B AC KSTAG E AT
K R I S R A M O S TA L KS A B O U T D R U M M I N G W I T H N YC ’S LO N G E ST O F F B R OA DWAY PERCUSSION SHOW BY KATE RYAN
PHOTOS BY IKUE YOSHIDA
After months of auditions, constant practice, and a fair amount of leaving it up to the universe, Kris Lee Ramos got the call that she was going to be the newest addition to New York City’s underground percussion classic STOMP. Now she’s here, performing in eight shows a week, and generally taking the city by the horns.
TOM TOM MAGA Z I NE : DI D YOU A LWAYS K N OW T H AT YO U WA N T E D TO D RU M IN T HEAT RE P R ODUCT I ONS?
H OW DID YOU FIRST GET INTO DR U M M ING, A ND H OW DID YOU R PATH LEA D YO U TO STOM P ?
Kris Lee Ramos: No. STOMP is my first theatre production. I grew up as a jazz drummer involved in many aspects of performing behind a kit and in orchestral/school band settings. I love rhythm and that is the essence of STOMP. I had seen STOMP when I graduated fifth grade - I remember the night of my graduation my dad taking me to see the show. I saw it again in my teens. It wasn’t until a singer/songwriter friend planted the seed and encouraged me to audition for STOMP that I even considered it, although I had no theatre background.
I was banging on pots and pans on the kitchen floor at age three and graduated to the snare drum by the time I was nine. I enjoyed sight reading - I really loved it. My elementary school drum teacher was very inspirational and told me I was better than all the boys. When I was 10, my mom bought me a used CB drum set. From then on, I was hooked. I was involved with extracurricular music from junior high through college. I studied Music Production Technology at the Hartt School and then moved to Providence, RI where I facilitated percussion workshops with
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