Although I don't think they ever had a good one. This team is extremely talented as always BUT programing is same ole same ole I'm afraid im my opinion.

Braddock: I would agree also for the most part other than I wish this talented group took more chances and explored more variety in this program. No doubt hands down better than all the Booty Shakining years. Hats off to the staff and members.

PREMONITION: OK here's is where we start to differ in opinion UGHHH where to begin. I Think the program itself lacks pacing and thought. The doors are ok but the program looks like a mish- mosh of 100 programs I have seen already. Sorry, just didn't like it from all aspects including costuming. Kids give 100% for sure and you can tell crave an audiance reaction .They do know how to push the buttons of an audiance. OH also gald to to see the double rifle trick gone. Arcadia who made that famous with HS kids did it better and with many kids. Thank you Premonition.

With that said I do think the members committ to the program and if they can clean it can see a lower spot in finals again.

Fahrenheit: I have to disagree again, To me this was one of the MOST innovative programs of the day. It was sweet, touching, emotional and great pacing, Not about " the movie Ghost at all " There's a movie " PS I love You " which was a great touching , emotional and a life learning movie, I thought anyway. To me I thought this group brought something different to the show instead of same ole same ole. I think this group deserves a spot in finals this year and I also thought was a nice breath of fresh air. Although there were some cool tricks in the show as in the others it wsn't pound you over the head which to me is far more creative than a slede hammer hitting you with the same thing over and over.

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Editor’s note: I wish I didn’t have to do this, but I know what will happen if I don’t: some of you people will get your panties so impossibly bunched-up that assistance from a medical professional might be needed to successfully “unbunch” them.

So, here goes:

The following review represents MY personal opinions and observations ONLY. I am neither currently nor have I ever been affiliated directly in any capacity whatsoever with any guard - active or defunct - competing in any class of any circuit.

I’m relating MY ideas and views ONLY. Nothing more, nothing less. Ok…??? Can we please remember this and not work ourselves into lather over anything that might be mentioned in this or any other review posted in this forum…???

Thank you.

- The management

- - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - -

INDEPENDENT WORLD

NEI – Ruthless Gravity

This show puts a high-beam spotlight on the ensemble’s terrific weapons work and on their dance/body skills. And they execute those areas VERY well. They don’t flag a whole lot, which is kind of a minus in my book. But that’s just me.

Personally, I think this show is a bit of a return to the previous direction that NEI was taking, in other words, the direction that they were heading prior to last season. (I was such a HUGE fan of their ‘09 show…!!!) If you were to ask me, I’d say that this show is a step backward for NEI.

For me, this show has a lot of visual distractions. The uniforms are little too colorful and unnecessarily complicated. The floor – although intriguing in a graphic sense – doesn’t really let the performers and the work read as well as those things could be reading. The staging/drill was a little “all over the place” for my taste.

Those observations very much are the expression of my personal preferences. Again, that’s just me.

But, the show has been scoring extremely well all season, so what do I know?

:smile:

And with that being said, let me state LOUDLY and that the overall quality of performance that NEI is putting on the floor right now is really top notch. They handle their equipment great and the book is VERY demanding. And their attention to the movement/body component of the program is really working out well for this show.

This should be a fabulous show by the time it gets to Dayton.

BRADDOCK INDEPENDENT – The Passion

Hands down, this was my favorite show of the evening. And I was surprised at how much I liked it.

I think we’ve all heard at least some of the back story about Braddock’s unusual season, having started learning another show only to jettison it completely in favor of this one: a show touching on the final hours in the life of Jesus Christ.

Well, the choice to change shows seemed to have work out.

Like last year’s show, this isn’t a traditional “booty Braddock” production. Although, the ladies certainly are dressed with enough sex appeal to spend some time in club on South Beach.

From a design standpoint, the theme is conceptualized remarkably well. It’s not overtly “religious.” Not preachy. And it’s not obvious, exploitive or graphic in any way.

The storyline is choreographed to a rich, dark, alt-rock opera-esque soundtrack by Peter Gabriel that evokes the emotional and spiritual turbulence of the last hours in the Earthly existence of Jesus Christ. At key moments, featured performers collapse, as if dying, and stand/pose briefly with arms extended, as if on the crucifix. But these moments are indeed, brief, and integrated beautifully in a stylistic sense. I’m EXTREMELY impressed with the sophisticated and thoughtful manner in which this type of potentially exploitive – or otherwise disturbing - imagery has been integrated into the dance/body work and the overall visual line of the show. In other words, the designer(s) of this show DIDN’T take the easy way out.

The floor design - and someone help me with this – is mostly blank except for the stage right back corner where there’s a sketchy, blurry, line drawing representation of “something.” I think the image might be an abstract version of Jesus’ face on the shroud of Turin? Or maybe it’s an abstraction of the crown of thorns? I wasn’t quite sure, but that was OK. The feeling generated by that graphic element – almost like a rushed, impromptu charcoal scribbling - really did complement the aesthetic choices for the show and heighten the overall visual package.

Costuming cues are taken from Roman military togas that would have been worn crica. the time of the crucifixion. And just to be clear, the guard ISN’T wearing togas. This is a conventional uni in every way. But the women’s version of the garment shows just enough skin to let everyone know that the Braddock Independent of season’s past is still in there someplace just below the surface. Really a great look for this program.

Lots of dance/body and a great deal of attention to weapons work. Someone correct me if I’m wrong – but I think the majority of this show is carried by weapons and dance/body. Which is fine with me because Braddock is executing their weapons and body work quite well for this point in the season. Nice ensemble sections and really terrific soloists.

Aside from the ending section, this show didn’t feature a lot of flag work, as I’m remembering. One nice section of flag work, though, showcases 8-10 members using a really cool flag with an image of an unraveled crown of thorns. Very nice touch. And the finale is staged around an ensemble phrase of red flags. (Note: these still might be the temporary silks. They looked a little like your garden variety red, rectangular, rip-stop nylon practice flags.)

Now, I’ve gone on record previously as saying that I’m a HUGE fan of the “booty Braddock” productions staged by this perennial crowd-pleasing guard. However, I believe this show both stylistically and intellectually represents yet another major step forward for this program. Maybe they’ll come back next year and shake their money makers again. (I’d certainly endorse that plan...!!!) But this performance proves that the Braddock program can handle with equal ease ANY type of show that THEY choose to do.

Can’t wait to see how this progresses throughout the remainder of the season.

PREMONITION – Obsessed

This show is about obsession. But not, like, a “Calvin Klein” type of obsession. No. Think: “the boy who couldn’t stop washing his hands” obsession.

When this program was announced, I was skeptical, to say the least.

But let me say right up front that I was VERY pleasantly surprised at how well this idea was executed. From beginning to end, lots of really well thought-out elements were brought to this show. And those elements both express clearly the idea of “obsession” and keep the production moving forward in a way that’s interesting as well as engaging.

So, in my book, Premonition definitely earns bonus points for showing us something new.

The set design includes a series of doors – actual residential “front doors” that look like they came from the Home Depot. At one point, the “obsessed” performers check them repeatedly to make sure that the doors are locked. And, of course, eventually they open the doors and incorporate them into their equipment work: tosses that go over the door frame, etc., all quite nicely done.

This guard always knows what to do to get the audience going - and they definitely do that again this year. Great tricks, solid equipment work throughout and an ending flag feature that perfectly captures the chaos/mania/anxiety/frenzy that must bombard the psyche of anyone who “can’t stop checking the front door.”

This group could very well be on their way to another appearance in IW Finals.

EDITOR’S NOTE: Here’s my one “aw, shucks” moment for Premonition.

Now, I knew this would happen eventually. I just wasn’t ready for it yet. Apparently, Premonition’s “Double Rifle Diva” has moved on. I gotta admit, I was just a little bummed-out to see that she’s not a member of this year’s talented ensemble. Good luck and God’s speed, Double Rifle Diva.

Seriously, though, her amazing abilities as a performer really did help this up-and-coming guard to create a lot of really well-deserved, positive “buzz” about Premonition’s crowd-pleasing shows. I hope that this skilled performer finds a way to channel her amazing energy to the current members of Premonition. (I think she’s already doing it…!!! They perform the heck out of EVERYTHING…!!!)

FAHRENHEIT – P.S.: I love you

The show is constructed around love letters from someone’s dead husband, set to "Unchained Melody" – you know, the ballad from “Ghost.”

Right up front, I need to say that conceptually and stylistically, this type of show just isn’t my cup of tea. I’m 100% uninterested in weepy, tearful, sorrow-filled “loss” shows.

So, I’m mostly going to take the high road and not say a whole lot here. And, honestly, I wasn’t paying super close attention to the performances, anyway. I kinda watched the whole thing with one eye closed. I just wanted it to be over.

That said, the performance level of the show seems to be progressing at a pace that should allow Fahrenheit to put up a really good challenge for a spot in Finals this year.

How Rude....lol.........GO NEI,,,youve been in top 5 for some time.who cares what anyone thinks ..Yeah Fahrenheit for being different..Maybe 2 eyes and some experience would make for a better review...lmao...just kiddin....( OH THATS THE HIGH ROAD )..lol....congrats Braddock ..great new staff ( Yeah DANIEL )

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