Creating "Suspense"
Jun 10, 2009
By Bob Fields
When you think of the name “North by Northwest,” the famous American “suspense” film, directed by Alfred Hitchcock, comes to mind. You may know the film from its’ exciting action sequences where Cary Grant is chased by a crop duster dusting crops in an empty field. Also for the end of the film with the nerve racking fight on the face of Mt. Rushmore. Without a doubt “North by Northwest” the movie, features “suspense” that keeps you on the edge of your seat. Since this is one of my favorite movies I could not wait to see what a guard with the same name brought to the winter guard floor.
I soon discovered that this guard from Vancouver, Washington brought their share of “suspense” in a different way, as they wheeled on the floor giant swings to perform their 2009 show called “Suspense.” Much like circus performers this group is often suspended hanging upside down as they perform their show. Fascinated by the concept I contacted their director, Becca Sullens, to get some background on how they came up with the idea for this show. “The concept of “Suspense” did not stem from anything truly specific,” she said. “I was just driving my car one day and the idea popped into my mind. I wondered how we could use the idea of a prop or fabric tied to something that could suspend the performers off the ground. The tricky part was that it had to be portable enough to be able to set up in one minute.”
She went on to tell me that their next move was to find a soundtrack to perform to, that would sell the suspense idea that they were trying to convey. “Once the idea was thrown around during the summer,” she continued, “staff member JC Caceres put the entire soundtrack together using 8 pieces of music to create a feeling of suspense. It was truly amazing what he had created. We were all on the edge of our seats when we first listened to it. When we first spoke about putting a show like this together, we wanted it to be something that would set us apart from everyone else in all aspects.”
Having built props myself, while watching them perform, I just imagined what the meeting was like; when it was proposed they would build these huge swings. Asked about the construction, Becca explained, “I think we were all a bit hesitant about the props. We knew there would be a lot of struggle with that decision. Things like transportation, storage, setup, cost, efficiency, staging and everything in between was a worry. A good friend of mine, Leo Alaniz, happened to be an employee of a local hardware store, and was the actual creator of the props we used. The first one he built was like a true backyard swing set with “A” frames and a crossbar. The entire staff took an evening and played on the whole thing to see what we could really do with it. We were all very excited at this point, but the next day we found out that we had completely destroyed it. The wear and tear on it during a single session made it apparent that we needed something a lot sturdier. Version number two had two huge bases on wheels that weighed about 100 pounds each, which supported two ten foot tall wooden poles and a eight-foot metal cross rod. This was what we eventually used the entire season.”
As you can imagine moving such large objects from show to show was a major challenge to the guard. Becca explained, “About four shows in the season we discovered that the setting up and breaking down time was nearly impossible to get done in our 9 minute interval. This inspired version number 3 of the props where my step-dad, Mark Thomas, spent a week breaking each prop in half to hinge them so the set up could go much quicker.” If you have seen the show or watched it on the WGI Fan Network you get a true feeling of what this set of swings did to their budget. “The total cost has not been completely figured out yet,” she said. “ But since we had 3 different versions of the swings, maintenance and additions, I am thinking it was close to $4,000 for the overall season. Plus it took about a month to build and paint everything.”
Their next dilemma was how to transport this mini-lumber yard to each show and to get the props set up prior to the show on a timely basis. “We ended up buying a 12 by 6 foot trailer which amazingly fit everything when it was all broken down. The members would pack and unpack the trailer for every rehearsal and show. When we first started to do so at the beginning of the season it took and hour and a half. By the end of the season it was all done in a half hour. Prop setup time was not all that bad, but it was the loading and unloading that was a problem – especially when it rained and got everything wet.”
Now that prop building, soundtrack and transporting the props was completed they had to figure out what to do with the swings on a performance level. “Whichever staff member happened to be designing that specific part in the show, had opportunity of teaching the members the choreography,” she said. “I think that the most memorable parts of the season were watching Angie Caceres create the horizontal moment for one of the soloists in the middle of our rifle feature. The bruises that were all over her hips and legs were intense. Anna James, the soloist for that part, had a constant patch of black and blue on her legs throughout the season. Andy Mrozcek was the most daring on the props whether he was standing, sitting or hanging upside down he was all over the prop. These props were very painful to use, and no one except the members and staff, really knew how physically demanding they were to perform on!”
I asked Becca the one question that strikes fear in every parent and staff member – did anyone get hurt performing on these giant props? These, of course, were not trained circus performers, and were doing much more difficult tricks while spinning weapons as they performed. “Unfortunately yes,” she said. “We were thankful that none of the injuries were bad enough to have anyone drop out because of accidents on the props. When we were coming off the floor at the Vancouver Regional, one of the swings came flying down from the prop and nailed Scarlett Zibritovsky, our youngest member, right in the face. She ended up with ten stitches over her eye, and had it been an inch lower it might have taken out her eye. We had the guys hang from the crossbar, they would drop straight down, pickup their rifle and throw a six over the crossbar. Louis “Noey” Martinez sprained his ankle the first day on this move.”
You can certainly imagine what the judge’s reactions were when they saw the members’ wheel in these giant props. I asked Becca if they got the reaction that they had hoped for? “We had hoped for a reaction that would set ourselves apart from everyone else,” she said. “There were definitely mixed feeling about our show from the judges, with the music being so different and the show not being the normal cut of the mill. Some loved it and some really did not know what to do with us at all. That followed us all season, but in the end we were commended for being innovative and even thanked for taking the risks we took.”
What is truly unique about this group is that this is their second year in existence. Last year they were the 2008 Gold Medalist in the Independent A Class, and affiliated with the Cascades Drum and Bugle Corps. This year they moved to Independent Open Class and have now incorporated as their own youth organization. They also sponsor a special needs winter guard that performed at the Vancouver Regional this year. The full staff and eleven of their 13 members from last year continued on adding eleven new members as well. Their guard staff consists of Becca Sullens (Director), Ryan Valencia (Assistant Director), JC Cacerers, Angie Caceres, Andy Mroczek and Mike Anderson.
Becca proudly says, “It has been incredible to look back and see what were have accomplished in two short years. We have struggled with our growing pains, as well as loved the moments of building this new family. We are excited to see where next year will take us!”
As a new fan I too can hardly wait to see what new ideas this innovative group can come up with to change the face of the activity. As an audience member at finals I found myself on my feet at the end of the show, with the audience who gave this guard one of the first standing ovations of the day. Only by true innovation will this activity move and develop into new and different directions and concepts to entertain audiences of the future.
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