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2018 Phantom Regiment - "This New World"
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- čas přidán 5. 02. 2019
- Rockford, IL | 11th | 86.950
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regiment.org/
“Finale (from ‘Mr. Magorium’s Wonder Emporium’)”
Written by Aaron Zigman, Alexandre Desplat
Published by BMG Sapphire Songs,
BMG Sapphire Songs obo Bristol Bay Music LLC
Used with permission. All rights reserved
Tresóna License Number: 326754
“Piano Concerto No. 3 in C Major, Op. 26”
Written by Sergei Prokofiev
Published by Boosey & Hawkes Inc. obo Hawkes & Son (London) LTD © 1923
Used with permission. All rights reserved
Tresóna License Number: 326754
“A Child’s Garden of Dreams”
Written by David Maslanka
Published by Carl Fischer Inc. © 1988
Used with permission. All rights reserved
Tresóna License Number: 326754
“Picture Studies”
Written by Adam Schoenberg
Published by Universal Music-Careers obo Ricordi & Co London
Used with permission. All rights reserved
Tresóna License Number: 326754
“Symphony No. 9”
Written by Antonin Dvorak, Arr. by William Pitts
Published by William Pitts Music
Used with permission. All rights reserved
Tresóna License Number: 326754
props to the man or woman who tuned all those tenors every show
Phantom regiment: yo you ever see the metamorph opener?
Regiment phans: oh yeah the one where everyone used snares?
Regiment: yep. That one.
I honestly still liked this show a lot, but I admit it doesn't have the same fire as their 00's/early 10's productions. I hope they can find that again soon.
Jeremy Quiros yes 🙏🏼
How'd you like "I Am Joan?"
Nick R we don’t talk about that show
I think they have considering the past two seasons
So these quads are why phantoms tuition fee is so damn expensive
I miss the old Phantom....
When you take a Tenor feature to the extreme
I agree with you. This is Oprah territory. You get a tenor, you get a tenor, everyone gets a tenor!
Percussion judge must have been baffled.
My boy Jake Killin it
Props to whoever tuned over 90 drums every show
*Fantástico, Saudações do Brasil*
Make Phantom Kill Again!
カッコイイ！
I would’ve liked to see the solos/duets, those were so beautiful, really sealed the deal for me wanting to join phantom next year!
Audience: we can't hear the quads that well!
Phantom 2018: *say no more*
Heckin Finally.
They're on the right track, that's for sure. But why does no one ever post the entire show for the 5 seconds that DCI or Flo won't notice.
They are posted but get taken down for copyright :/
Oh BTW if you live in the DFW area a new corps has just been founded, and this year will be their first competitive season
Lone star?
@@chrissalazar7650 a group called Royals
DFW? I’m near there. I have to check them out
Oohh I really love the chord at 1:29
best part
Favorite show this pst year
WHY?...no seriously why? What was it that this show was your favorite out of the other 11?
doug avila god forbid someone have a different idea from your own, right?
Where can I find the full Phantom Regiment 2018 show?
Wait how are there 15 quads? 5 person quadline plus 9 person snareline only makes 14 and the bassline is still on the field. I wonder where the 15th came from?
I believe someone from the pit joined
Edit: If you look at the end vibraphone at 1:20 you'll see that no one is there so, they're most likely the 15th
Phantom in a new light and loving every minute of it
bruh
Criminally underrated. Don’t argue with me. You’re wrong.
Underrated? They are where they should place. 11th. And that's a compliment.
doug avila I’m just saying. We all praised Academy for 11th in 2016. We praised Madison Scouts for 12th in 2017. Hell, we gave Spirit hella credit & and they weren’t in top 12. I’m just tired of double standards. I’m sick of everyone comparing every Phantom show to Spartacus and Into the Light.
Yup.
1:01 I see they took some inspiration from Prokofiev
Yes, segment of the show was an arrangement of the Prokofiev Piano Concerto 3, first movement
A SHOW ABOUT PLACES
Phantom Regiment's show New Worlds has a focus on a changing location. Four new worlds. It's a well known rule of thumb in stage productions to avoid relying on changes of scenery as a backbone for your show. Stage shows about road trips always have a heavy scenery burden, something that the film genre overcomes easily. Scenery in live productions is expensive, difficult to transport, and hard to design. If there's too much emphasis on the stage set, the focus of the production becomes about the technical trappings, and not the soul of the piece. But that's exactly the trap that the PR designers fell into. The show introduces us to four new scenic worlds, and although we see do the players' reactions to four new worlds, the reactions to all four are similar. The emphasis is on the where, the new location, the changing set, instead of its impact on the explorers and how they transform. A location is nothing without humans to add meaning to it.
THE MUSICAL BURDEN OF FOUR NEW WORLDS
How is this new world different than the one before it? Sure, the music is supposed to have center stage here in depicting four separate worlds-- but the stylistic differences in the music have to be over the top in order for it to work. Alas, the musical selections sounded similar. Worse, many drum corps shows have a wild range of styles in their twelve minutes anyway, so it's extra challenging to arrange stylistic changes that cut the clutter. Here, the visual show carries the burden because to experience a new world is a basically visual premise. It's a visual progression based on scenery. Similar to a show about four different types of architecture, it's scenery-dependent. You're stuck visually depicting those four styles of architecture. That's a strictly scenery-based premise, and you better order an additional semi, or better yet, shift the focus away from the "Where".
LOCATIONS ARE PASSIVE
The premise of new worlds also has an additional burden. It's passive. New Worlds are something you react to. They're not something you shape, mold, persuade, or transform. A new world is a static concept that the players show a "reaction" to, but the drama ends there. The designer must go the extra mile to make the new world interactive, with a game or challenge that needs to be solved in one world in order to advance to the next. Video game designers learned this decades ago.
WHO IS THE TRAVELLER, and WHY?
One of the challenges this production encountered was that it didn't make clear who the traveller was, or why. Who is encountering the new worlds, the audience? Explorers? What's their objective? Are the marching members the explorers, or are the marching members representing the new worlds? The audience isn't sure. If the hornline is supposed to be explorers, didn't they have a vehicle, any luggage? Accordingly, the audience isn't sure what's transformed as they encounter the final new world. Is this home? How is this newest of new worlds different? How have we changed by the end? What's the takeaway?
CHOREOGRAPHY
An additional challenge that this production encountered was the frantic, spastic, improvised, non unison wacko choreography which diluted any meaningful collective reaction to a new world. At any given moment in this show you had piles and piles of dancers acting like cats, scurrying about laying on top of sets, scraping their buttocks on them, crawling over them and collapsing. There was no baseline for human normalcy in this production. No collective unconscious. The color guard began their netherworldly, leotard-clad, spineless, frantic orgies almost immediately in each new location, with so many points of focus that nothing took center stage, nothing drew our attention, and no new world was properly given its introduction. Each world was just another Florida State University key party.
FIXES
The best way to salvage this premise would be to depict a single group of explorers encountering new worlds, each world with a fresh visual device or game that they have to navigate or survive. The front pit area could have changing floor tarps to help depict each world to help the audience visually identify the differences in the worlds-- a turning of the page. Then returning home would be an obvious ending. This show didn't need narration, lyrics, or more scenery, it needed meaning, a premise of "man versus the environment", a sense of explorer unity, and a transformation by the end.
Hey Jesu Spectre, honestly just curious, do you have a drum corps, theater, dance, or design background? I’ve seen your critiques on many drum corps videos, and I appreciate how much time, effort, and analysis you put into them. I would just like to know where you are coming from when you review shows. Thank you!
Shau
@@davidlosardo2508 I have a background in large scale concert design. I'm also a consultant for the Council on French Fry Awareness.
@@scottrushforth Great start. So what is the thematic argument of that McDonalds' show? American's unhealthy eating habits as a parallel to a self-destructive society? Or how Americans will consume anything superficial without thinking about its impact? How is your theme demonstrated in each piece? How will you get around copyright clearance and avoid defamation from the McDonald's corporation? How will your ensemble march with large clown shoes? How will you get copyright clearance for the jingle? How will you set up why the drum major dies at the end? Does he eat McDonalds excessively throughout the show? How will the audience know why he's dead? Is he a protagonist or antagonist? What's the point of view of the show? I both loathe and love comedic responses to show theme ideas. It's really kids' first foray into developing legitimate premises. Usually they're about feces. So this one isn't the worst.
Those corps uni’s are just so c l e a n
Even more so in 2021.
Mmmm yes Hebron 2015
Well ok.. looks like PR has turned into one of what used to be considered a generic bottom-4 of the top twelve both aesthetically and talent-wise. I saw cleaner Glassmen shows back when they were around. C'est la vie.
It is really unfortunate that all the corps have gone full-hog WGI. Guess I've become a dino.
so we not gonna recognize that Hebron played this first in 2015? ight
Devvo & Jay and they were pretty close to winning that year, if I remember correctly...won in semifinals and set a record in the process
So you just commented to say a high school did this show too? Wow
lol they tried copying BD and putting in tons of quads.
When did that happen?
@@austinpease3696 Blue Devils did that for Metamorph in 2017.
This is depressing
oops
Analyze the show design to figure out what's weak, what's missing. Here are some clues.
1) Where's the central focus? What should we be looking at? What's the through line?
2) What's changed by the end?
3) What is the front sideline stage used for? What does it represent? How does it transform during the show? How does it transform by the end?
4) Who are they, where are they, and what are they doing?
5) How are the rolling trellises being used? Are they evocative of New Worlds? When they move into a new configuration, how do they evoke a unique, new world? How do they transform by the end? How is the meaning of each trellis configuration made clear to the audience? How does each configuration match the music? What's the game you're building?
6) How can the audience predict what comes next? (They can't. There's no pattern in drill, or movement, or character, or story.)