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Reid Bartelme

The Tenant

November 12, 2018

Whiteside isn’t exactly misused, but rather underused and under coached.  No one should have laughed when he began his transformation into his female alterego.  Whiteside, used to the broader acting style of ballets on huge stages, can’t seem to find the telling details of his drastic, paranoid morphing into Simone of the death wish, not helped by the steps nor the direction he has (or has not) been given.  Whiteside appeared practically emotionless as he stared into a mirror—actually the audience—as he adjusted his very bad wig, applied more lipstick, stripped naked, tucked and put on a Whiteside-sized version of the dress that Simone wore when she flew off the top of Pita’s well-designed, complex set. [more]

Doug Varone and Dancers: Spring 2017 Season

April 2, 2017

Varone employs movements loosely flung out from the body’s core; sudden, inexplicable pauses; (painful looking) drops to the floor (usually onto a knee!); contrasting chaotic activities with stillness, high with low and slow with fast. There is a sense—clearly mistaken—that the choreography is improvised which makes for unfocused and nervous stage pictures. The fact that his dancers, a diverse bunch, wear his movement style like a second skin adds an excitement to his ballets. They seem born to his particular style and give it an offhanded grace, looking more like people moving rather than dancers. [more]