Atlanta CV’s 2026 production leans into a familiar idea — one that’s been told and retold across cultures for centuries — but reframes it through a more personal, experiential lens.
A play on words, titled “SinSations,” the show explores how people process their choices, not just in terms of right and wrong, but in how those moments feel. Rather than offering a fixed definition of morality, the design focuses on the emotional responses that follow. According to program coordinator Hunter Dugie, it’s a concept built to be flexible, interpretive and widely relatable.
That foundation came from a broader observation about storytelling itself. Across cultures and belief systems, similar themes tend to surface, even when they’re expressed differently. Dugie, who has worked with ensembles across multiple countries, found that consistency compelling.
“Within every culture, there exists classic folk stories and literature,” Dugie said, “that, at least, to me, build a unique sensation and understanding within the culture of what morality and righteousness is. The 2026 production is going to explore sin not as just an abstract idea, but as a set of tangible sensations, or better put, ‘SinSations.’”
From there, the idea evolved into something more experiential. Instead of defining morality, the show focuses on what it feels like to navigate it — the tension, the pull and the aftermath of a choice. That shift ultimately shaped both the title and the direction of the production.
Visually, the show centers on the apple — a symbol that transcends any single story and connects easily with audiences. It’s used less as a literal reference point and more as a shared piece of storytelling language.
“We’re going to be using the visual iconography that is super commonly associated in these stories, which is an apple,” Dugie said. “This is not a religious show by any means, it’s talking about this idea of sin and temptation and the sensations we get to that. But if we start with the very first sin, in many modern Western beliefs, it was Eve giving into her temptation and taking a bite of the apple in the Bible.”
Structurally, “SinSations” avoids a segmented format in favor of a more fluid, theatrical progression. According to Dugie, the design moves organically, allowing ideas to build and return naturally instead of fitting into clearly defined parts.
“We want to put on a theatrical presentation that ebbs and flows throughout,” Dugie said.
The show will follow a straightforward emotional arc. It begins in a balanced, ideal state before introducing moments of internal tension. At first, those impulses are resisted, but they persist. Eventually, that resistance gives way, leading to a moment of release and enjoyment before shifting into excess and reflection.
By the end, as Dugie described, the production will leave its “outcome” unresolved, inviting the audience to conclude its own interpretation.
“We’re going to introduce just a little bit of temptation, and we’re going to make the choice to not give in to it,” Dugie said. “And then it’s going to come back. It’s inevitable.”
“Ultimately, we’re going to take that first bite, and we’re going to love it,” Dugie added.
Musically, that same kind of progression carries through Atlanta CV’s program. The show blends original composition with selected source material, all designed to integrate into the show’s overall arc rather than stand alone as separate movements.
The music from the 2001 anime film, “Spirited Away,” as well as material from jazz legend Don Ellis, will provide familiarity to Atlanta CV’s repertoire. Grant Rossi’s “Medusa” will also be featured in the corps’ production.
Ellis’ jazz music has served as a staple in many drum corps productions across the activity’s history, including a central role in Madison Scouts’ 2014 production. Music from “Spirited Away” hasn’t yet graced a DCI field, but the Japanese anime film has plenty of notoriety, as an Academy Award winner for Best Animated Feature.
“The theme from ‘Spirited Away’ is our motif that drives the temptation,” Dugie said. “And it comes and it goes, and it shows up in different ways.”
“Don Ellis, that’s going to be the climax of our production,” Dugie said.
Visually, Atlanta CV’s integrative intent shows up in the corps’ set design, where props are built to be functional rather than decorative. According to Dugie, prop elements will be able to transform and interact, reinforcing the show’s focus on progression.
“We’re going to create props that have, first and foremost, a function to them,” Dugie said.
As the 2026 season nears, Atlanta CV continues to build steady momentum as part of DCI All-Age. The corps has placed fourth in each of the division’s first two seasons, improving from a score of 89.575 in 2024 to 91.625 in 2025.
Alongside that on-field growth, for Dugie and Atlanta CV’s design team, the goal with this year’s show extends beyond a single season. The hope is to create something that holds up over time — a production that remains engaging even after repeated viewings.
“It’s my goal with this show,” he said, “that five, 10 years from now, I’m still excited to pull up Atlanta CV 2026 and watch it.”
