The term stomp originally began with two buskers entertaining the streets of Brighton, UK with music, their catchy performance hooking in bystaders to stop, observe, and listen. Created by Steven McNichols and Luke Cresswell in Brighton, UK, the musical STOMP debuted in the Orpheum Theatre in February 1994. The musical STOMP can also trace some of its roots to Booth Theatres erected at the Village Fairs in the Middle Ages and Renaissance period- an old custom in that era. Unlike any other musical, STOMP challenges the idea of what constitutes music. Eight nightly performers play simple and complex rhythms from everyday objects, such as six foot poles, sand, brooms, lids, litres of water, and aluminum bins. Through dance and music, the group collaborates with each other to play music, as well as offering individual self-expression. STOMP is a sensual mix of comedy, percussion, and lively movements.
The musical STOMP is the unique creation of Steven McNichols and Luke Cresswell that captalizes on a ‘less is more’ premise. It is a passionate production, not easily classified into a particular musical or theatrical genre. Through the absence of melodies, the audience listens to music getting broken down into basics as eight chiseled and energetic performers pound out rhythms with ordinary objects: poles, drumsticks, match boxes, water, brooms, bins, and lids. Ironically, the ordinary quality of these objects catapults STOMP to an artistic level not matched by other modern theatrical acts. The ease in which the cast manipulates their ‘instruments’ and body stretches the imagination into an exciting reality.
Its set design is flashy and colorful at times; an elaborate metal construction showcases instruments that are struck by performers harnessed from the ceiling. This restriction frees the cast to use their feet, legs, and arms to create loud group rhythms that shake the rafters and audience with its intense, tribal rhythms. These in-your-face cadences are a potent avenue for individual and collective expression, leaving many on the edge of their seats. STOMP’s lack of fancy performer outfits keeps the focus on what really counts: dance moves and musical rhythms, which become more intricate with each subsequent scene.
Subtlety is also used to balance out these raw rhythms. One scene is centered around performers tapping six foot poles, as they stealthily circle the stage, almost preying on one another with their sly moves and rhythms. Their sense of connection is palpable and sensual, cast eye contact igniting the anticipation, as you almost find yourself wondering who is going to ‘win’ at this musical game. Yet, everybody wins, the audience even invited into the performance through a cast member who initiates a clap-and-response session.
Approximately two hours in duration, STOMP keeps one’s attention, making you wonder how items usually reserved for math problems, cleaning, and construction projects can entertain and create a powerful musical group dynamic. In this age of modern technology, STOMP is a refreshing blend of primal instincts meeting musical genious, reminding us of the musical and rhythmic potential right under our noses.
