Vibrant and intensely rhythmic, the performers of Stomp rarely cease to dance, jump, beat and, well, stomp around on common items like garbage cans and broom sticks.

And Monday and Tuesday, the production that has dared audiences not to join in its celebration of percussion for more than a decade is daring all of State College.

Stomp, the internationally acclaimed fusion of percussion, movement and physical comedy will perform two shows at 7:30 p.m. on Oct. 26 and 27 at Eisenhower Auditorium as part of its North American tour.

In addition to the show, ticket holders will be able to attend a special "artistic viewpoints" session one hour before each show. Cast members will field questions and interact with the audience.

Eisenhower marketing and communications director Laura Sullivan said that due to Stomp's one-of-a-kind on-stage musical melee, every show is a unique and energetic experience.

Because Stomp incorporates new elements into the choreography almost every time, each show elicits a high-energy audience response.

"The show is full of energy, it never gets old or tired," Sullivan said.

"It always has huge student appeal and it's constantly evolving and changing. We could really bring back shows like Stomp every year."

Tim Grassel, Stomp company and business manager, said the tendency of Stomp's creators to change the show is a constant part of the production.

"They're constantly changing performers and numbers," Grassel said. "The show is very dynamic."

Stomp cast member and rehearsal director Lorraine LeBlanc said because there are 12 performers and only eight on stage each night, every performer knows multiple parts and brings a personal element to the stage.

"That just makes it more exciting for people," LeBlanc said.

"We're constantly rehearsing new numbers to get them up to speed with numbers we've been doing for, maybe five years."

Stomp has no dialogue, plot or speech. Despite this, its unique ability to use common objects like brooms, lighters, paint scrapers and garbage cans as elements of percussion in complex, coordinated dance routines has made the show an international sensation.

"Most people are just really happy and amazed at what we do with non-con.ventional items," LeBlanc said.

"By the end, the audience is our ninth player. I think people leave with the idea that they can do some of the same things we do, which hopefully carries over into their daily lives."

Premiering at the Assembly Rooms in Edinburgh, Scotland, after a successful 1991 London preview, Stomp evolved from other innovative percussion projects produced by Luke Cresswell and Steve McNicholas.

The pair combined their early success and experience in percussion, advertising and production to create this audio-visual sensation.

Stomp currently consists of running performances in New York's Orpheum Theater and a tour of Europe in addition to the North American tour. Since its inception, Stomp has toured Japan, Europe, North America and Australia and has made stops in 36 countries worldwide.

The New York show at the Orpheum Theater has been such a long-running success since its premier in 1994 that New York Mayor Michael Bloomberg re-named 2nd Avenue at 8th Street -- where the Orpheum sits -- Stomp Avenue on the production's 10th anniversary.

Grassel said given the unique nature of Stomp, it appeals to nearly everyone -- a key element to its success.

"It's a very clever piece of percussion," Grassel said.

"You'll see the numbers with garbage can lids and wonder, 'why didn't I think of that?' But for whatever reason it really works. It appeals to all types of people. It's just a basic level of musical communication."