STOMP should be categorized in its own genre of performing arts, for it stands out in its use of sound, creative set design and implementation of character development. The idea of STOMP is to make music out of ordinary objects. Last Friday’s show at Kingsbury Hall opened with brooms sweeping, moved to trash can tap dancing and ended with clapping hands.
In the STOMP tradition, the spectacle of turning the ordinary into the extraordinary started with the infamous broom sequence. Sweeping in fast and slow beats, the group’s eight performers trickled onto the stage. The swift brushing movements eventually developed into a complete song, which evolved after sand was thrown onto the floor. The sand was a much-needed device as it added a texture to the sound and acted as an additional instrument.
From the utilization of brooms to the incorporation of dish sinks, STOMP worked to create innovative percussion echoes. In fact, the company’s originality didn’t stop with brooms and dish sinks — the eight players introduced new pieces such as “Paint Cans,” “Frogs” and “Donuts.”
“Donuts” was by far the most creative piece on the set list. The song was played on tractor tire inner tubes attached to the hips of the performers. The bouncing sounds of drumsticks on rubber added a nice break from the booming percussion sounds that at times became tiresome.
It was clear that “Donuts” was more than a song — it was a choreographed dance. This isn’t surprising, considering many of STOMP’s performers have backgrounds in dance. In fact, the entire display of STOMP was an action sequence. Performers swung from ropes, climbed up ladders and jumped over obstacles.
Midway through the show, STOMP morphed from a concert to a play, and a play isn’t complete without characters. Though the group’s actors don’t speak, they do add personality.
Performer Carlos Thomas believes personality is STOMP’s most important element. Without the characters, STOMP would be people banging on pots and pans.
“I play myself in the show. [STOMP’s] Personalities are amplified through the expressions of our face and our body posture,” Thomas said. “You will know if somebody’s upset or lazy. Our bodies telegraph what we’re feeling on the inside.”
Guido Mandozzi played the most notable character in STOMP. Embracing the role of the goofy guy, Mandozzi always ended up with the short end of the stick. During “Shopping Carts,” he was forced to push around the smallest shopping cart, and for “Paint Cans” he pounded on the tiniest can.
STOMP’s setting was another important component. The background looked like it was pulled from Skid Row and the lighting added a dramatic effect. At various moments, the lighting bounced the shadows of the performers onto the wall. This gave the show a “fee-fi-fo-fum” effect, since the enlarged images of the company’s characters looked like giants stomping on the audience.
What’s more, the size of Kingsbury Hall added to the enjoyable aspect of STOMP.
“For a show like that, there isn’t a bad seat in the theater. It’s such a loud and visually big show,” said Sheri Jardine, communications manager for Kingsbury Hall. “You can sit in the back or upstairs, and not have to be in the first 10 rows to enjoy a show like that.”
Kingsbury Hall hosts a number of performances, each differing in sound, content and style. Over the years, the theater has welcomed a variety of guests such as Ballet West, Bill Cosby and Carol Channing. When the phenomenon of STOMP hit the stage, Kingsbury kept its tradition of providing diverse entertainment.