Interview: Theatre Life with Jeremy Price

Since 2003, today's subject, Jeremy Price has been living his theatre life making noise all over the world in the international percussion phenomenon, Stomp. The current US tour is coming to DC's National Theatre April 23rd, playing through the 28th.

Born and raised in Roanoke, VA, Jeremy is currently the longest running performer in Stomp. He, of course, takes a break from the show every now and then to spend time with his wife and two-year-old daughter.

As rehearsal director it is Jeremy's job to keep the show looking good in every single venue Stomp plays across the country. This includes making adjustments in some of the larger venues - you know, the 6,000 seat variety. Read on to learn more about the company's nightly ritual.

When not on tour with Stomp Jeremy finds himself working as a multi-instrumentalist and touring with his own percussion ensemble, Plastic Musik.

If you have seen Stomp before, you know that if an object makes some kind of sound it could end up in the show. To see what Jeremy Price and company have in store for you, grab some tickets and check out the current US tour of Stomp at the National Theatre. You'll be amazed at the artistry and will marvel at how entrancing a common cigarette lighter can be.

Were your parents ok with you taking up the drums as a child or did they try to steer you towards a quieter instrument?

They were ok with it once I figured out how to purchase my own drums. I had to work with my dad at his garage door shop to purchase the world's worst drum set. It consisted of bar stools and some very bad drums. Between age 13 and 15 I had to piece things together to play on.

Growing up who were some of your favorite percussionists?

I can honestly say I didn't know that there was a difference between a percussionist and a drummer. I would probably say Will Calhoun from Living Color and Alex Van Halen (Eddie's brother) top the list.

Can you please tell us how you came to be a part of Stomp?

It was an open call audition in NY. I drove up from VA. There had to be 1000 or more people in line. It wasn't a standard audition. They want to see if you have the ability to learn the show besides just being a good percussionist.

When you started with Stomp back in 2003, did you think that you would still be with it sixteen years later?

I absolutely did not. I did three years solid and then I thought I was leaving for other projects. When I got a chance to go to South Africa with the show that's what drew me back in.

Has the show changed much from when you first started?

It has a lot actually. There are numbers from 2003 that are no longer in the show at all. It's changed like two or three times since I've been with it.

As rehearsal director, how do you keep the show looking consistently good on tour?

First and foremost, we have a one hour rehearsal before every show. Repetition is the key and people are constantly learning different roles. I try to make people malleable so they can play any role and that keeps the show looking as fresh as it does.

Stomp utilizes pretty much any object that can make some kind of sound. What are some of the more unusual objects used in the show?

There is a new piece called Frogs. We use PVC pipe of all sizes and they all sound like a family of frogs. I was on hiatus when it went into the show so when I came back I had to learn it. It's really cool.

After all these years, why do you think Stomp still packs the Orpheum Theatre in NY and wherever else it plays in the world?

It speaks to the everyman. There is a giant faction of people that will never go to the theatre, but Stomp helps to pull them in. It appeals to all ages with its humor. Everyone has a broom, but they are not used to seeing it used like this. You stay interested because of the performers' humor too. It's what makes the show universal.

Special thanks to The National Theatre's Director of Marketing and Sales Ashley Birdsell for her assistance in coordinating this interview.

Theatre Life logo designed by Kevin Laughon.

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