{"id":165246,"date":"2026-02-05T15:23:18","date_gmt":"2026-02-05T15:23:18","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/165246\/"},"modified":"2026-02-05T15:23:18","modified_gmt":"2026-02-05T15:23:18","slug":"gamsons-clever-ideas-for-smaller-rooms-at-the-odyssey","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/165246\/","title":{"rendered":"Gamson\u2019s \u201cClever Ideas For Smaller Rooms\u201d at The Odyssey"},"content":{"rendered":"

It is always great when established artists create arenas for those who are just beginning to explore their turning their visions into reality.\u00a0 Rosanna Gamson has done that with her Clever Ideas For Smaller Rooms that ran this past weekend on Dance at the Odyssey<\/a> winter series. I attended the Friday, January 31, 2026 performance and was a combination of works by Gamson and others created by dancers who pitched their ideas to her and she came them the opportunity to choreograph and perform them in this venue.<\/p>\n

Blue, choreographed by Rosanna Gamson<\/a> and performed by Gretchen Ackerman and Marissa Brown, was a duet that soon will be part of\u00a0 Rosanna Gamson\/World Wide\u2019s<\/a> next evening-length work entitled Our Fragile Eternity. Ackerman and Brown were well paired, each with very different movement styles but both possessing a strong technique and stage presence.<\/p>\n

\"Marissa<\/a><\/p>\n

Marissa Brown (in air) and Gretchen Ackerman in \u201cBlue\u201d by Rosanna Gamson \u2013 Photo courtesy of RGWW.<\/p>\n

Akerman beings alone in a blue, square light special and seemed to be extremely agitated which include speaking softly to herself.\u00a0 The only word that I could catch was \u2018women\u2019 which she repeated a lot.\u00a0 Her movement fit her demeanor; tightly contained and anxious or stressed. Brown enters and with a simple touch, briefly calms Akerman down to where she is standing still. It doesn\u2019t take, however and soon Akerman is back to acting disconnected. This repeats but when the two leave the safety of the blue square, the relationship between them opens up to where they each explore their surroundings.<\/p>\n

There is a dependency between the two women and there is an uncurrent of sadness to this beautifully created work. The sound score added a depth to\u00a0 Blue and space for the choreography and the dance artists\u2019 interpretation of Gamson\u2019s vision to blossom.<\/p>\n

\"(L-R)<\/a><\/p>\n

(L-R) Gretchen Ackerman and Marissa Brown in \u201cBlue\u201d by Rosanna Gamson \u2013 Photo courtesy of RGWW.<\/p>\n

The very appropriate lighting for Blue was by Anthony Tapia and the gorgeous costumes that allowed the viewers to see the movement as well as being creative were by Lilia Lopez.<\/p>\n

Dressed in tight fitting black with sequined pants and top that reflected the light, Marlie Couto and Jobel Medina excelled in Gamson\u2019s 11:11, which will also be part of her Our Fragile Eternity. The composers were not credited but Rosanna\u2019s incredible musicality was visible throughout the work. She expertly weaves the movement in, around and outside of the music, something that many choreographers miss.<\/p>\n

11:11 begins with two dancers,\u00a0 each with long hair, bundled together and then moving along the floor. Once the stand up the powerful and sometimes aggressive movement begins while Couto and Medina\u2019s long hair becomes part of the scene, sometimes distractingly so. There is a lot of unison work in this piece but Gamson knew how to utilize it in very unique way. For example, during one unison section Couto performed the movement standing up while Medina performed it lying flat on the floor. The two characters appeared reliant on one another while also appearing as strong individuals.<\/p>\n

Both Blue and 11:11 stand alone as duets and I look forward to seeing how Gamson integrates them into one cohesive evening-length work that expresses the submerged sadness of these duets.<\/p>\n

The lighting for 11:11 was also by Anthony Tapia.\u00a0 By the look of the costumes, I will take a chance and say that they were also designed by Lilia Lopez.<\/p>\n

\"Hanna<\/a><\/p>\n

Hanna Tzong-Han Wu and Ahlias Tiamzon in \u201cDIRT\u201d choreographed by Hanna Tzong-Han Wu in collaboration with Ahlias Tiamzon \u2013 Still courtesy of the artist.<\/p>\n

Dirt brought a totally different voice and pace.\u00a0 Choreographed by Hanna Tzong-Han Wu<\/a> in collaboration with Ahlias Tiamzon, was dramatic, aggressive and a wonderful showcase for Wu and Tiamzon\u2019s acrobatic talents.\u00a0 Dressed in all gray with an under layer of a hooded shirt, the two tumbled, flipped and then suddenly became sensual and seductive.<\/p>\n

\"Hanna<\/a><\/p>\n

Hanna Tzong-Han Wu and Ahlias Tiamzon in \u201cDIRT\u201d choreographed by Hanna Tzong-Han Wu in collaboration with Ahlias Tiamzon \u2013 Still courtesy of the artist.<\/p>\n

The dancers and the dramatic sound score were wonderful to look at and I applaud Wu and Tiamzon\u2019s physicality, but I do not think that Dirt will be remembered as a strong work.<\/p>\n

\"Ryan<\/a><\/p>\n

Ryan Ruiz and Chelsea Roquero in promotional photo for \u201cPaperdoll\u201d \u2013 Photo by Daniel Ngyuen.<\/p>\n

The weakest piece on\u00a0 the program was Paperdoll created and performed by Chelsea Roquero<\/a> and Ryan Ruiz<\/a> to music by a host of composers. Both were very strong dancers and performers, but I had to work at staying focused on this dance theater piece which utilized numerous items of clothing as props. At times, the two came across as a couple who were unfortunately without housing.\u00a0 At other times, the relationship between them was unclear.<\/p>\n

Ruiz is a beautiful dancer and performer but Paperdoll was not a work that showcased his talent.<\/p>\n

In Knapp, A woman sits in a chair with a cutting board in her lap. She halfheartedly begins to chop a bunch of carrots as she fights falling to sleep. Her fatigue wins causing her to nod off. Three men enter and begin to throw carrots onto the floor eventually waking the woman up and she begins a series of duet, trios and quartets with them demonstrating several emotions that she is feeling. As the men leave there is the sound of a door slamming and the woman awakens.\u00a0 Was she dreaming? Was she wishing for a better life or was it all real.\u00a0 One is left pondering over those facts.<\/p>\n

\"Gretchen<\/a><\/p>\n

Gretchen Ackerman \u2013 Photo courtesy of RGWW.<\/p>\n

Knapp was choreographed by Gretchen Ackerman<\/a>, who also performs, in collaboration with performers Joshua Michael Rodriguez, Malik \u201cGymby\u201d Bannister, and Alenjandro Perez. The music was composed by Max Judelson, audio from \u201cUncle Buck\u201d 1989 and definitely fits the wonderful oddness of Knapp. The dancing is excellent, as is the acting and it is a work that I would like to see again because there is more to it than can be taken in with just one viewing.<\/p>\n

Thank you Barbara M\u00fcller-Wittmann, Curator, and Beth Hogan, Producer, for continuing to present emerging dance artists at The Odyssey.<\/p>\n

Dance at the Odyssey continues through February 15, 2026. For information and to purchase tickets, please visit the Odyssey Ensemble Theatre website<\/a>.<\/p>\n

Written by Jeff Slayton for LA Dance Chronicle.<\/p>\n

Featured image: Marissa Brown and Gretchen Ackerman in \u201cBlue\u201d by Rosanna Gamson \u2013 Photo courtesy of RGWW.<\/p>\n

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