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Posts posted by KVG_DC

  1. 3 hours ago, Weaklefthand4ever said:

    So very true LOL. What a fun corps to watch though though. 

    If VK were around today, I'd want them doing a show based entirely on viral meme music.  Can you imagine the audience participation on Baby Shark for a closer?  I mean, they could just unmothball the prop...

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  2. 1 hour ago, ironlips said:

    I find this a real revelation:

    " An interesting twist to this thread: those who are intrigued by this idea vs. those who are totally confused as to why anyone would put a Babs (or even worse, "who's that?") show on the field is a clear litmus test for who's gay and who's straight on DCP. "

    Nobody told me about this litmus test when I arranged the 27th Lancers show in '86. It was based in it's entirety on Streisand's covers of Sondheim on the "Broadway" album:

    Putting it Together, Ladies Who Lunch, Being Alive, Not While I'm Around...etc.

    Who knew that gender identification was tied to a liking for great melodies?

    Live and learn.

    Heh.  Yeah those Sondheim covers have a lot going for them.  That's where the Pretty Women/Ladies who lunch arragement my high school did a year or so later came from.  

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  3. Where the Heart is.   This show grew on me through the season and by season's end, along with BK's show that year, were the emotional tugs of the night.   The guard that year was PHENOMENAL.  I think they placed 4th on finals night.  

    Honorable mention to Game On.  That show was better than its placement.  That was the year the Cavies got a the ick bug and had to miss some shows.  The development of Game On never got entirely finished it seemed.

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  4. 2 hours ago, BranchHill said:

    I once saw a musical in previews in New York; a musical that never opened, and that was never at the mercy of reviewers. In fact, watching it play out was fascinating. My seat was on the back row of the section of seats closest to the stage. There was an aisle right behind the seats. Two of the shows' producers stood right behind me for the entire production, talking (yeah, just like sitting too close to drum corps judges) about its merits (or lack thereof), and its potential to make money and become a success. It closed three nights later.

    But that's not the story behind "Nick and Nora," a musical adaptation of the noir detective series. This was a show with every known pedigree: both lead stars were award-winners, as were the writers, composer ... down the line ... to the producers. It was a lousy show; poorly staged, forgettable songs, bad pacing. But there was this one little written wrinkle that was genuinely funny: a single actor, in this case a woman, played every murder victim in the show. She was shot, stabbed, and strangled, to increasingly hysterical effect as the play wore on. Everyone associated with "Nick and Nora" went looking for new gigs, but it was the luck of the "dead woman" that will always stand out. I saw her, one year later, in her Tony Award-winning performance as Miss Adelaide in the revival of "Guys and Dolls." Faith Prince.

    Thank goodness for her that "Nick and Nora" -- I have forever called the production "Dick and Dora" -- turned into "Guys and Dolls" Something had to change.


    Crossmen's finalist run origins and Spirit's three-peat notwithstanding, this is perhaps as relevant a question to pose right now as any other placement. This decade is a perfect example of what can, and does, happen to Saturday night's opening act. And the aftermath; when something has to change.

    Boston Crusaders' 2016 "Quixotic" was an abject mess of breezeless, inert windmills and a show that aimed for little, no unreachable star, it seemed at the season opening contest. Wholesale rewrites, a nod to "Conquest", an Audible book full of narration, and the chameleon nature of the malleable performers kept the show, and Boston, in finals. By a mere breeze. Its aftermath is the current model for sudden success and relevance in the upper echelons: an infusion of money, which leadership had been growing and stockpiling, made it possible for the organization to lure the just-crowned visual and color guard caption winner designers to a new Massachusetts home. In a single season, the Crusade reached the top six star, instantly becoming a drum corps Goliath.

    The following year, Madison's Scouts embraced every current design model with "The Last Man Standing," shaved heads and all. It was no Scout outing that anyone had ever seen, much less its apparently angst-ridden alumni and rabid supporters. But the corps was in finals, and was competing with the same metrics as every other corps. Whew ... it will be great to see a modern day Madison model, lots of us thought -- and hoped. Its aftermath became a confounding conundrum, too much current competitive bad cholesterol that caused cardiac arrest in the very masculine chest of the corps. "Too much" ... name the idiom other than drum corps that was leveled. Something must be done to get the venerable Scouts back in the Top 6! Maybe if the corps had played Cher's "If I Could Turn Back Time" this year, that "something" might have worked. Heaven knows the performers gave it their all! So, as show titles would have it, "The Last Man Standing" was Madison's last Saturday night performance as its six decades-long brand. May the full infusion of women into its DNA, help propel this all-time drum corps favorite back to its majestic perch.

    And finally, this year's Phantom Regiment. "I Am Joan" was an abject mess of inert, homemade looking props and a show that aimed for costume changes and a crowd call-and-chant. Even a fantasy of finals was dashed, it seemed at the season opening contest. Wholesale rewrites and edits, along with the chameleon nature of the malleable performers not only kept the show, and Phantom, in finals, but endeared fans for "what they overcame." (A tacit "I Am Joan".) So here we all are again, wondering what the organization has the ability (resources), will (staff changes), and desire (upward competitive movement) to make happen for 2020. Don't claim recruiting woes: the same type and caliber of performers were in both 2018 and 2019's Pacific Crest. In a comment that has probably outlived its usability, "If there had only been one more week in the season," the crest of momentum just might have been from the west coast, just might have sent "Joan" home before Saturday night. Performers rise. They want to excel. They want immediate adulation from the crowd and judges adulation from the sheets.

    Seems to me, in the case of our fine founding DCI corps Scouts and Regiment, the question for 2020 competitive relevance is: Will the adult leadership rise to the level of their performers? I always hope so.

    So. Which one was your favorite?

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