STOMP is back in Chicago, bringing their signature collection of push brooms, maracas and banging trash can lids as alternative programming to all things holiday. While anyone walking down State Street or Michigan Avenue is quite familiar with street musicians playing empty barrels as instruments for tips, STOMP continually brings this particular art form to new heights, now for almost two decades. STOMP’s innovative floor pounding, pipe whacking, shopping cart whirling and more, is truly fun for the entire family. Coordinating a team of solid performers who communicate using wordless sound to an engaged audience, only using the pulsating rhythms their bodies produce to tell their personal stories. Truly, not a word is spoken, but the individual vignette’s meanings are easy to decipher during the nonstop, quickly paced 90 minute performance.
The artists play everything from discarded plastic grocery bags to metal garbage cans, pounded on rhythmically like drums. From plumbing fixtures to old kitchen sinks, all the while finding unique texture of sounds from the rhythms of the metal clanging. Abandoned super market shopping carts spun across the stage in rapid fire succession. Even the most delicate tear of a newspaper page, carefully manipulated, filled quiet voids from center stage.
The cast is always filled with young and good looking talent assembled to both amuse and entertain with the continued clanging of old hubcaps, dustbins, radiator hoses and janitor brooms repurposed to coordinate the syncopated, nonstop actions of the collective. The current racially diverse troupe included Kayla Cowart, Jonathan Elkins, Desmond Howard, Alexis Juliano, Guido Mandozzi, Artis Olds, Jeremy Price, Krystal Renee, Ivan Salazar, Cade Slattery, Steve Weiss and Joe White. Each performer was given individual opportunities to shine. Whether snapping, clapping or tapping, the audience was having just as much fun as the performers on stage. The cast even used the simplicity of a finger snap and hand clap to test the audience’s rhythmic skills. We did alright as a group, even with the ever increasingly complex clapping segments.
Co-founder/director Luke Cresswell stated the cast can “make a rhythm out of anything we can get our hands on that makes a sound.” From high flying drummers, cartwheeling broom sweepers, or toe tapping hoofers, STOMP is a nonstop, entertaining powerhouse from beginning to end. Playing for over twenty years, STOMP has won numerous accolades including an Oliver Award for Best Choreography (London’s equivalent of a Tony Award), A New York Obie Award, a Drama Desk Award for Unique Theater Experience, and has been invited to perform at both the Emmy and the Academy Awards. The tight synchronization and creativity needs to truly been seen to be appreciated. Judging by the packed theater and vast age range of those who attended the night I was there, Chicagoland is actively along for the ride this holiday season.
STOMP is best described as a unique live theatrical experience. There are no recognizable songs in the soundtrack. There is no orchestra playing in the pit. All of the sound coming from the stage is produced by the individual cast members pounding, tapping, sweeping and drumming on manmade and found objects. They all let you see them sweat, which made this all the more engaging.
A warning for the patrons in the first few rows. The Broadway Playhouse Theatre is an intimate performance space. Watch out for the occasional broom bristle or broom head to come flying out into the audience. We also felt numerous ricochet water droplets from the sinks aggressively played at the stage’s edge. STOMP is a celebration of the human spirit, a winning blend of both ingenuity and passion. It may be chilly outside, but the talented team of STOMP is heating up the stage nightly at Broadway Playhouse Theater.
STOMP is now playing at the Broadway Playhouse Theater through December 30, 2018.
Florence Welch Photo by De Wilde
Producers Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, Jordan Roth, and American Repertory Theater(A.R.T.) at Harvard University announced today that Gatsby, a brand-new musical stage adaptation of the legendary F. Scott Fitzgerald novel, will make its highly anticipated World Premiere at A.R.T. in 2024, and will be directed by Tony Award® winner Rachel Chavkin and choreographed by Tony Award winner Sonya Tayeh.
Rachel Chavkin Photo Credit Erik Tanner
Gatsby will feature music by Florence Welch, the Grammy Award-nominated international rock star of Florence + the Machine and Thomas Bartlett, the Oscar and Grammy Award nominee, with lyrics by Ms. Welch, and a book by Pulitzer Prize® winner Martyna Majok.
Martyna Majok by Josiah Bania
Gatsby will be produced at American Repertory Theater by special arrangement with Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, and Jordan Roth, in association with Robert Fox. Hannah Giannoulis serves as co-producer.
Sonya Tayeh
American Repertory Theater (Diane Paulus, Terrie and Bradley Bloom Artistic Director; Kelvin Dinkins, Jr., Executive Director) at Harvard University produces groundbreaking work to catalyze dialogue and transformation. Tony Award-winning and nominated productions include Jagged Little Pill; Waitress; Natasha, Pierre & The Great Comet of 1812; All the Way; The Glass Menagerie; Pippin; Once; and The Gershwins’ Porgy and Bess. Its revival of 1776, a co-production with Roundabout Theatre Company, is currently touring nationally. Learn more at AmericanRepertoryTheater.org.
Thomas Bartlett Photo Credit York Tillyer
Additional Gatsby news will be announced soon.
Other World, a new musical with an original score and story by Tony Award Nominee Hunter Bell (book), Obie Award winner Jeff Bowen (music and lyrics), and singer-songwriter and author Ann McNamee(music and lyrics) will present invite-only staged readings on Thursday, March 16 and Friday, March 17 at Open Jar Studios in New York City. With direction by Jenn Rapp (The Illusionists Director/Choreographer) and choreography by Karla Puno Garcia (Tick, Tick … BOOM! film, Kennedy Center Honors), Other World is being developed in creative consultation with the five-time Academy Award winning WĒTĀ Workshop (The Lord of the Rings and The Hobbit trilogies).
Hunter Bell, Jeff Bowen and Ann McNamee
One moment Sri and Lorraine are in a garage on Earth. The next, they’re unexpectedly transported into Sri’s favorite video game, Other World. Now trapped in the game and in a race against the clock, this unlikely pair must work together, discover their inner strengths, and connect with gifted gamers and astonishing avatars in order to survive and find a way home. With art direction provided by Academy Award–winning Wētā Workshop (The Lord of the Rings, Avatar), this heartfelt, humorous musical explores the connections we make on- and off-line, while celebrating the families and friendships we need to thrive in any world. Join us for this spectacular, original, otherwordly adventure. Your journey begins…now!
The cast features Micah Beauvais (Sri), Bella Coppola (Lorraine), Ryan Andes (Roman/Antagon), Madeleine Doherty (Myra), Kaden Kearney (Tris), Brandi Porter (Temula), Mikaela Secada (Jamie), with Sojouner Brown, Elena Camp, Sommer Carbuccia, Laura Dadap, Seth Rettberg, Sherisse Springer, Blake Stadnik, Levin Valayil, and Jason Williams.
The creative team for the developmental presentation also features music direction by Amanda Morton (KPOP), casting by Paul Hardt Casting (Once Upon A One More Time), video design by Khristian Bork (Coco live at the Hollywood Bowl, Danny Elfman – Coachella), sound design by Hidenori Nakajo (Octet), and general management by Alchemy Production Group (The Music Man, Come From Away). The Executive Producer is Lauren Tucker/Alchemy Production Group.
For more information about the show, visit https://otherworldmusical.com/
Hunter Bell (Book) earned an OBIE Award, a Drama League nomination, a GLAAD Media nomination, and a Tony nomination for Best Book of a Musical, all for the original Broadway musical [title of show]. Other credits include the books for Silence! The Musical (Lucille Lortel Nomination, Outstanding Musical), Now. Here. This. (Vineyard Theatre), Bellobration! (Ringling Bros. Circus), Villains Tonight! (Disney Cruise Lines), Found (Atlantic Theater, Drama Desk Nomination, Outstanding Book of a Musical), and Julie Andrews’ The Great American Mousical (Goodspeed). He is a co-creator of the web series “the [title of show] show” and has developed television with ABC Studios/ABC Television. Hunter is a proud graduate and distinguished alumnus of Webster University’s Conservatory of Theatre Arts, a member of the Dramatists Guild, Writers Guild, a MacDowell Fellow, and currently serves on the board of the Educational Theatre Association and Educational Theatre Foundation, national arts advocacy organizations representing theatre teachers and students.
Jeff Bowen (Music and Lyrics) wrote the music and lyrics for and starred in the Broadway musical [title of show] (OBIE Award) and Now. Here. This. Additionally, he has written music and lyrics for Now. Here. This. (Vineyard Theatre), Villains Tonight! (Walt Disney Company), and the theme songs for the web series “the [title of show] show” and “Squad ’85.” His songs can be heard on the original cast albums of [title of show], Now. Here. This., as well as Broadway Bares Openingsand Over the Moon: The Broadway Lullaby Project. He is a proud member of ASCAP, AEA, Writers Guild, Dramatists Guild, and the National Audubon Society. He serves as a faculty member of the National Theatre Institute at the Eugene O’Neill Theatre Center.
Ann McNamee(Music and Lyrics) received a B.A. from Wellesley College and a Ph.D. in Music Theory from Yale University, leading to a twenty-year career in teaching, choral conducting, and music research at Swarthmore College. After retiring as Professor Emerita, Ann composed for, sang, played keys, and toured with the Flying Other Brothers and Moonalice, both bands led by her husband Roger McNamee. She composed the majority of the songs on the Moonalice album that was part of T Bone Burnett’s nomination for Producer of the Year at the 2009 Grammy Awards. For the Lilith Fair tour in 2010, she fronted the band Ann Atomic. Another highlight was opening up for U2 at the Oakland Coliseum in November 2011. She retired from touring in 2012 in order to collaborate on musical theater projects full-time. Ann’s outside interests include co-founding the Haight Street Art Center, a community center/poster music/print shop to celebrate rock poster art in the Bay Area.
Swept Away, the new musical written by Tony Award winner John Logan (book) and “America’s biggest roots band” (Rolling Stone), The Avett Brothers (music and lyrics), was announced today as part of the 2023/24 season at Arena Stage, Washington, DC (Molly Smith, Artistic Director; Edgar Dobie, Executive Producer). Performances will begin November 25 and will continue through December 30. Tony Award winner Michael Mayer will direct the production as he had last year in the musical’s sold-out world premiere at Berkeley Rep. The Arena Stage engagement will feature an updated score with additional, never-before-heard songs. Swept Away is produced by Special Arrangement with Matthew Masten, Sean Hudock, and Madison Wells Live.
Swept Away is set in 1888, off the coast of New Bedford, MA. When a violent storm sinks their whaling ship, the four surviving souls — a young man in search of adventure, his older brother who has sworn to protect him, a captain at the end of a long career at sea, and a worldly first mate who has fallen from grace — each face a reckoning: How far will I go to stay alive? And can I live with the consequences?
Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Producer Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground-breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacting the lives of over 10,000 students annually through its work in community engagement. Now in its eighth decade, Arena Stage serves a diverse annual audience of more than 300,000. arenastage.org
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