“Stomp” reviewed by Amy Menzel ( Milwaukee)

***** I think we refer to STOMP as an institution, at this point. Created in the UK back in 1991 by Luke Cresswell and Steve McNicholas, the street-performance-inspired production has evolved into various iterations over the years, including companies that have toured the world. The current U.S. tour, directed by Cresswell and McNicholas and Tour Resident Director, Andrew Patrick, made a stop in Milwaukee Saturday night, and I was eager to attend. It had been years since I’d seen STOMP, and while I can’t say I could recall any piece or part of the show in particular, I could definitely remember how seeing it made me feel – alive and in awe.

I wanted to share the experience with my nephew, a skilled and driven percussionist, who, lucky for me, didn’t balk at the idea of spending a night out with his aunt. Moments after we took our seats, a man behind us leaned over to my nephew and said, “Just letting you know – I’m going to be yelling a lot during the show.” I turned around to him and his wife. “Big fans?” They beamed. “Our son is in the show,” they said.

Turns out, their son, Ben Johnson, saw STOMP when he was in sixth grade. He decided then that he wanted to be part of the show. Fast forward – through tireless practice and dedication, I’m sure – and here he is, as a part of the 30th anniversary tour of STOMP. Amazing.

As I mentioned, STOMP is inspired by street performance, meaning the artists make use of everyday objects, such as brooms, buckets, matchboxes, pans, shopping carts, lighters, bags (both paper and plastic), etc. in their choreographed percussive performance. I couldn’t help but wonder if Ben’s parents were the type to turn to each other on holidays and say, “I don’t know why we spend money on the toys when he would be just as happy with the cardboard box.” It seems like all those kids whose parents lamented with similar sentiments grew up, grouped up, and collaborated to create the experience that is STOMP.

The choreography here isn’t just in the movement, but in the composition of the entire show. The way the production ebbs and flows between loud and quiet, bright and dark, steely and subtle, reminds me of something my dad, an accomplished percussionist himself, once told me about drum solos: “They have to be going somewhere.” This show is, consistently, “going somewhere,” driving towards the next piece, the next emotion, the next experience. It’s captivating.

There were “whoa”s and “wow”s and there was one, “just the muscles.” The show is an hour and 30 minutes of amazement. And pure fun. There were giggles – lots and lots of giggles. I have to cop to many of them coming from me. But there were a few younger, wonderfully uninhibited viewers who couldn’t get enough of the comedic antics of performer, Michael Mendoza, in particular. Their giggles cued more of my giggles. So much fun.

In addition to entertainment and pulsing percussion, it’s a visually stunning production. I have to give credit to my nephew for reminding me of that on our way home. “Also, the lighting was really cool,” he said, in between our volley of favorite moments. So shout out to McNicholas and Neil Tiplady on that front.
★★★★★

It’s always a little bittersweet for me to write a review after a one-night stop of a touring production. I feel like I’m saying, “It was here! It was great! Now they’re gone and you missed it.” And, well, you might have missed your chance Saturday, but the STOMP tour continues. Check out your options at stomponline.com/tour-stops.

To make sure you don’t miss out on future opportunities, check out what’s coming to the Marcus Performing Arts Center in Milwaukee at marcuscenter.org.