Who needs drums when you’ve got a bucket and a broom? Who needs maracas when you’ve got a box of matches? Who needs cymbals when you’ve got garbage-can lids?

Certainly not the members of Stomp — because creating music with these everyday items is what they do.

“It’s a hybrid show,” said 39-year-old Stomp member Fraser Morrison. “You get music, you get comedy, you get dance and performance. It takes aspects of all of those and gels them together.”

Prior to Stomp’s Japan tour in August, Morrison — together with fellow Stomp members Ivan Delaforce and Miles Crawford — recently made a promotional stop in Tokyo.

Stomp’s origins go back to the 1980s, Morrison explained, when Luke Cresswell, a self-taught percussionist, and actor/musician/writer Steve McNicholas got together and began performing on the streets of the hip southern seaside town of Brighton, England. Over the years, the pair’s fame as buskers grew and grew until, in 1991, Stomp was born.

Because Stomp combines acting, dancing and music, it’s hardly surprising that the group’s members are from equally diverse backgrounds. Morrison and 34-year-old Delaforce were both drummers before joining Stomp, and Crawford, 24, had experience in dancing and acting as well as drumming.

“We get dancers, we get actors,” said Morrison. “We teach each other and share skills to make it all work.”

But as the members keep coming up with one idea after another, each seemingly more imaginative than the last, the skills they need to share become ever more outlandish.

Morrison, though, denied there is anything bizarre about what they do. “If you listen hard, it’s actually all out there,” he said. “If you walk in a hurry, and you’re thinking about where you’re going, you are not going to hear it. It’s really just about taking the time to stop and listen.”

From basketballs and Zippo lighters to water bottles and sand, the performers can find rhythm in basically anything.

However, Crawford said that for him, one of the most difficult “instruments” were oil cans.

“We use 50-gallon [190-liter] oil drums as shoes,” said Crawford. “They’re empty, but they still weigh 45 to 50 pounds [20-22 kg] each and we walk around with these platform shoes. . . . It’s hard at first, but in the end, everyone overcomes that initial awkward stage.”

Practice makes perfect, as they say — but many of the acts are actually quite dangerous, and according to Morrison, cuts, bruises and trips to the hospital for stitches are everyday facts of Stomp life.

“For example, there is the broom toss,” said Delaforce. “There are eight brooms going in eight different directions across the stage to different people. We definitely want to make sure we don’t hurt each other doing that.”

And yet, the dangers do not stop the members from having fun on stage by improvising.

“Our show changes from night to night,” said Delaforce. “We do have music that is structured, and movement that is structured, but the show is designed to give us room to improvise.”

Indeed, Crawford said, they are encouraged to improvise. “We are often given the assignment of getting from A to B both theatrically and musically, but how you get there is up to the individual,” he explained.

The group, founded in England, now has spin-off companies abroad, including Stomp troupes based in Boston and New York. Members are drawn from the United States, France, Denmark, Spain, Brazil and Japan. Indeed, that very multinationalism lies at the heart of the group’s universal appeal. As Crawford put it: “Stomp is a nonverbal theater. It does well even in countries where English is not the first language — because language doesn’t matter.”

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