From recent reviews:
"...The choreography and music are gripping, the company is impressive and the uses of mixed-media are meaningful.”
Mark Swed, Los Angeles Times
“... Gamson is fiercely talented, and much of “Tov” is genuinely moving, with moments of real beauty. Gamson is also to be commended for investigating the complexities of her heritage and, by collaborating with Chorea, for recognizing the cultural vibrancy of contemporary Poland.”
Gordon Haber, The Jewish Daily Forward
“Tov,” Rosanna Gamson’s full-evening dance-theater production named for the simple Hebrew word for “good,” exuded the powerful feeling that an artist had kicked up her game. A confident choreographer deploying a full theatrical toolbox of movement, music, words and props for eight performances in REDCAT’s black box theater had arrived... “Tov” was good. So, mazel tov!”
Debra Levine, Los Angeles Times
“In "Tov," which premiered Thursday night at REDCAT, choreographer Rosanna Gamson explores this unusual tie between the spirit and condition of man and horse in a dance/theatre piece at once wrenching and tender.”
Rachel Levin, Explore Dance
“... the work weaves composer/performer Tomasz Krzyzarnowski's music (and other melodic and ambient snippets), adapted texts assembled by Ms. Gamson and the powerful physical and aural performances by the multi-national cast. In her signature dramatically theatrical style, the award-winning choreographer has included all things Polish and tarpan and left us with a lot of mental pictures to go home with.”
Benn Widdey, LAist
“Gamson has found her language of stage.”
Kelly Hargraves, EyeSpy LA
"Aura", a ravishing collaboration between Los Angeles-based Rosanna Gamson/World Wide and Mexico City's Contradanza, turned a Carlos Fuentes short story into an erotic fever dream that merged dance, theater, music and literature.”
Brett Campbell, The Wall Street Journal
"Choreographer Rosanna Gamson's lyrical, thought-provoking dance-theater piece... employs these remote writings to explore love and war, the battles of the sexes and the presumably deadlier battles of military combat. She does so with an almost ineffable flair for fusion. ...
Sid Smith, Chicago Tribune
"The works of Los Angeles-based choreographer Rosanna Gamson are PhD treatises in movement... Gamson is blessed with dancers who look like real people... They all have the ability to convey deep meaning with their bodies."
Paula Citron, Toronto Globe & Mail
"Desire, heartbreak and Freud's theory of hysteria share the stage with divine dancing in Rosanna Gamson / World Wide's "Lovesickness"... This two-act, evening-length work is dance-theater at its best – a deft combination of text, original score and film, propelled by nearly nonstop dancing.... The integrity of Gamson's vision and the impeccable focus of a dream cast give "Lovesickness" a visceral intelligence that soaks into one's skin."
Janice Steinberg, San Diego Union-Tribune
"In Rita Goes to Hell, Rosanna Gamson creates Jungian dance theater from the concept that our deepest human drives and needs represent a kind of underworld: a realm of conflict and desire populated by powerful personifications... impressive... starting with Gamson's forceful rock choreography...”
Lewis Segal, Los Angeles Times
"Like its ambiguous appellation, the work itself, for which Gamson just won two Horton Awards, Grand Hope Flower brims with cryptic layers of terse observation and wit. Gamson weaves retold fairy tales, theories on the nature of the universe and...human interaction into an epigram on contemporary L.A."
Ann Haskins, L.A. Weekly
“By the end of Rosanna Gamson’s major work Grand Hope Flower, the mental light-bulbs are popping on and off ...and this crazy, rare feeling-- ‘I understand the meaning of life!’ -- percolates to the surface. ...Gamson has accomplished something serious ...she has a purpose beyond herself, a choreographic design that supports her humanistic world-view... .New York’s loss is our gain.”
Sasha Anawalt, L.A. Weekly
“In Rosanna Gamson’s Grand Hope Flower, the choreographer has constructed a dance-theater epic that ultimately reveals an authoritative, postmodern portrait of her adopted city, Los Angeles. Her voice is original, compelling and necessary in today’s strange world, where truth is sometimes hard to find.”
Victoria Looseleaf, Los Angeles Times