Lovesickness

Inspired by the parallel beginnings of psychoanalysis and cinema, Lovesickness elaborates on Freud’s theories concerning hysteria and portrays a condition of desire dividing mind, body and soul.

“Gamson fills the small space at Highways in Santa Monica with constantly flowing events—dancing, songs, speech and projections. And like rapt passersby looking at a holiday-themed department store window, our eyes light upon scene after scene that enforce the mood—a phalanx of flamencos tapping out sad messages in rhythmic code; a man who breaks away into a restless flinging that lyrically resolves into thoughtful stillness; sepia films of a woman putting on perfume; flickering street scenes projected on flimsy cloth held by a figure in white lace...”
- Jennifer Fisher, Los Angeles Times

“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. Gamson's choreography plays with the tension between control and abandon. The seven dancers enter in a phalanx and circle the stage with the driving heel beats and proud carriages of flamenco, that perfect embodiment of passion and containment. Flamenco weaves throughout Act I, for instance when Johnny Tu does a wild, limb-flinging solo and the other dancers, like a chorus, maintain the controlled flamenco beat. There are also aching tango duets by Lilia Lopez and Cesar Cázares and a delicious, recurring vocabulary of scooping and reaching arm movements. And that’s just the dance. In the midst of all this inventive movement, a delightfully pompous Paul Outlaw delivers excerpts from Freud—in German—his dignity punctured by a goofy mis-translator in a black slip-dress and red high heels. Dana Wieluns plays the translator with fey seriousness and charm, as well as the fresh-faced blond prettiness of Renée Zellweger.”
- Janice Steinberg, San Diego Union-Tribune