Cadets 2006 Show – A Fresh Perspective

[dans]

<Marsha steps daintily onto the soapbox>

I attended the Beverly show last night and must say that there are a lot of critics on this board who must have put their amps/vocals/props blinders on before they viewed The Cadets show this year and saw nothing but these so-called “travesties”. If you strip these blinders away and look at what else there is in this show, you will find it difficult to walk away without thinking “WOW!” Let me point out just a few of the things this show is doing right and reasons why it a championship contender.

The show starts out with the corps marching the last minute of 2005’s show (even the field percussion is air drumming last year’s parts) while the pit (yes, and singer) play at an entirely different tempo. This really sets the stage for the fact that we are no longer in this world and have moved into another dimension of the bizarre and “whacked out”. It also shows the talent level of any group when they can march to an entirely different tempo from what they hear and what the drum major is conducting.

A few words on the props; they are inoffensive and actually do a nice job of framing the back sidelines. They are never moved, start out as black, and are flipped around in three groups as the three supporting characters appear. The other side of the backdrops are a psychedelic depiction of a garden (fitting with the first section of the show).

The drill in the first song (and throughout the show) is very complex and layered with great integration of the guard. The drill never suffers for the need to introduce and feature effects and characters. There are many times where a section of the drill opens to allow a character to move through or closes to prevent Alice from interacting with the other characters, all of which allow the story to be told while the drill continues to evolve and interpret the music.

The guard is initially separated into four groups to represent the four main characters. The dancers team up with Alice, while the rifles work with the White Rabbit, the sabers with the Red Queen and the flags with the Mad Hatter. The way the drill integrates the four sections of the guard, features each section at one point, blends them together and then drives them to the front to switch out to all flags is pure genius. And check out the flag work (that the ENTIRE guard is doing) at this point. There are so many changes in body direction, speed and angle of spins, placement of holds in releases and catches on tosses, etc. that it is mind-boggling. And the final synchronized flag toss along the front sideline from right to left is a great effect and perfect punctuation to this song.

The percussion feature is pure entertainment. The corps proper now has about 90% of the drill and body/horn movements down for this feature and it really adds another dimension. This is when a lot of people will start to feel overwhelmed by The Cadets’ show. There is just so much going on all the time throughout the entire show that you don’t know where to look. If your blinders only allow you to focus on the characters/amps/props you will miss so much of what even old timers will have to admit is amazing spinning, drumming, horn playing, marching, drill and integration.

This leads me to one reason why this is a championship caliber show; it is layered. The Cavies changed the game whereby a contender for the crown has to have a show that speaks on many levels. Shows “nowadays” have to be like video games and embody the concept of “multi-tasking”. What motivates in today’s society is considered overload by most old-timers. A very linear show that has too singular a focus and design will have a very difficult time winning. This is one of the reasons why Phantom, Bluecoats and (to a lesser degree) Santa Clara have not been able to break into the top tier and stay there in the past five years. It took The Cadets until 2005 to figure this out and they are now in the company of the Cavies as the two corps doing this the best. BD is doing a decent but inconsistent job at this but simply always have too good a talent base to not be in the top three (except for last year’s misstep).

Back to the percussion feature; there are a LOT of WOW moments in this section of the show with gasps heard often from the audience. One of the big moments many have heard about is when the left-most snare player (looking from the stands) tosses a stick to the right-most player (standing on one of the pink benches) who uses it to play the final hit of that phrase. But the lead up to this is wild as individual snares climb up onto one of the pink benches to be featured for their solos. The interaction with the characters works well whether or not you heard, understood or appreciated the six brief comments the characters make during this section. This is another example of the layering, integration and timing involved in this show and required by the performers – simply put, a show that is a level or two up from most of the rest on the difficulty scale.

Some will complain that they are confused over where to look with the drummers hoping on and off benches, characters speaking and interacting with the percussion, and guard dancing in the background while the corps proper moves the benches around and does drill with body/horn movements. Sorry folks, this is the modern era of layer, multi-dimensional drum corps.

The drum feature ends in major notes and volume that really gets the crowd wild. By this point the pink benches run straight across the middle of the field from goalpost to goalpost with the horns lined up in front of the benches and a gap opened at the fifty yard line. The field percussion then faces backfield and continues playing at the tempo and in the style of the feature. When the percussion is even with the line of horns, the horns begin to the play the ballad – at a different tempo. The percussion continues to play at their tempo (without a drum major conducting) as they spread out across the backfield and each drummer drops out from basses at the far right to the final tenor to the far left.

As the ballad begins, Alice is on the bench in the far left of the field and starts a dance/walk across the line of benches. The drill form of the field percussion in the backfield follows Alice’s progress across the line of benches. As Alice steps on each bench, the guard members stationed at that bench begin the saber and dance work that accompanies the ballad. This results in a nice build of motion as the volume and tension in the music grows. The girls hanging by one foot while standing and leaning back on the benches at the same time the boys lift one side of the benches six feet in the air is a true “ooh, ah” moment. By the climax of the ballad, all the guard members are doing saber and dance/movement work including the Red Queen, White Rabbit and Mad Hatter in the far right (they’re not just actors, they’re amazing equipment handlers). Another amazing “wow” moment happens when the actual climax hits and the sabers toss synchronized throws from left to right across the field. These high tosses are thrown from standing on the benches and caught from sitting on the benches with the final catch being perfectly timed to the cut-off of the loud, full climax chord in the horns; a breath-taking moment.

The ballad ends in a similar concept as to how it began. The second drum major climbs on the podium and begins to conduct the field percussion and characters as they race across the backfield at an entirely different/faster tempo from the horns. This effect of two tempos being played/marched simultaneously is done so differently the three times they use it that you do not get bored by it. It is actually nice the way these three transition points are different implementations of a similar concept – it does a good job off connecting the pieces of this shows while adding to the feeling that this show is not of this world.

As the keyboards and pit introduce the theme to Jubilee Games, the horns and field percussion race to position that breaks the corps into three pieces. Each third of the hornline then plays a phrase of the melody of Jubilee accompanied by one of the field percussion voices. While each third plays, their drill is the focal point and ends in boxy forms facing backfield. The melody then builds as each group comes back in (almost fugue-like) until we’re back to the full corps playing together.

I agree with many who say the ending is uninspired and too similar to last years. But I hear that this is just the working ending for now and changes will be coming in the future.

So, all in all, there is a LOT to enjoy and focus on in this show other than the vocals, amps, characters, and props. If you allow yourself to get beyond these “obstacles”, you will enjoy this show. If you put your blinders on, you will miss one heck of a show, it’s your choice. But let’s at least get a little more balanced in our assessments of this show and corps. You might rightly say that my assessment was not balanced, but I feel it was required to balance out the disproportionate ripping apart that many have made of this show on this board.

Put your blinders on and flame away!!!

<Marsha steps off the soapbox>

Marsha, Marsha, Marsha!!!

You are dead on correct in everything you said, thank you! Just expect some mindless responses to your well thought out post

[SeanOwenSullivan]

And the final synchronized flag toss along the front sideline from right to left is a great effect and perfect punctuation to this song.

That was perhaps the most memorable part of the show from Powder Springs. It comes out of no where but makes so much sense musically. I'm sure come Championship wk, it'll have ppl out of their seats before the song is over in true Cadets fashion.

Cheers,

Sean

w/Stp:

[SeanOwenSullivan]

I whole-heartedly agree. A great, championship show should not need such a lengthy explanation for people to understand and enjoy it. I'm taking a friend of mine (who has never seen drum corps) to the Pittsburgh, KS show on the 18th. The Cavaliers and Cadets will both be there. Am I going to have to constantly be explaining the Cavies show to him as they perform? Absolutely not. Am I probably going to have explain The Cadets show as its being performed? Yes. Therein lies the problem. See, if a first-time viewer can't understand a "championship caliber" show, then it really isn't championship worthy, IMO.

But the judges who will be awarding the Champion aren't first time viewers and you won't have to explain anything to them.

Cheers,

Sean

w/Stp:

[SeanOwenSullivan]

the whole reason the cadets won last year was because it was so different

According to YOU. <**>

Cheers,

Sean

w/Stp:

[dans]

No, it doesn't have to be black and white. You simply shouldn't have to have a PHD in Pagentry to appreciate a good show.

Oh for gods sake, all you need to appreciate the Cadets show this year is eyes and ears. You know people have such double standards some time. How many people can explain why Phantom has guys in the guard dressed like executioners, or why a girl in the guard lays on the field for half of a song ? Talk about not understanding what you're watching, but of course Phantom gets a pass on this because they are not the Cadets.

[SeanOwenSullivan]

Yes. Now take out all the vocals and this will be an amazing show. They destroy it.

Totally!

The vocals get in the way during the percussion feature and ruin the ballad.

Cheers,

Sean

w/Stp:

[tubacurt]

Using voice to tell a stroy is not neccisarily a bad thing if needed and done well, but why does this show need characters and voice overs to tell it's story? It's friggin Alice in Wonderland, everybody already knows the #### story. It's not some obscure novel by a 14th century Scandnavian writer for christ's sakes.

Note: I haven't seen the show yet, so if someone feels the need to tell me why the show actaully does need explaining, you can.

[Hrothgar15]

Totally!

The vocals get in the way during the percussion feature and ruin the ballad.

Cheers,

Sean

w/Stp:

I absolutley LOVED all the portions of the show that didn't include amplified vocals. But I want to enjoy the show as a whole instead of just a few parts, and I can't. As it looks now I'm going to have to digitally edit out the introduction, each "line" in the percussion feature, and the entire ballad in order t be able to blast this show from my computer like I can with every other show.

[LaSqueegee]

You are dead on correct in everything you said, thank you! Just expect some mindless responses to your well thought out post

Mindless???? Interesting!!!! Just because you don't agree with them makes them mindless? WOW.....JUST WOW! <**>

[JustABandMom]

<Marsha steps daintily onto the soapbox>

I attended the Beverly show last night and must say that there are a lot of critics on this board who must have put their amps/vocals/props blinders on before they viewed The Cadets show this year and saw nothing but these so-called “travesties”. If you strip these blinders away and look at what else there is in this show, you will find it difficult to walk away without thinking “WOW!” Let me point out just a few of the things this show is doing right and reasons why it a championship contender.

Marsha - thank you for the thoughtful, in-depth analysis of the Cadets show this year. I enjoyed reading it. Some things you mentioned, I hadn't noticed, so I will watch for them next time. Thanks for taking the time to present this for us.

<Marsha, Marsha, Marsha!!!> - (I love that line!)