10. The Cadets, 2005, “The Zone”
When The Cadets are good, and this edition of the corps was precisely wonderful, the spit and polish that is the pride of the longest-running organization in the industry shines.
What lifted "The Zone" was its use of current popular music. When all the marketing emphasis coming from the corps is directed at the 16-21 year-old market, it was about time for the likes of "Kill Bill" and Bjork to make the leap to brass and percussion.
"The Zone" showcased championship performances from every caption and to a truly contemporary soundtrack.
9. Phantom Regiment, 2005, “Rhapsody”
Genuine, idiom-shifting innovation is more difficult than it is posed each year. Organizations and designers posture creativity and innovation season after season, but the reality of me-too-ism in design and performance standards renders the activity more evolutionary than revolutionary. So the groundbreaking ecstasy that was Phantom Regiment felt doubly sweet.
The always potent talent was presented both music and visuals that were fresh and historic, contemporary and pure Regiment in feel. With the cinematic reach of a Hollywood blockbuster, "Rhapsody" ended its season more like a premiere, with its 135 members channeling "a cast of thousands" to the sheer delight of viewers everywhere.
For the record, the blending of George Gershwin's "Rhapsody in Blue" and "American in Paris" was seamless, turning two of the composer's masterpieces into an audio masterwork for brass and percussion.
The exuberant visual canvas sugggested Piogete and Minelli, American swagger and Parisienne' elan', the Folles Bergere and a classic drum corps show. Marching, body-positioning, guard work, and those miraculous costume changes were thrilling.
Factor in the "guest starring" performance of John Owen as a Gene Kelly type, and "Rhapsody" became a drum corps summer blockbuster breakout hit!
8. Santa Clara Vanguard, 2009, “Ballet for Martha”
The Santa Clara Vanguard presented the show of the year. Decadent in its design gall, pristine in its nuanced performance, for all of the words used to describe “Ballet for Martha” -- restraint, control, class, vintage Vanguard -- this decisive decision was the balls-iest of the decade!
The arranger dared idiomatic convention by leaving the major sections in their original mezzo-forte form. The visual writer defied usual answers to movement questions by suggesting spring as a constantly morphing and budding blossom. The choreographer acquiesced to the spotlight often, allowing the color guard to support and surround before the highlighted dance movements overwhelmed. The percussion arranger delved into stacks of unused material for the delicious “drum break,” thus suspending obvious musical payoff one more minute.
For all the reasons that this ten-minute tone poem urged quiet venues (they were many, often, and sumptuous), the luxuriant and expansive “Simple Gifts” finale demanded ovation. And it received sustained standing salutes every night of the season.
7. Boston Crusaders, 2000, “RED”
Talk about your spectacle! Boston made it into finals just before the turn the century, and then ushered it in with this sensory overload of marching music.
The translation of “Bolero” to the field was definitional, and by the time the larger-than-life ballad “Time to Say Goodbye” had enveloped the audience, there would be no looking back.
But do take a look back at this drum corps classic: you’ll be seeing “RED” all over again for the first time.
6. Carolina Crown, 2009, “The Grass is Always Greener”
Carolina Crown’s entire concept and presentation was fence-straddling of a sort: “The Grass is Always Greener” was a drum corps specialty show as performance art. Initial viewings conjured memories of Sky Ryders’ “Wizard of Oz” – naturally, even its’ “West Side Story;” Cadets’ “Les Miserables”: and certainly Santa Clara Vanguard’s “Fiddler on the Roof,” “Carmen,” “Miss Saigon,” as well as its pinnacle “Phantom of the Opera.”
There is taste, constraint, and sophistication infused in every splendid detail and nuance. To be clear, this show is a reflection of the sum of its quality parts, but the actual story-telling imbedded into the drill is something of a miracle.
But in the retrospect of the season-long process during which every show morphs, is formed, and then reformed; where this newest, greenest star in the activity excelled was in the intelligence with which the audience was treated. The best fantasy rests in our minds, not in explication. By offering a world of capricious characters in the glorious rainbow of monochrome, I was able to write the story I needed every time the show was performed. Now that’s some more confidence.
When The Cadets are good, and this edition of the corps was precisely wonderful, the spit and polish that is the pride of the longest-running organization in the industry shines.
What lifted "The Zone" was its use of current popular music. When all the marketing emphasis coming from the corps is directed at the 16-21 year-old market, it was about time for the likes of "Kill Bill" and Bjork to make the leap to brass and percussion.
"The Zone" showcased championship performances from every caption and to a truly contemporary soundtrack.
9. Phantom Regiment, 2005, “Rhapsody”
Genuine, idiom-shifting innovation is more difficult than it is posed each year. Organizations and designers posture creativity and innovation season after season, but the reality of me-too-ism in design and performance standards renders the activity more evolutionary than revolutionary. So the groundbreaking ecstasy that was Phantom Regiment felt doubly sweet.
The always potent talent was presented both music and visuals that were fresh and historic, contemporary and pure Regiment in feel. With the cinematic reach of a Hollywood blockbuster, "Rhapsody" ended its season more like a premiere, with its 135 members channeling "a cast of thousands" to the sheer delight of viewers everywhere.
For the record, the blending of George Gershwin's "Rhapsody in Blue" and "American in Paris" was seamless, turning two of the composer's masterpieces into an audio masterwork for brass and percussion.
The exuberant visual canvas sugggested Piogete and Minelli, American swagger and Parisienne' elan', the Folles Bergere and a classic drum corps show. Marching, body-positioning, guard work, and those miraculous costume changes were thrilling.
Factor in the "guest starring" performance of John Owen as a Gene Kelly type, and "Rhapsody" became a drum corps summer blockbuster breakout hit!
8. Santa Clara Vanguard, 2009, “Ballet for Martha”
The Santa Clara Vanguard presented the show of the year. Decadent in its design gall, pristine in its nuanced performance, for all of the words used to describe “Ballet for Martha” -- restraint, control, class, vintage Vanguard -- this decisive decision was the balls-iest of the decade!
The arranger dared idiomatic convention by leaving the major sections in their original mezzo-forte form. The visual writer defied usual answers to movement questions by suggesting spring as a constantly morphing and budding blossom. The choreographer acquiesced to the spotlight often, allowing the color guard to support and surround before the highlighted dance movements overwhelmed. The percussion arranger delved into stacks of unused material for the delicious “drum break,” thus suspending obvious musical payoff one more minute.
For all the reasons that this ten-minute tone poem urged quiet venues (they were many, often, and sumptuous), the luxuriant and expansive “Simple Gifts” finale demanded ovation. And it received sustained standing salutes every night of the season.
7. Boston Crusaders, 2000, “RED”
Talk about your spectacle! Boston made it into finals just before the turn the century, and then ushered it in with this sensory overload of marching music.
The translation of “Bolero” to the field was definitional, and by the time the larger-than-life ballad “Time to Say Goodbye” had enveloped the audience, there would be no looking back.
But do take a look back at this drum corps classic: you’ll be seeing “RED” all over again for the first time.
6. Carolina Crown, 2009, “The Grass is Always Greener”
Carolina Crown’s entire concept and presentation was fence-straddling of a sort: “The Grass is Always Greener” was a drum corps specialty show as performance art. Initial viewings conjured memories of Sky Ryders’ “Wizard of Oz” – naturally, even its’ “West Side Story;” Cadets’ “Les Miserables”: and certainly Santa Clara Vanguard’s “Fiddler on the Roof,” “Carmen,” “Miss Saigon,” as well as its pinnacle “Phantom of the Opera.”
There is taste, constraint, and sophistication infused in every splendid detail and nuance. To be clear, this show is a reflection of the sum of its quality parts, but the actual story-telling imbedded into the drill is something of a miracle.
But in the retrospect of the season-long process during which every show morphs, is formed, and then reformed; where this newest, greenest star in the activity excelled was in the intelligence with which the audience was treated. The best fantasy rests in our minds, not in explication. By offering a world of capricious characters in the glorious rainbow of monochrome, I was able to write the story I needed every time the show was performed. Now that’s some more confidence.
