Rosanna Gamson’s “Sugar Houses” Offers a Very Timely Message

Rosanna Gamson/World Wide’s production of “Sugar Houses” ran this past weekend, June 28 and 29, 2025, at the historical and lovely Sierra Madre Playhouse.  Loosely based on the Brothers Grimm’s fairytale “Hansel and Gretel” this retelling is a dive into the underlying menace and prejudice inherent in the story.  Dark and dystopian is the land we find ourselves in as the cast opens the show with a disturbing and unintelligible song.   Though the script begins with a touch of humor we soon descend into a scary world where children are abandoned, food is scarce and witches are hungry.

Early in the piece the narrator explains the title.  During the Revolutionary War the British repurposed the sugar refineries to house American prisoners of war thus “Sugar Houses.”  Most of the 2,600 prisoners did not survive.  A metaphorical connection to the sugar house of the witch and the temptation of the children could be made but this trope loses its’ way before the end.

Rosanna Gamson/World Wide – Sugar Houses – Photo by Rebecca Green

The cast made up of six performers, act, dance, sing and also create the lighting and atmosphere by cleverly moving flashlights, lanterns and props in ways both magical and apt.  A large rendering of a child’s drawing depicting a small house and many doodles is the backdrop.  An easel sits stage right displaying a chalkboard which is utilized to introduce each segment. This is not the tale from our childhood days but rather a more sinister take on its intentionally malicious portrait of the witch as “the other.”  In this case, the Jew with her dastardly plans to throw the children into the oven.  The irony is not lost here as we are informed by the narrator that Hitler commanded that all German’s keep two books in their homes, the Bible and Grimm’s Fairy Tales.  Thus, with today’s purges, the fear mongering and the condemnation of “the other” Ms. Gamson’s work could not be timelier.

Beginning by entering from the stage through the house and strewing lights along the aisle is a weak disjointed start to the proceedings particularly when the acapella vocals begin and rapidly descend into serious pitch problems.   However, slowly but surely the work begins to take hold and eventually moments of pure magic emerge.  The story begins as Hansel and Gretel’s parents must abandon them to the forest as famine sets in.  The Mother, Clementine Gamson Levy, is relieved even happy to give them up while Chris Louis as the father is heartbroken.   Kayla Johnson as Gretel and William Souza as Hansel, are left to fend for themselves.  From here we travel with them through the surreal world of Gamson’s imagination.   Guiding us along the way and interjecting historical truths is the excellent and charismatic Chris Louis as narrator/father.

RGWW – Mallory Fabian in “Sugar Houses” – Photo by Rafael Hernandez

The strongest aspect of this production is the well-executed choreography.  Though the meaning was not always clear everyone danced with intensity and full commitment.  In particular were solos by Hansel, a strong Brance William Souza and Bird, an equally strong Dave X.  The work is based in contemporary jazz but is laced with hard edges and inventive floor work including the wild gyrations of a fit of spasms by three of the dancers.  This was compelling to watch but again understanding the reason for this apparent demonic possession was elusive.  When Father/Louis and Mother/Levy engage in a cruel physical fight their hatred and despair is visceral and teeters on the edge of dangerous.   Not to be left behind, Kayla Johnson as Gretel shows us her true anguish in an excellently and relentlessly executed solo.  And finally, when Mallory Fabian, the Witch, enters the picture the energy ratchets up as she plots her diabolical scheme.  She dances with wild abandon dropping her back and extending her limbs in a reach for the lives of the tasty children.

This show is a conundrum.  It is chalk full of good ideas, the performers are up to the task, the story is worthy of being told and yet it just misses the mark.  The singing, which improved along the way, did little to enhance or energize the proceedings.  The use of the chalk board did not clarify what we were about to see and the narration though well performed was hit or miss in its’ clarity.  However, whenever the choreography took the stage the art of Ms. Gamsons’ ability was clear. Strong, clean and inventive this is where she excels.

RGWW – Terry Wayne Jr. and company in “Sugar Houses” – Photo by Rafael Hernandez.

Most of the show was performed in silence or to the minimal track created by Tomasz Krzyzanowski.  The addition of musical themes would go a long way to making this production more accessible and involving. Costumes by Lilia Lopez were adequate although the Mother’s costume seemed “too cool” and out of sync with the others and with the story of impoverished peasants.

With so much potential, I hope Ms. Gamson continues her journey in developing this work in her own unique and artful way.  Moreover, the message behind the work is more important today than ever before and as always, we need art to reflect our times.

To learn more about Rosanna Gamson/World Wide, please visit their website.

For more information about the Sierra Madre Playhouse, please visit their website.

Written by Tam Warner for LA Dance Chronicle.

Featured image: Rosanna Gamson/World Wide in “Sugar Houses” – Photo by Rafael Hernandez.