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a Dance and Rhythm
by Created and Directed by Luke Cresswell and Steve McNicholas

COMPANY : Theater of the Stars [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 2488

SHOWING : September 18, 2007 - September 23, 2007



Everyday objects become a source of rhythm as a troupe of percussionist/dancers bang their way through a collection of pieces. This classic show will have you clapping, stomping, and cheering, and you will never look at stuff without hearing a rhythmic beat again!

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the beat goes on
by Okely Dokely
Friday, September 28, 2007
I'm not sure what to say about "Stomp" as far as a review. I'm surprised Brad had as much to say as he did.

Like the Ricky Martin song, they bang. They bang a lot. And they bang well. They should build in an intermission, though. I imagine it wouldn't be that hard. Plus, I think Theater of the Stars should join in the Atlanta tradition of Producers and Artistic Directors frequently starring in their own theater's shows. Don't you think it's about time we saw Chris Manos dance around in Cats? Or wear a red curly wig in Annie? Or bang on a drum as a transexual with AIDS in Rent? Or bang on stuff while swinging back and forth in Stomp?

Still though, I got more than enough bang for my buck with Stomp. [POST A COMMENT REGARDING THIS REVIEW]
Filling Space by Dedalus
My wife also accuses me of getting more verbose the less I have to say. You'll notice most of my review is "throat-clearing" techniques designed to fill space.

To paraphrase Tom Lehrer, perhaps we should make a rule that "If something goes without saying, the very least you can do is to shut up about it."

Okay, you Jasper Fforde fans, how deeply did I drain the Text Sea for this response?

--- Brad
by TheaterReview
I'll dial up Text Grand Central on my footnoterphone and find out.
The Big Bang, Crash!
by Dedalus
Saturday, September 22, 2007
What is it about drumbeats that speaks to that inner savage in all of us? Is it some genetic link to our prehistoric tribal roots? Is it a psychological trigger that invokes memories of High School Football pageants and parades (talk about pleasant reactions to unpleasant memories – but that’s another story)? Or is it even more basic – a physiological endorphin rush caused by audio cues that provide rhythmic point and counterpoint to our own heartbeats?

I have no idea.

I only know that “Stomp,” an idea that sounds dreadfully dry and dull on paper works extremely well on stage. For those who live outside the theatre mainstream, “Stomp” has been around for over twenty years. It’s a collection of dance/rhythm pieces performed by percussionists using everyday objects. That’s it – no subtext, no deep meanings, to get upset or aroused by (though the performers each create a persona that reminds consistent throughout the evening). Even the dance is kept to a minimum.

So why did I get such a kick out of this?

Again, I have no idea. I do have to admit that, for me, some of the routines fell just a little bit flat (a too-dull newspaper-centric piece, and a too-long garbage bag routine). But these were more than counterbalanced by over a dozen numbers that dazzled the senses with imagination, synchronization, energy, and charm. I especially liked a boisterous number with some of the cast hanging from the rafters beating on the set (a two-story structure made entirely of tubs, pipes, and other articles that can produce shortsharpshocky sounds), a musical number where they beat differently-pitched rubber pipes on the floor, a quiet number done with empty water-cooler bottles, the by-now-familiar climax with garbage can lids, and a visual number where the rhythms were done entirely with lighters flicking on and off on an otherwise dark stage.

I liked that each performer had a distinct personality – the leader who was able to get the large Fox audience to clap in rhythm, the clown who surprised us with moments of acrobatic dexterity, the big guy who surprised himself with the sounds he could make, the tough woman who could match the men beat-for-beat. It’s almost a Commedia or Clown paradigm – and much of the humor is drawn from stock actions and quirks familiar to circus audiences. There were no real standouts in the cast, and they all deserve applause – Shola Cole, Charlene deGuzman, Sean Edwards, Dustin Elsea, Joell Jackson, Atlantan Louis Labovitch (look for him at Manuel’s), Michael R. Landis, Justin Myles, Raymond Poitier, Stephen Serwacki, Michelle Smith, and Nicholas Young. Since the program had no pictures, I have no idea who is who on stage, but that doesn’t matter. This is an ensemble in the truest sense of the word.

And, of course, since this is just what it seems and cannot (and even should not) bear in-depth analysis, all I can say is I had a really good time at “Stomp,” the rhythms are still pounding in my memory, my fingers are actually typing this out in a syncopated and consistent rhythm, and this is a troupe that bangs things real good!

Pocketa Tappeta Zippety Dah!

-- Brad Rudy (


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