Unconventionality and camaraderie keep STOMP strong after 23 years

An "exploration of sound" and a "high-octane extravaganza", the Broadway kinetic percussion musical "STOMP" returned to the Philippines last June 17.

Featuring a cast with only two performers from the 2011 show at the Cultural Center of the Philippines (CCP), STOMP promises the same manic energy inherent in the production since its creation in 1991.

"It's movement, percussion, comedy, and a lot of discovery—discovering everyday sounds. That's why it's been around forever; we make music with everyday objects... Music is all around us, and it's infectious," Filipino STOMP-er Andres Fernandez told the media in a press preview last Wednesday.

Built on the principle that anyone can learn the show's routines, Luke Cresswell and Steve McNicholas' Broadway hit routinely introduces new cast members and routines to create a consistently fresh and organic show.

"When they first started the show, it was all new and everyone was learning from absolute scratch. Whereas every new generation that comes in, there's already a lot to look at... Every new generation is (like) a building block, (something) to progress upon," said cast member Adam Buckley.

He added, "It's a bit like sport—if someone's already done something, you already know what they've done. You can take that, copy it, do whatever you want with it, and evolve it yourself."

STOMP newbie Louise Durand agreed and said, "Everybody's different; there's no set type of people (and) that means the next show we do tonight is going to be different from every other show we've ever done. The show in New York—it's the same show, but it's also completely different."

Unconventional rehearsals

The process of teaching new cast members their moves is as unconventional as the show itself.

"We play something and you would work out how you would do that, like if you wanted to (remember) it in a song, or if you wanted to write it down musically. It's your choice, as long as you remember it in some way," said Emma King, one of the cast's newest members.

No scores are given to the cast members and all beats are only taught through verbal and physical commands. Whatever changes are made are recorded in a notebook periodically updated by STOMP co-creators Cresswell and McNicholas.

Durand, Simon Watts, and Shae Carroll also had difficulties during their first seven months on the show. Though King's training in drums, and Watts and Carroll's background in dance somewhat helped, they had the same difficulties as former school teacher Durand in adjusting to the show's unique training regime.

"Because we have a dance background, the movement comes naturally for us, but the percussion... I found a bit harder," said Watts.

"It takes a while (for your) body to get used to it 'cause nobody trains for STOMP. You're either a dancer or a percussionist, or a comedian or an actor, but nobody (goes) 'I'm gonna train for STOMP from (age) 10 and be totally well-rounded,'" King explained.

Starting shows doesn't mean that training is over, Carroll said. The constant change in songs and lineup across different productions ensure that each performance is unique

"I still get nervous going on stage, but it's all just energy and the love of actual stomping that makes it all gel together," said Durand.

High-octane camaraderie

Camaraderie across all productions, from the original London cast to the US touring crew, is also what made the show unique.

Fernandez said the friendships formed during the show generated an infectious energy within the group, which translated to the high-powered performances STOMP is known for.

"I felt very welcome straight away. You're all in it together so you become a family, especially on tour... because you're always together with each other," said Carroll.

Gus Little, an 11-year veteran, said, "Once you're in, it's a real family affair. There's a real camaraderie. We all look after each other and we're all pretty good mates."

"That's what's so great about STOMP. I'd come in from a different cast and I can just come in and hang out," said Fernandez.

Little said part of what made their cast good were the casting decisions made by Cresswell and McNicholas.

"There's something about the audition process and the people who Luke and Steve choose. They prefer people, character, personalities. It's not about the (skills), it's about putting a mish-mash of a real eclectic bunch and watching them just go,"

If they get in, they have a three-year period to prove they're good for the cast. Eclectic casting choices produced a diverse range of cultures, influences, and even visual aesthetics, adding to STOMP's rewatchability.

Vincent explained, "Every culture has their own. When you put all of that together, it creates a different vibe. It makes the show not so boring. If you have everybody did the same thing, the show wouldn't have the same effect."

Because it managed to last 23 years, more than a few productions have tried to emulate the show with little to no success.

"They don't have that foundation (or) great musicality. They (Cresswell and McNicholas) keep looking for new things to put in the show. They believe they can teach anybody how to do the show," said Fernandez.

"STOMP" has toured over 53 countries across five continents with its raucous, banging-trash-can-lids-for-an-hour beats so unlike other polished Broadway songs.

The show will run until June 22.

Fans old and new may now reserve their tickets online or through a phone call (891-9999) to TicketWorld. — VC, GMA News