Thoughts on top 12 designs as things heat up

[grimmo]

As the season moves into its second half we’re reaching that time where shows are coming together, most big changes are in, and the competition is getting spicy.

Here’s a rambling collection of thoughts on the design packages for the top 12 (ish) as things stand. Hope it’s interesting to some to read.

 

 

Blue Devils

Unexpectedly, after watching the Scott Chandler explainer video I found I was less enamoured about this show than prior to watching. The concept felt a little tenuous in linking to the choices of music. However those doubts we soon extinguished on next viewing as Tempus Blue is undoubtedly well thought out and becoming a super cohesive package. Like an upmarket box of chocolates, Devs take a bunch of disparate flavours and wrap them up in rich BD design chocolate. It’s not to everyone’s tastes but certainly one for the chocolate connoisseurs.

Enough with the food analogy, the show opens up with some effective body work and narration that wouldn’t sound out of place in a Lord of the Rings trailer. They use spoken word and sound effects really well throughout the show to blend together the differing sections of music proper with some exotic ambiance. It’s also noticeable how segments that were rather functional early season are now starting to shine through added nuance, and polished high points. A particular example being the section between Moon River and Tank.

Speaking of Moon River, for me this is the best couple of minutes of melodic and harmonic bliss on the field this year.

The visual package is up to their usual high standards of overall integration, with props that are well deployed, and the show has great control of focus to minimise the distraction when the props are moved. I always enjoy the BD style of visual design with undulating transitions and forms that move like shifting sands but also some moments of high ‘linear’ exposure, and this year is no different.

In my view, the last minute of the show is presently the weakest. While the corps are really moving, the music, for a finale, leaves me cold.  But this will most likely change as Devs head towards LOS.

Overall this show is clearly strong across all aspects and will take some beating.

 

Crown

I find the narration and RHRN tagline to stand up to repeated viewings. I guess the design team may freshen up the opening narration later in the season, and especially for finals week? It might be splitting hairs, but the opening doesn’t quite work for me in using a countdown – which is great – that then leads into a relatively slow build opening. On the plus side, the linear visual transitions in the opening work well leading to a full sounding opening hit that allows Crown brass to shine.

To me, this show seems the strongest in 2022 if measured in terms of pure marching arts pageantry. They cover the field well and for a show that’s light on props, at times it seems like Crown have more members on the field than their rivals due to the sheer scale of effect moments. This show for sure contains several wow moments.

I like that Crown are marching a lot of drill and the final part of the show is arguably the most spectacular marching on the field this year. Perhaps the best compliment I can pay is that it reminds me of Cavies in their 00’s peak drill heyday, but super charged some more for the current decade.  I’m less enthused though with the final crown set that then breaks down into free form and some over-hyping.

While some will write off Crown’s approach as too cheesy, I’d say it’s easy to underestimate the challenge in getting the pitch of a super accessible show just right. The four word mantra is used throughout the show, and while Crown are well on the way, they don’t yet have the design optimised, or cleanliness of execution in place, for maximum crowd response. When they do, watch out!

 

Bluecoats

I really enjoy how Bluecoats design and utilise props in their shows and this year is no different. The second part involving the wheels is perhaps the strongest and most sophisticated couple of minutes of audio visual coordination on the field this year.

Earlier in the season I had a doubt that the show dipped a little in intensity following the excellent keytar feature, but the new ending has helped with that. The wheels return (drum corps loves its ‘rule of two’!) along with a tilt-esque musical effect. Then finally, the narration and closing sleep visual ties a neat bow around the production.

There’s perhaps an argument that the show has a prolonged stay at quite a low intensity through the slow piece and then into a pit and guard feature but that latter feature is particular effective.

Bluecoats approach could be likened as closest to Cirque du Soleil of any show this year.  At any given moment there is a lot going on  -  and I see this as a show that gets better with repeated viewings. I like that this show is inherently cool, and the colour palette is dazzling. One observation is that the busyness of the musician’s costumes doesn’t give as crisp a silhouette as some others, and I think they will need to get squeaky clean to seem clean, if that makes sense? But given where they are right now I’m sure they will get there. And most importantly, underneath all the razzmatazz is some seriously good marching, playing, and spinning!

 

 

Listening to the shows back to back, it’s apparent there’s a step change in the amount of electronic effects used to broaden the soundscape between the first three corps reviewed and the next few that follow. For BD, Crown and Bluecoats their shows would diminish more noticeably if performed in a power cut than Boston, SCV or Blue Stars.

 

 

BAC

As Boston’s show starts the mood is a mix of crisp and aggressive in the battery, and majestic fanfare sounds in the brass. Thinking about Boston’s show in general I come back to that adjective… crisp. From the look of the performers on the field, to the props, to the general performance execution, everything is crisp and clean. Boston started the season well prepared and I think they will trouble the corps around them through simply being a small step ahead in cleanliness and polish right throughout the season.

One lingering observation of this show is being unclear how much of the Paradise Lost story they are trying to convey.  Presently when the down ending is reached I’m not sure how much I should be caring as the featured guard performers exit together stage right. How much of a sense of regret and tragedy should we be feeling by this point in addition to appreciation of a great drum corps show? It may just be that the main closing idea is not yet on the field and that will be a game changer – thinking back to how SOS ended for example.

Small quibbles about the current story telling aside, there are some really effective moments of marching playing and spinning in this show. The opener gives vibes of Star of Indiana (that just me?) and What a Wonderful World remains a high point, particularly through the prop coordination.  I love the change in mood following the intense percussion feature (what a talented soloist). They use the silence and slow start to CTMEOY to create an evocative mood and well matched visual pictures, which is simply great!  The choral backing in the closer adds another level to the effectiveness there too.

Comparing to renowned classical story shows of years past, such as Scheherazade or Faust, this show is right up there with the best of them.

 

SCV

After mentally filing this show as a grower, I’ve probably watched it back as much as any so far this season. I think there are some aspects of it that work really well and some that prompt questions. A case in point being the opener which starts with interesting visual pictures and builds in an intriguing fashion. However when the hornline comes in with the stabbing attacks I find it jarring. Understanding that uncomfortable moments can be just as valid as effect moments, perhaps it’s more I’m not yet so clear about the journey Vanguard are taking us on.

The hornline possess a solid dark and meaty sound, as has been a feature for the past few seasons, and the repeating Nirvana motif works well, to a point. I find the show works well for the first 75% moving smoothly through the gears up to the end of the slow piece. There seem to be lots of subtleties in the visual book, things that line up for a count and are gone again, that will start to shine as execution cleans up. But I find it a strange construction choice to follow the slow piece with a lengthy percussion feature which seems to drop intensity from the show that isn’t full recovered by the end. When the Smells Like Teen Spirit motif returns again in a triumphant motif, it doesn’t quite generate the payoff that might be intended.

I think this is a show that is perhaps lacking specific wow moments, and that may be by intent considering choices made around costuming, colours, props and the general pacing. Figuratively, it’s perhaps a show that is trying to work in shades of grey than dramatic bursts of black and white. Finding Nirvana moves as well as any show through gears one to four, but isn’t quite hitting fifth gear at times where it might?

 

Cadets

Cadets take a more simplistic approach than some in the use of narration and telling of a story. Their representation of Jack Kerouac’s On the Road eschews exploration of the deeper aspects of the writer’s work and is essentially a four stop tour across America, using some relative straightforward prop backdrops and effective narrative soundbites to signpost the way.

For those looking for Cadets to move forward from nostalgia but still remain Cadets-y, I think they should be well pleased with this edition. The opener in particular is fast and aggressive, and strikes a good balance in conveying a wanderer in New York without laying it on too thick.

The 2^nd part contains some neat choreography and bodywork in the brass that is committed to well, including a well-integrated de-jacketing, but I can’t shake the feeling it’s a little long and lacking a standout moment musically or visually.  In retrospect, I wonder if they might have shortened this section and then found room for a fifth stop on Jack’s tour, or more focus on the journey than the destinations?

The 3^rd part handles a nice switch in mood supported by the hornline in supine position. The build to a climax in the back corner of side 1 will create a nice effect, particular in the domed venues, and ties in nicely to the spoken word.

The fourth movement prompts some uncertainty from me in that its hoe-downy vibe is more in keeping with a mid-show tune than a closer, so the finale seems to arrive quite sharply. I do think the circle unwind to ascending pit runs will be a great moment -  it could be an equivalent moment to the Babylon horn snap from a couple of years back -  but presently the way the company front forms and music wise in the final few counts, it isn’t quite hitting the bullseye…yet?

If Cadets creative team were taking requests, then I’d ask for more music and visual fireworks in the closing bars please! The closing narration as-is is really nicely done.

While Cadets have taken a more pragmatic approach to their programming this year than some contemporaries - this show undoubtedly works, and is a great vehicle for them to take on the road - all the way to Indy!

 

 

Blue Stars

Blue Stars costuming of musicians means the guard really standout on the field. Also taking into account the assortment of props, there’s a visual texture to this show that is different to everyone else this year. It all helps engender a sense of time and place to sell the concept. This is further enhanced by the accordion sounds in the opening and quality solo work that gets the show off to a strong start.

This show is a narration free zone and in truth I have little clue of any narrative structure, but this doesn’t take away from enjoyment. The classical repertoire is refreshing and Blue Stars produce a nice open sound and some effective visuals. I particularly like the section with the ostinato phrase starting in the high brass as the low brass rapidly split and rotate a block across the field.

The assortment of props are ‘interesting’ choices in themselves as befits the concept, but they are moved well and support some effective visual compositions throughout the show. For me, initial early season reservations about clutter have dissipated.

The corps seems to be firing on all cylinders and have a show that could take them to their highest finish in years.

 

Mandarins

I have no idea what the Otherside is, or why or how they are trying to get there. But I don’t think any of that matters with this show. Following the march-on opening they set a cool and mysterious vibe with an opening statement led by a large compliment of glissing trombones and a visual picture dominated by a large wall prop and several Czech Hedgehogs giving a militaristic vibe. This is all offset by some futuristic, and imo cool, costuming for musicians and guard.

When the wall prop rotates with increasing velocity and performers passing through it, the effect is ably matched musically with the trombones.

Pink Floyd’s The Wall in the next chapter adds to the dystopian feel although the show does then dip a little after this during a ‘restaging’ period where props move and musicians play but to little effect. Things soon pick up again with the addition of electric guitars to the soundstage and a cool zombie walk(?) during a percussion feature.

The next movement includes a male live singer set against acoustic guitar backing before moving to pit and then full ensemble playing. The single and musicians are well balanced.

I’m not sure live singing is a feature I’d want to see being taken up in every show, but in the context of this show, and with this talented singer, it works.

One possible weakness is that there’s not a great deal of dazzling full ensemble marching and playing compared to their peers. From a design perspective perhaps the best compliment I can pay this show is that it could easily be a Blue Devils show in look and feel. 

This looks set to be Mandarins most successful season to date. Great stuff.

 

 

Cavaliers

It seems likely that Cavies have struggled with a lack of full ensemble rehearsal so far this season due to unfortunate Covid issues. The Signs of the Times concept has a time and time-travel element to it, and I think there’s a really effective show here once the corps have time to get it to where they want it, both design and performance wise.

The show opens with a Harpsichord and clock effect that is evocative. Prop wise the two clock hands serve the purpose of being shallow ramp stages that are manoeuvred through the show.

At this time, the show feels a little underdeveloped compared to its peers. The first part leading to the opening hit showcases each section well, and part two contains a neat section where the music plays with the tempo while flags spin with related velocity. Once clean this will be great. Likewise the pendulum effect and accompanying chimes is effective.

From here it seems the show doesn’t quite reach those heights again. Unfortunately the changing of wording on the  side two sign pales a little in dramatic effect, and the slow part three takes a while to develop and feels a little undercooked. Likewise the final chapter is quite busy and energetic music wise but the visual doesn’t seem to take full advantage of this, only at sporadic points do we see the performers motoring with geometric precision as we know Cavies can.

There are some pleasing cavie-isms in the show with familiar chord patterns, some well-known rhythms in the percussion, and pod rotations and slick sequentials in the drill, so it’s easily identifiable as a Cavaliers production.  I hope that given a bit more time this show will flourish beyond its present form.  The concept seems to be one where there would be plenty of opportunities for effects linked to past, present and future, so it will be interesting to see how things progress from here.

 

 

Phantom Regiment

Regiment are another corps that has been hit with illness but nonetheless have a fan favourite show on their hands this year.

Kicking things off, Phantom’s DM salute and removal of helmet is neat, and the show opens with a soloist stood on one of several moveable white crescent shaped stages. The movement of these stages does seem a little cumbersome at times. The approach of having a great deal of full ensemble marching and playing, while pleasing to many fans, does come with the caveat that it’s not so easy to manipulate the viewers focus away from prop restaging.

Does the absence of any discernible deeper theme or story hurt the scoring of this show? Perhaps. But the show still works very well in terms of marching, playing, spinning and dancing.  Parts two and three of the show both have great energy and will sparkle once clean. For me, right now the slow piece is the weakest part of the show. It’s solid but probably won’t go on the list of classic Phantom Regiment ballads. The closer however is great and unmistakeably Phantom. The performers are really motoring throughout, and the meaty low brass and choral high brass shine through.

There’s still plenty to work on, but it seems Phantom will rock the house come finals week.

 

Crossmen

If I’ve understood the concept correctly Crossmen have linked what would traditionally be the opening and closing sets of the show to create a loop, thereby enabling them to start each performance at a different point in the show.

I wonder if this is a conceit that many designers have toyed with using at some point when thinking about new show ideas?  The challenge with this conceit is that there will most probably be an optimal point to start and finish the show, the one at which the pacing of the show overall works best.  And so deviating from this version risks not playing your best hand of cards. It raises the question of whether the concept actually adds any value given that shows are judged on their merits for performance ‘on the night’?

That aside, in terms of the show itself, the Mobius Trip props of polished metal look effective on the field. As do the performer’s costumes, including the musician’s avant garde head wear complete with ‘sprouting’ plumes.  

Perhaps the weakest aspect for me just now is the musical book, which is solidly played and ticks many boxes in terms of showcasing and features, but is not particularly memorable.  Watching contemporary Crossman I find I miss them putting out jazz focused shows, but appreciate it’s daft to harken back to editions of the Crossman that existed years before today’s performers were even born.

The movement that begins with the props aligned on the 40 yard line is the most effective imo, with some neat spatial effects in the brass and eye catching yellow and orange flag work that will be effective as it cleans up.

 

Blue Knights

The large dot props are effective particularly in how the light reflects off whichever surface is uppermost. The show starts with brass and guard body movement in and around the dots and culminates with instruments being picked up. I’m not sure this first section is needed as starting with the percussion entry that follow would mean a shorter, and perhaps more effective opening. The opening hit itself is strong with the brass in a triangular wedge that mirrors the dots.

The corps are performing in fairly traditional white uniforms with an eye catching decoration on the torso,  but plumes that I can’t get past thinking about as resembling feather dusters. Overall the look on the field works well with the guard costuming distinct in magenta colours.

The middle portion of the show has perhaps the strongest ‘vibe’ currently with the brass congregating in and around the dots and playing a lot of notes before some eye pleasing drill leads into a park and play with  strains of ‘Don’t Worry…’ that’s well received by audiences.

The slow piece She includes samples of the original and is faithful in staying low key and maintaining a tender vibe. They give full value to this chart with a long slow build,  and with further refinement it could culminate in a really effective high point as the musicians and guard meet on side one. It’s not quite happening for me, yet, but it’s not far off.  

A slight disappointment is the closer with the hornline form a tight block towards the endzone as the percussion are featured. It seems like the setup for a highpoint to follow as the corps move back towards front and centre for the finale, but it doesn’t really happen. The finale being solid rather than spectacular as things stand.

 

Colts

Colts set the scene for their Silk Road show with wagons, crates, and lanterns positioned on the field. The show opens with a now almost de-rigueur percussion feature but this one includes the metamorphosis of a butterfly, and then leads into an energetic opening number. The show evokes sounds of the Orient and is full of energy throughout powered by a strong and well featured battery. The hornline are marching double time steps at multiple points in the show which creates a challenge from a clean feet perspective but there is still plenty of time to clean.

One challenge for all corps like Colts where musicians are wearing slim fit trousers is that it leaves less margin for error when it comes to marching technique and phasing.

This show music strikes me as something the Glassmen might have performed at their peak many years back – I mean this as a compliment.

Later in the show Colts use a trombone duet to good effect and the show motors on to a solid conclusion.

Coming back to that description of energetic, Colts competitive position will perhaps come down to how much polish is added to this show without sacrificing that energy but with this show Colts seem to be in the thick of the fight for a finals spot.

 

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In summary, I think 2022 is shaping up to be a stronger than average season with several corps producing banner editions. While comparing the merits of apples and oranges often enflames opinions between fans,  it’s important to embrace the differences, and cherish having a variety of ‘fruits in the basket’. As corps become ever more proficient at producing shows that tick all the boxes, the risk is we end up with a basket containing only different strains of genetically modified apple! Drum corps is all the better for variety – long may it continue!

While in most seasons scores thin out as the season progresses leaving a couple of corps to battle out for first place, or even a lone front runner, I remain hopeful that this season could be one with three or four corps in the mix for 1st place come finals week. Drum corps is surely at its best when competitive standings are undecided and in the hands of the performers on the night.

[jwillis35]

20 hours ago, grimmo said:

As the season moves into its second half we’re reaching that time where shows are coming together, most big changes are in, and the competition is getting spicy.

Here’s a rambling collection of thoughts on the design packages for the top 12 (ish) as things stand. Hope it’s interesting to some to read.

 

 

Blue Devils

Unexpectedly, after watching the Scott Chandler explainer video I found I was less enamoured about this show than prior to watching. The concept felt a little tenuous in linking to the choices of music. However those doubts we soon extinguished on next viewing as Tempus Blue is undoubtedly well thought out and becoming a super cohesive package. Like an upmarket box of chocolates, Devs take a bunch of disparate flavours and wrap them up in rich BD design chocolate. It’s not to everyone’s tastes but certainly one for the chocolate connoisseurs.

Enough with the food analogy, the show opens up with some effective body work and narration that wouldn’t sound out of place in a Lord of the Rings trailer. They use spoken word and sound effects really well throughout the show to blend together the differing sections of music proper with some exotic ambiance. It’s also noticeable how segments that were rather functional early season are now starting to shine through added nuance, and polished high points. A particular example being the section between Moon River and Tank.

Speaking of Moon River, for me this is the best couple of minutes of melodic and harmonic bliss on the field this year.

The visual package is up to their usual high standards of overall integration, with props that are well deployed, and the show has great control of focus to minimise the distraction when the props are moved. I always enjoy the BD style of visual design with undulating transitions and forms that move like shifting sands but also some moments of high ‘linear’ exposure, and this year is no different.

In my view, the last minute of the show is presently the weakest. While the corps are really moving, the music, for a finale, leaves me cold.  But this will most likely change as Devs head towards LOS.

Overall this show is clearly strong across all aspects and will take some beating.

 

Crown

I find the narration and RHRN tagline to stand up to repeated viewings. I guess the design team may freshen up the opening narration later in the season, and especially for finals week? It might be splitting hairs, but the opening doesn’t quite work for me in using a countdown – which is great – that then leads into a relatively slow build opening. On the plus side, the linear visual transitions in the opening work well leading to a full sounding opening hit that allows Crown brass to shine.

To me, this show seems the strongest in 2022 if measured in terms of pure marching arts pageantry. They cover the field well and for a show that’s light on props, at times it seems like Crown have more members on the field than their rivals due to the sheer scale of effect moments. This show for sure contains several wow moments.

I like that Crown are marching a lot of drill and the final part of the show is arguably the most spectacular marching on the field this year. Perhaps the best compliment I can pay is that it reminds me of Cavies in their 00’s peak drill heyday, but super charged some more for the current decade.  I’m less enthused though with the final crown set that then breaks down into free form and some over-hyping.

While some will write off Crown’s approach as too cheesy, I’d say it’s easy to underestimate the challenge in getting the pitch of a super accessible show just right. The four word mantra is used throughout the show, and while Crown are well on the way, they don’t yet have the design optimised, or cleanliness of execution in place, for maximum crowd response. When they do, watch out!

 

Bluecoats

I really enjoy how Bluecoats design and utilise props in their shows and this year is no different. The second part involving the wheels is perhaps the strongest and most sophisticated couple of minutes of audio visual coordination on the field this year.

Earlier in the season I had a doubt that the show dipped a little in intensity following the excellent keytar feature, but the new ending has helped with that. The wheels return (drum corps loves its ‘rule of two’!) along with a tilt-esque musical effect. Then finally, the narration and closing sleep visual ties a neat bow around the production.

There’s perhaps an argument that the show has a prolonged stay at quite a low intensity through the slow piece and then into a pit and guard feature but that latter feature is particular effective.

Bluecoats approach could be likened as closest to Cirque du Soleil of any show this year.  At any given moment there is a lot going on  -  and I see this as a show that gets better with repeated viewings. I like that this show is inherently cool, and the colour palette is dazzling. One observation is that the busyness of the musician’s costumes doesn’t give as crisp a silhouette as some others, and I think they will need to get squeaky clean to seem clean, if that makes sense? But given where they are right now I’m sure they will get there. And most importantly, underneath all the razzmatazz is some seriously good marching, playing, and spinning!

 

 

Listening to the shows back to back, it’s apparent there’s a step change in the amount of electronic effects used to broaden the soundscape between the first three corps reviewed and the next few that follow. For BD, Crown and Bluecoats their shows would diminish more noticeably if performed in a power cut than Boston, SCV or Blue Stars.

 

 

BAC

As Boston’s show starts the mood is a mix of crisp and aggressive in the battery, and majestic fanfare sounds in the brass. Thinking about Boston’s show in general I come back to that adjective… crisp. From the look of the performers on the field, to the props, to the general performance execution, everything is crisp and clean. Boston started the season well prepared and I think they will trouble the corps around them through simply being a small step ahead in cleanliness and polish right throughout the season.

One lingering observation of this show is being unclear how much of the Paradise Lost story they are trying to convey.  Presently when the down ending is reached I’m not sure how much I should be caring as the featured guard performers exit together stage right. How much of a sense of regret and tragedy should we be feeling by this point in addition to appreciation of a great drum corps show? It may just be that the main closing idea is not yet on the field and that will be a game changer – thinking back to how SOS ended for example.

Small quibbles about the current story telling aside, there are some really effective moments of marching playing and spinning in this show. The opener gives vibes of Star of Indiana (that just me?) and What a Wonderful World remains a high point, particularly through the prop coordination.  I love the change in mood following the intense percussion feature (what a talented soloist). They use the silence and slow start to CTMEOY to create an evocative mood and well matched visual pictures, which is simply great!  The choral backing in the closer adds another level to the effectiveness there too.

Comparing to renowned classical story shows of years past, such as Scheherazade or Faust, this show is right up there with the best of them.

 

SCV

After mentally filing this show as a grower, I’ve probably watched it back as much as any so far this season. I think there are some aspects of it that work really well and some that prompt questions. A case in point being the opener which starts with interesting visual pictures and builds in an intriguing fashion. However when the hornline comes in with the stabbing attacks I find it jarring. Understanding that uncomfortable moments can be just as valid as effect moments, perhaps it’s more I’m not yet so clear about the journey Vanguard are taking us on.

The hornline possess a solid dark and meaty sound, as has been a feature for the past few seasons, and the repeating Nirvana motif works well, to a point. I find the show works well for the first 75% moving smoothly through the gears up to the end of the slow piece. There seem to be lots of subtleties in the visual book, things that line up for a count and are gone again, that will start to shine as execution cleans up. But I find it a strange construction choice to follow the slow piece with a lengthy percussion feature which seems to drop intensity from the show that isn’t full recovered by the end. When the Smells Like Teen Spirit motif returns again in a triumphant motif, it doesn’t quite generate the payoff that might be intended.

I think this is a show that is perhaps lacking specific wow moments, and that may be by intent considering choices made around costuming, colours, props and the general pacing. Figuratively, it’s perhaps a show that is trying to work in shades of grey than dramatic bursts of black and white. Finding Nirvana moves as well as any show through gears one to four, but isn’t quite hitting fifth gear at times where it might?

 

Cadets

Cadets take a more simplistic approach than some in the use of narration and telling of a story. Their representation of Jack Kerouac’s On the Road eschews exploration of the deeper aspects of the writer’s work and is essentially a four stop tour across America, using some relative straightforward prop backdrops and effective narrative soundbites to signpost the way.

For those looking for Cadets to move forward from nostalgia but still remain Cadets-y, I think they should be well pleased with this edition. The opener in particular is fast and aggressive, and strikes a good balance in conveying a wanderer in New York without laying it on too thick.

The 2^nd part contains some neat choreography and bodywork in the brass that is committed to well, including a well-integrated de-jacketing, but I can’t shake the feeling it’s a little long and lacking a standout moment musically or visually.  In retrospect, I wonder if they might have shortened this section and then found room for a fifth stop on Jack’s tour, or more focus on the journey than the destinations?

The 3^rd part handles a nice switch in mood supported by the hornline in supine position. The build to a climax in the back corner of side 1 will create a nice effect, particular in the domed venues, and ties in nicely to the spoken word.

The fourth movement prompts some uncertainty from me in that its hoe-downy vibe is more in keeping with a mid-show tune than a closer, so the finale seems to arrive quite sharply. I do think the circle unwind to ascending pit runs will be a great moment -  it could be an equivalent moment to the Babylon horn snap from a couple of years back -  but presently the way the company front forms and music wise in the final few counts, it isn’t quite hitting the bullseye…yet?

If Cadets creative team were taking requests, then I’d ask for more music and visual fireworks in the closing bars please! The closing narration as-is is really nicely done.

While Cadets have taken a more pragmatic approach to their programming this year than some contemporaries - this show undoubtedly works, and is a great vehicle for them to take on the road - all the way to Indy!

 

 

Blue Stars

Blue Stars costuming of musicians means the guard really standout on the field. Also taking into account the assortment of props, there’s a visual texture to this show that is different to everyone else this year. It all helps engender a sense of time and place to sell the concept. This is further enhanced by the accordion sounds in the opening and quality solo work that gets the show off to a strong start.

This show is a narration free zone and in truth I have little clue of any narrative structure, but this doesn’t take away from enjoyment. The classical repertoire is refreshing and Blue Stars produce a nice open sound and some effective visuals. I particularly like the section with the ostinato phrase starting in the high brass as the low brass rapidly split and rotate a block across the field.

The assortment of props are ‘interesting’ choices in themselves as befits the concept, but they are moved well and support some effective visual compositions throughout the show. For me, initial early season reservations about clutter have dissipated.

The corps seems to be firing on all cylinders and have a show that could take them to their highest finish in years.

 

Mandarins

I have no idea what the Otherside is, or why or how they are trying to get there. But I don’t think any of that matters with this show. Following the march-on opening they set a cool and mysterious vibe with an opening statement led by a large compliment of glissing trombones and a visual picture dominated by a large wall prop and several Czech Hedgehogs giving a militaristic vibe. This is all offset by some futuristic, and imo cool, costuming for musicians and guard.

When the wall prop rotates with increasing velocity and performers passing through it, the effect is ably matched musically with the trombones.

Pink Floyd’s The Wall in the next chapter adds to the dystopian feel although the show does then dip a little after this during a ‘restaging’ period where props move and musicians play but to little effect. Things soon pick up again with the addition of electric guitars to the soundstage and a cool zombie walk(?) during a percussion feature.

The next movement includes a male live singer set against acoustic guitar backing before moving to pit and then full ensemble playing. The single and musicians are well balanced.

I’m not sure live singing is a feature I’d want to see being taken up in every show, but in the context of this show, and with this talented singer, it works.

One possible weakness is that there’s not a great deal of dazzling full ensemble marching and playing compared to their peers. From a design perspective perhaps the best compliment I can pay this show is that it could easily be a Blue Devils show in look and feel. 

This looks set to be Mandarins most successful season to date. Great stuff.

 

 

Cavaliers

It seems likely that Cavies have struggled with a lack of full ensemble rehearsal so far this season due to unfortunate Covid issues. The Signs of the Times concept has a time and time-travel element to it, and I think there’s a really effective show here once the corps have time to get it to where they want it, both design and performance wise.

The show opens with a Harpsichord and clock effect that is evocative. Prop wise the two clock hands serve the purpose of being shallow ramp stages that are manoeuvred through the show.

At this time, the show feels a little underdeveloped compared to its peers. The first part leading to the opening hit showcases each section well, and part two contains a neat section where the music plays with the tempo while flags spin with related velocity. Once clean this will be great. Likewise the pendulum effect and accompanying chimes is effective.

From here it seems the show doesn’t quite reach those heights again. Unfortunately the changing of wording on the  side two sign pales a little in dramatic effect, and the slow part three takes a while to develop and feels a little undercooked. Likewise the final chapter is quite busy and energetic music wise but the visual doesn’t seem to take full advantage of this, only at sporadic points do we see the performers motoring with geometric precision as we know Cavies can.

There are some pleasing cavie-isms in the show with familiar chord patterns, some well-known rhythms in the percussion, and pod rotations and slick sequentials in the drill, so it’s easily identifiable as a Cavaliers production.  I hope that given a bit more time this show will flourish beyond its present form.  The concept seems to be one where there would be plenty of opportunities for effects linked to past, present and future, so it will be interesting to see how things progress from here.

 

 

Phantom Regiment

Regiment are another corps that has been hit with illness but nonetheless have a fan favourite show on their hands this year.

Kicking things off, Phantom’s DM salute and removal of helmet is neat, and the show opens with a soloist stood on one of several moveable white crescent shaped stages. The movement of these stages does seem a little cumbersome at times. The approach of having a great deal of full ensemble marching and playing, while pleasing to many fans, does come with the caveat that it’s not so easy to manipulate the viewers focus away from prop restaging.

Does the absence of any discernible deeper theme or story hurt the scoring of this show? Perhaps. But the show still works very well in terms of marching, playing, spinning and dancing.  Parts two and three of the show both have great energy and will sparkle once clean. For me, right now the slow piece is the weakest part of the show. It’s solid but probably won’t go on the list of classic Phantom Regiment ballads. The closer however is great and unmistakeably Phantom. The performers are really motoring throughout, and the meaty low brass and choral high brass shine through.

There’s still plenty to work on, but it seems Phantom will rock the house come finals week.

 

Crossmen

If I’ve understood the concept correctly Crossmen have linked what would traditionally be the opening and closing sets of the show to create a loop, thereby enabling them to start each performance at a different point in the show.

I wonder if this is a conceit that many designers have toyed with using at some point when thinking about new show ideas?  The challenge with this conceit is that there will most probably be an optimal point to start and finish the show, the one at which the pacing of the show overall works best.  And so deviating from this version risks not playing your best hand of cards. It raises the question of whether the concept actually adds any value given that shows are judged on their merits for performance ‘on the night’?

That aside, in terms of the show itself, the Mobius Trip props of polished metal look effective on the field. As do the performer’s costumes, including the musician’s avant garde head wear complete with ‘sprouting’ plumes.  

Perhaps the weakest aspect for me just now is the musical book, which is solidly played and ticks many boxes in terms of showcasing and features, but is not particularly memorable.  Watching contemporary Crossman I find I miss them putting out jazz focused shows, but appreciate it’s daft to harken back to editions of the Crossman that existed years before today’s performers were even born.

The movement that begins with the props aligned on the 40 yard line is the most effective imo, with some neat spatial effects in the brass and eye catching yellow and orange flag work that will be effective as it cleans up.

 

Blue Knights

The large dot props are effective particularly in how the light reflects off whichever surface is uppermost. The show starts with brass and guard body movement in and around the dots and culminates with instruments being picked up. I’m not sure this first section is needed as starting with the percussion entry that follow would mean a shorter, and perhaps more effective opening. The opening hit itself is strong with the brass in a triangular wedge that mirrors the dots.

The corps are performing in fairly traditional white uniforms with an eye catching decoration on the torso,  but plumes that I can’t get past thinking about as resembling feather dusters. Overall the look on the field works well with the guard costuming distinct in magenta colours.

The middle portion of the show has perhaps the strongest ‘vibe’ currently with the brass congregating in and around the dots and playing a lot of notes before some eye pleasing drill leads into a park and play with  strains of ‘Don’t Worry…’ that’s well received by audiences.

The slow piece She includes samples of the original and is faithful in staying low key and maintaining a tender vibe. They give full value to this chart with a long slow build,  and with further refinement it could culminate in a really effective high point as the musicians and guard meet on side one. It’s not quite happening for me, yet, but it’s not far off.  

A slight disappointment is the closer with the hornline form a tight block towards the endzone as the percussion are featured. It seems like the setup for a highpoint to follow as the corps move back towards front and centre for the finale, but it doesn’t really happen. The finale being solid rather than spectacular as things stand.

 

Colts

Colts set the scene for their Silk Road show with wagons, crates, and lanterns positioned on the field. The show opens with a now almost de-rigueur percussion feature but this one includes the metamorphosis of a butterfly, and then leads into an energetic opening number. The show evokes sounds of the Orient and is full of energy throughout powered by a strong and well featured battery. The hornline are marching double time steps at multiple points in the show which creates a challenge from a clean feet perspective but there is still plenty of time to clean.

One challenge for all corps like Colts where musicians are wearing slim fit trousers is that it leaves less margin for error when it comes to marching technique and phasing.

This show music strikes me as something the Glassmen might have performed at their peak many years back – I mean this as a compliment.

Later in the show Colts use a trombone duet to good effect and the show motors on to a solid conclusion.

Coming back to that description of energetic, Colts competitive position will perhaps come down to how much polish is added to this show without sacrificing that energy but with this show Colts seem to be in the thick of the fight for a finals spot.

 

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In summary, I think 2022 is shaping up to be a stronger than average season with several corps producing banner editions. While comparing the merits of apples and oranges often enflames opinions between fans,  it’s important to embrace the differences, and cherish having a variety of ‘fruits in the basket’. As corps become ever more proficient at producing shows that tick all the boxes, the risk is we end up with a basket containing only different strains of genetically modified apple! Drum corps is all the better for variety – long may it continue!

While in most seasons scores thin out as the season progresses leaving a couple of corps to battle out for first place, or even a lone front runner, I remain hopeful that this season could be one with three or four corps in the mix for 1st place come finals week. Drum corps is surely at its best when competitive standings are undecided and in the hands of the performers on the night.

Absolutely terrific write-up. Thanks for taking the time to do this. I agree with so many of your observations. 

[bribay2a]

I second that. Thank you .