IT’S A WONDERFUL LIFE: LIVE ON STATE STREET! (2012)& IT’S A WONDERFUL LIFE: LIVE AT THE BIOGRAPH! (2009, 2010, 2011):
“Best Holiday-Themed Theatrical Production”–Best of Chicago, NewCity Chicago, Dean Richards’ “12 Plays of Christmas”–WGN, “Midday Fix”–WGN, Top 10 Holiday Shows–Chicago Tribune, 5 Most Festive Holiday Shows–CBS Chicago, Top 10 Great Holiday Shows–Chicago Magazine, Top Picks for Fall–Chicago Reader, McDonald’s Thanksgiving Day Parade, Joseph Jefferson Recommended.
WAITING FOR LEFTY:
“5 Hot Plays for Labor Day Weekend”–ChicagoMag.com, “Top 5 Plays”–NewCity Chicago, “Top 10 Anticipated Productions of Fall”–Chicago Magazine, “Critics’ Choice”–Chicago Reader, “Best of Chicago Theater 2011, honorable mention”–Chicago Theater Beat, “Hot Picks of September & October”–Conciergepreferred.com; Recommended by: Chicago Tribune, Chicago Sun-Times, TimeOut Chicago, NewCity Chicago, WBEZ, Chicago Reader, Windy City Times, Chicago Pride, Chicago Critic, Chicago Theater Beat, Chicago Stage Style, and Around the Town Chicago.
RANTOUL AND DIE:
“Best Things to Do”–CBS Chicago, WBEZ’s Critics Pick, Chicago Now’s Must See, NewCity‘s Top 5, Chicago Magazine’s Pick of the Week & The Five, “Best Theater of 2011″–Chicago Stage Style, Joseph Jefferson Recommended, Joseph Jefferson Award nomination for Supporting Actor in a Play (Francis Guinan).
TOBACCO ROAD:
Joseph Jefferson Award nomination for Production–Midsize Play, Joseph Jefferson Award for Midsize Scenic Design (James Leaming), Joseph Jefferson Award for Midsize Costume Design (Sarah Ross and Kristin DeiTos), 2 Broadwayworld.com nominations, Top 5 Comedies of 2010 by WBEZ’s Jonathan Abarbanel.
A C T I N G
“Terrific acting in early days of the fall season” article by Chris Jones, Chicago Tribune, WAITING FOR LEFTY
“Top 5 Theater Performances” by Indianapolis Star,MARY’S WEDDING
Joseph Jefferson Award nomination for Production–Midsize Play,TOBACCO ROAD
Joseph Jefferson Award nomination for Solo Performance,THE K OF D: AN URBAN LEGEND
Joseph Jefferson Award nomination for Supporting Actress,ST. SCARLET
Joseph Jefferson Award nomination for Ensemble,METAMORPHOSES
Joseph Jefferson Award nomination for Production,METAMORPHOSES
Joseph Jefferson Citation nomination for Ensemble,DREAM BOY
Joseph Jefferson Citation for Production,DREAM BOY
After Dark Award for Best Production, DREAM BOY
After Dark Award for Best Ensemble,BUS STOP
Chicago International Film Festival–Silver Plaque Jury Prize & Best Short,BIG CANYON
IFP Conference Spotlight Short, BIG CANYON
H O N O R S
Kellogg Executive Scholar in Nonprofit Management (Kellogg School of Management, Northwestern University)
“The Players: The Fifty People Who Really Perform in Chicago” in Newcity Stage
Theater panelist for the National Endowment for the Arts (2 years)
Nominated for “Chicagoan of the Year” in Chicago Magazine
SAIC Excellence in Leadership Award: “Service, Advocacy, Innovation, Community”
Graduated cum laude from Northwestern University
W R I T I N G
Big Shoulders Festival (2003-2008)
Bomb Magazine Annual Prize–Fiction finalist (judged by A.M. Homes)
Glimmertrain Press–Short fiction finalist
P R E S S
IT’S A WONDERFUL LIFE: LIVE AT THE BIOGRAPH!, Mary Bailey American Blues Theater, directed by Marty Higginbotham
“Gwendolyn Whiteside wholly captures Mary, that perfect small-town wife from a vanished era. Aside for the quality and sincerity of the acting, what makes this family-friendly show special is the sense of community it develops so quickly.”—Chicago Tribune, Chris Jones
“I left marveling at their creation of perfect Christmas theater. Kevin R. Kelly and Gwendolyn Whiteside deliver George and Mary with all the charm and charisma that these iconic lead roles require…By play’s end, I was choking back as many tears as I do watching this movie. (Is there higher praise than that?) They own this Christmas miracle of a show.”—Newcity Chicago, Brian Hieggelke
“Unimprovable cast of Chicago pros at the collective peak of their careers…adoring and empowering Mary (Gwendolyn Whiteside) clearly makes a difference in the world and for the folks around them.”—Chicago Theater Blog, Lawrence Bommer
“Gwendolyn Whiteside is warm and wise as George’s lifelong sweetheart Mary.”—Examiner, Catey Sullivan
“Glorious cast of actors…it is very difficult to convey a character such as a child or an old women when we the audience can see the young person handling the role, but the cast does it to perfection…the adorable and very agile Gwendolyn Whiteside plays George’s mother as well as his wife.”—Around the Town, Alan Bresloff
“Heartwarming clarity…[Gwendolyn Whiteside] so charming it’s a shame there aren’t two moons to lasso.”— Chicago Tribune, Kerry Reid
“Playing his mother and his lover, Gwendolyn Whiteside turns on and off the sex appeal. In the pivotal phone scene, Kelly and Whiteside emit sparks into flames.”—The Fourth Walsh, Katy Walsh
WAITING FOR LEFTY, Florrie American Blues Theater, directed by Kimberly Senior
“The performance that stands out is from Gwendolyn Whiteside. Whiteside doesn’t make the mistake of just showing us the character’s traumas-although her sadness comes across with total clarity-she also reveals her inherent hope. That’s what makes this scene work so beautifully. You see a young woman who, in different circumstances, could achieve almost anything and make America a kinder place.”—Chicago Tribune, Chris Jones
“Gwendolyn Whiteside’s performance catalyzes the audience’s emotional understanding of the time.”–Chicago Theatre Review, Devlyn Camp
“…strong performance by the amazing Gwendolyn Whiteside.”—Around the Town Chicago, Al Bresloff
“Quite extraordinary in their connection with the material. Of the best, Zachary Kenney and Gwendolyn Whiteside give amazing performances taking each of their characters on a full-circle journey in fifteen minutes.”—Chicago Pride, Michael Roberts
MARY’S WEDDING, Mary Chalmers Indiana Repertory Theatre, directed by James Still
“Intense, seamless portrayals…the war episodes are effectively reinforced by Whiteside’s gruff doubling as [a] sergeant.”–Indianapolis Star, Jay Harvey
“Charming…[Whiteside] builds beautiful moments as a girl experiencing first love and as a lover watching the obstacles faced by the object of her affection. Whiteside does a beautiful job allowing us to enter into her dream world.”—Examiner, Katelyn Coyne
“Whiteside plays Mary with unbridled enthusiasm. Each character reveals a vulnerable tenderness at just the right moments and their chemistry is what makes the story so beautiful.”—Stage Write, Melissa Hall
“Gwendolyn Whiteside plays [Mary] with the wide-eyed wonder of Hollywood musicals.”—NUVO, Josefa Beyer
TOBACCO ROAD, Ellie May Lester American Blues Theater, directed by Cecilie Keenan
“American Blues has a lot of heavy-hitting actors throbbing under all of Kirkland’s mud. Feral Ellie May, has a cleft lip, and Gwendolyn Whiteside plays her as a young woman whose deformity is a source of both sexual frustration and useful ironic detachment.”— Chicago Tribune, Chris Jones
“Ellie May Lester, played by Gwendolyn Whiteside, is the heart of this piece. Born with a harelip, she is a young woman longing, damaged, beset, starving, and without typical beauty, frightened by the prospect of life without a husband for survival. Whiteside brings an eerie illness to this role. She writhes and floats, her physical command is impressive. She sits behind flat eyes, staring at a world that hates her on sight and she mourns.”— Chicago Theatre Blog, Scotty Zacher
“Other points also prove gripping: Ellie May’s animalistic seduction of brother-in-law, Lov.”— Time Out Chicago, John Beer
“Gwendolyn Whiteside is the harelip whose fierce sex drive makes for one very funny scene.”— Chicago Sun Times, Hedy Weiss
“…Dream ensemble that brilliantly delivers this all-American nightmare. Gwendolyn Whiteside is endearing [as] Ellie May. Constantly belittled for her facial deformity, she receives the least consideration yet shows the most childlike sweetness.”— Chicago Stage Review, Venus Zarris
“This is the ABT Ensemble and they’ve brought out some of their most prominent and best veteran players to portray Jeeter Lester and his wife and children.”— WBEZ, Dueling Critics, Jonathan Arbarbanel
“Ellie May [is a ] prime example of the shallow end of the gene pool; [Gwendolyn Whiteside] is superb at finding its depths.”— Steve on Broadway
“Gwendolyn Whiteside handles this difficult role with great ease.”— Steadstyle Chicago, Al Bresloff
“The cast consume themselves with bits of gorgeous stage business…Ellie May picking her toenails…an Ensemble perfectly integrated and ferociously good acting.”—New City Chicago, Fabrizio O. Almeida
THE K OF D: AN URBAN LEGEND, solo show directed by Meredith McDonough
“Highly Recommended! Gwendolyn Whiteside’s bravura turn [is as] intense as her imaginative gifts and flair for mimicry. The actress’ red-hot technique, displayed as she deftly conjures more than a dozen characters, along with her beautifully channeled energy, and vocal and physical finesse, pull you into the world of the play from its opening words. Whiteside makes every fish face, every cigarette puff, every quirky speech pattern and, most crucially, every act of cruelty and kindness come to life with the clarity, polish and timing of a master. As for her evocation of a heron, it is nothing short of poetry in motion.”— Chicago Sun-Times, Hedy Weiss
“Gwendolyn Whiteside is an actress who understands that truth lies in the details. At one point in this one-woman play, one of her many characters finds herself interacting with an Ohio mosquito. Not only would you swear you can see that pesky insect landing on Whiteside’s arm, you feel the surprise of its sting. This is certainly a provocative show, created in partnership with a gifted actor.”— Chicago Tribune, Chris Jones
“The whole story is told by just one very talented young actress. Her shorthand physical descriptions of each character, along with many sound effects impeccably woven into the monologue, make [her] performance seem both simple and fantastic. Only occasionally are we aware that the full weight of the story rests on Ms. Whiteside’s narrow shoulders, where it also (amazingly) takes flight.”— Talkin’ Broadway, Richard Green
“She narrates the story like a female Tom Sawyer, and then easily morphs into the denizens of the town. Whiteside does a tremendous job of establishing the personalities of the major characters with shifts in gestures and body language and varying voice inflections. It takes only a few minutes for the audience to set aside Whiteside as a gifted actress and mimic and settle into the engrossing story she tells and acts out. ‘The K of D’ is like a good ghost story told around a flickering campfire, with the shadows concealing who knows what mysteries. A very satisfying adventure in suggestive storytelling, and a terrific display of versatile acting.”— Copley News Service, Dan Zeff
“Marvelously performed! Each character has a mannerism that sets him or her apart as Ms. Whiteside takes us through the events. You do not want to miss one word or look from this brilliant actress, who masterfully takes on this ‘tour de force’. Ms. Whiteside’s energy and agility along with her marvelous characters are a must for anyone aspiring to be an actor, it is a learning experience as well as a theatrical experience.”— Steadstyle Chicago, Alan Bresloff
“[Whiteside] steeps her characterizations in the lifeblood of wondrous hurt and inquisitive joy. Magnificently, each of the fifteen different characters she plays are so well delineated that one never ponders whom she’s portraying at each moment. Whiteside ultimately makes this haunting summer play a true celebration of her talents and of Schellhardt’s twisted, beautiful world.”— Chicago Free Press, Brian Kirst
“Our inexhaustibly talented narrator, dovetails effortlessly from character to colorful character. Whiteside gracefully manages to capture the quirks and eccentricities of every person in her small town and, in the bat of an eye, switches from bully to drunkard to ditzy teenager to shy, reserved mute. It’s damn near impossible not to be wooed by the poetic pantomime and rural ramblings of ‘The K of D’.”— Center-stage, Anna Pulley
“Whiteside gets a workout in Schellhardt’s solo play, and she hardly breaks a sweat. It’s hard not to be impressed by how clearly the actor distinguishes each role with signature gestures and vocal shifts.”— Time-Out Chicago, Kris Vire
“Gwendolyn Whiteside has the acting chops to make The K of D: An Urban Legend a captivating night of theatre. Recommended!”— Chicago Critic, Chris Arnold
“Riveting. To call this a one-woman show is almost a misnomer, as the extraordinarily talented Gwendolyn Whiteside fills the stage with her rich, believable portrayals of a dozen different characters. Whiteside seamlessly transforms from one character to the next, recreating conversations among four or five people at once; her masterful use of voice, body language and mannerisms allows the audience to know effortlessly which character she’s portraying at any given moment…breathing life into each unique character of this compelling small-town urban legend.”— And Now Presenting, Sarah R. Gross
RABBIT HOLE, Izzy Indiana Repertory Theatre, directed by James Still
“the flailing, can’t-take-your-eyes-off-her Gwendolyn Whiteside…stand[s] out in a fine cast.”— Indianapolis Business Journal, Lou Harry
“Gwendolyn Whiteside [is] terrific…unrestrained but never clownish.”— NUVO, Josefa Beyer
“Her younger sister, Izzy (Gwendolyn Whiteside) does not hold back any of her feelings…The portrayals and relationships are all beautiful nuanced. Izzy [is] especially hilarious.”— Indy Theatre Habit, Hope Baugh
A CHRISTMAS CAROL, Belle/Fan Indiana Repertory Theatre, directed by Priscilla Lindsay
“A particular pleasure is Gwendolyn Whiteside as both Scrooge’s sister, Fan, and as his intended, Belle. Whiteside’s impossible to suppress spirit adds considerably. The life she brings to every moment makes painfully clear that Scrooge didn’t just lose a generic Victorian woman. He lost someone special. That loss renders the Christmas Past sequences heartbreaking.”— Indianapolis Business Journal, Lou Harry
AUGUSTA, Claire
American Blues Theater, directed by Nora Dunn
“Very experienced cast committed to unstinting truths…that deal with two struggling cleaners played by Kate Buddeke and equally terrific Gwendolyn Whiteside. You buy the droll Whiteside entirely as the kind of small-town girl who can’t escape half-baked boyfriends. This crew has not a smidgen of actorly affectation.”— Chicago Tribune, Chris Jones
“Tight, zestily rendered, expertly cast, pitch-black comedy. Gwendolyn Whiteside, a petite looker who will win you over just by the way she swabs a floor, [plays Claire] young, attractive, and fiercely ambitious in her smart slacker way.”— Chicago Sun-Times, Hedy Weiss
“Droll, wickedly satiric. A feisty Gwendolyn Whiteside, with her brazen naivete, is every bit the impertinent newcomer.”— Daily Herald, Barbara Vitello
“A charming comedy with solid sense of timing. A truly perfect performance by Gwendolyn Whiteside.”— Epoch Times
“Gwendolyn Whiteside delivers a spirited performance as the naïve newbie to the labor force. The attacks on the spirit of corporate culture are real.”— Chicago Critic, Tom Williams
“Talented group assembled…a crispness that’s never slick and a comedic punch that’s never cheap. Gwendolyn Whiteside lends a mouthy, volatile Claire vulnerability.”— Chicago Reader, Justin Hayford
OUR TOWN, Emily Webb
Indiana Repertory Theatre, directed by Peter Amster
“Masterful…invests the tragic with heat and comic with bite, particularly inspired performance by Gwendolyn Whiteside. Whiteside’s phrasing is audacious; it invests her Emily with a soul this girl/woman’s mortal world cannot contain.”— NUVO, David Hoppe
“Beautiful piece of theatrical work! Emily Webb, played by Gwendolyn Whiteside—an actress whose fresh performance is excellent—has a heart-wrenching scene. She gives one of the finest monologues ever spoken on stage.”— Inglewood Weekly, Melissa Mayer
“Wonderful work from actors. Whiteside gives the part a depth, a humor, a quirkiness, and, yes, a life that I haven’t seen in the role before.”— Indianapolis Business Journal, Lou Harry
ST. SCARLET, Ruby Cummins
American Blues Theater, directed by Rick Snyder
“Zany, smart, and fresh…uber-kinetic Gwendolyn Whiteside is way, way over the top as young Ruby Cummins, a weird 21-year-old with a mission. She’s consistently funny and a genuine pleasure.”— Chicago Tribune, Chris Jones, Chicago
“Wacky, way-out, wild-at-heart comedy! Gwendolyn Whiteside [is] a bundle of comic energy and sharp timing.”— Chicago Sun-Times, Hedy Weiss
“Zany Ruby, Gwendolyn Whiteside, plays it perilously close to the top. But she’s a skilled comedian with impeccable timing and a strong sense of physicality. Her character touches ultimately leave us grateful she decided to take Ruby so near the edge.”— Chicago Free Press, Louis Weisberg
“Red-hot, riveting theater…most outrageous child, Ruby (Gwendolyn Whiteside) knows it. Ruby is played with screaming, cheer-leader verve.”— Pioneer Press, Beverly Friend
KID SIMPLE, Moll
American Blues Theater, directed by Damon Kiely
“Highly recommended! Smart, funny, playfully sexy, and zestfully performed. Moll, Gwendolyn Whiteside in a fleet, precise, no-nonsense performance, [has] a fierce sense of self.”— Chicago Sun-Times, Hedy Weiss
“Fun, involving, progressive, and highly entertaining…Moll is played in spunky fashion by the splendid Gwendolyn Whiteside”— Chicago Tribune, Chris Jones
“Moll (Whiteside) has the uncanny brains of Nancy Drew, the raggedy perk of Punky Brewster, and the sharp precociousness of an early Jodie Foster character…We can see how genuinely haunted Moll is.”— Time Out: Chicago, Christopher Piatt
“Delightful production…Moll is played with winning gusto by Whiteside.”— Chicago Reader, Kerry Reid
“Whiteside gives Moll a droll determination and a nerdy sensuality that wins us to her side.”— Chicago Critic, Tom Williams
“Gwendolyn Whiteside, as heroine Moll, a girl genius in goggles, is fierce, a perfect role model…attacks the play with energy.”— Inside Online, Reina Hardy
DREAM BOY, Hannah
About Face Theatre, directed by Eric Rosen
“The actors move balletically through their stylized scenes…charmingly real scene with Wendy Whiteside as his wide-eyed classmate radiates innocent longing.”— Chicago Sun-Times, Lucia Mauro
“…Receive excellent support from fellow players…and in a brief but charming appearance, Wendy Whiteside, as a girl who attempts a flirtation.”— Chicago Tribune, Richard Christiansen
“Inhabiting this world are members of the excellent supporting cast. In a too-brief appearance, Wendy Whiteside steals her one scene as Hannah, a charmingly awkward girl who tries to befriend Nathan.”— Windy City Times
“It is difficult to envision a supporting cast more seamlessly effective than the one here…[Wendy] Whiteside provides some hugely funny moments as (an) adolescent still quite close to childhood.”— NewCity Chicago
BUS STOP, Elma
American Blues Theater, directed by Cecilie Keenan
“Elma, [the smart but naïve high school student] is played enchantingly by Wendy Whiteside.”— Chicago Sun-Times, Hedy Weiss
“A courtly flirtation with the literature-loving waitress, the wonderful Wendy Whiteside…unpretentious enough not to insist on easy answers or obvious choices.”— Windy City Times, Lawrence Bommer
“The ensemble gives the play just the natural and unforced presentation the script requires. Wendy Whiteside is flawless as the sweet and inexperienced teenage waitress who falls under the spell of the professor’s fine words.”— Copley News Service, Dan Zeff
“Star-watchers are advised to note the intelligent performance of Wendy Whiteside as Elma.”— On Stage, Mary Shen Barnidge
Awards & Press
P R O D U C I N G
IT’S A WONDERFUL LIFE: LIVE ON STATE STREET! (2012) & IT’S A WONDERFUL LIFE: LIVE AT THE BIOGRAPH! (2009, 2010, 2011):
“Best Holiday-Themed Theatrical Production”–Best of Chicago, NewCity Chicago, Dean Richards’ “12 Plays of Christmas”–WGN, “Midday Fix”–WGN, Top 10 Holiday Shows–Chicago Tribune, 5 Most Festive Holiday Shows–CBS Chicago, Top 10 Great Holiday Shows–Chicago Magazine, Top Picks for Fall–Chicago Reader, McDonald’s Thanksgiving Day Parade, Joseph Jefferson Recommended.
WAITING FOR LEFTY:
“5 Hot Plays for Labor Day Weekend”–ChicagoMag.com, “Top 5 Plays”–NewCity Chicago, “Top 10 Anticipated Productions of Fall”–Chicago Magazine, “Critics’ Choice”–Chicago Reader, “Best of Chicago Theater 2011, honorable mention”–Chicago Theater Beat, “Hot Picks of September & October”–Conciergepreferred.com; Recommended by: Chicago Tribune, Chicago Sun-Times, TimeOut Chicago, NewCity Chicago, WBEZ, Chicago Reader, Windy City Times, Chicago Pride, Chicago Critic, Chicago Theater Beat, Chicago Stage Style, and Around the Town Chicago.
RANTOUL AND DIE:
“Best Things to Do”–CBS Chicago, WBEZ’s Critics Pick, Chicago Now’s Must See, NewCity‘s Top 5, Chicago Magazine’s Pick of the Week & The Five, “Best Theater of 2011″–Chicago Stage Style, Joseph Jefferson Recommended, Joseph Jefferson Award nomination for Supporting Actor in a Play (Francis Guinan).
TOBACCO ROAD:
Joseph Jefferson Award nomination for Production–Midsize Play, Joseph Jefferson Award for Midsize Scenic Design (James Leaming), Joseph Jefferson Award for Midsize Costume Design (Sarah Ross and Kristin DeiTos), 2 Broadwayworld.com nominations, Top 5 Comedies of 2010 by WBEZ’s Jonathan Abarbanel.
A C T I N G
“Terrific acting in early days of the fall season” article by Chris Jones, Chicago Tribune, WAITING FOR LEFTY
“Top 5 Theater Performances” by Indianapolis Star, MARY’S WEDDING
Joseph Jefferson Award nomination for Production–Midsize Play, TOBACCO ROAD
Joseph Jefferson Award nomination for Solo Performance, THE K OF D: AN URBAN LEGEND
Joseph Jefferson Award nomination for Supporting Actress, ST. SCARLET
Joseph Jefferson Award nomination for Ensemble, METAMORPHOSES
Joseph Jefferson Award nomination for Production, METAMORPHOSES
Joseph Jefferson Citation nomination for Ensemble, DREAM BOY
Joseph Jefferson Citation for Production, DREAM BOY
After Dark Award for Best Production, DREAM BOY
After Dark Award for Best Ensemble, BUS STOP
Chicago International Film Festival–Silver Plaque Jury Prize & Best Short, BIG CANYON
IFP Conference Spotlight Short, BIG CANYON
H O N O R S
Kellogg Executive Scholar in Nonprofit Management (Kellogg School of Management, Northwestern University)
“The Players: The Fifty People Who Really Perform in Chicago” in Newcity Stage
Theater panelist for the National Endowment for the Arts (2 years)
Nominated for “Chicagoan of the Year” in Chicago Magazine
SAIC Excellence in Leadership Award: “Service, Advocacy, Innovation, Community”
Graduated cum laude from Northwestern University
W R I T I N G
Big Shoulders Festival (2003-2008)
Bomb Magazine Annual Prize–Fiction finalist (judged by A.M. Homes)
Glimmertrain Press–Short fiction finalist
P R E S S
American Blues Theater, directed by Marty Higginbotham
“Gwendolyn Whiteside wholly captures Mary, that perfect small-town wife from a vanished era. Aside for the quality and sincerity of the acting, what makes this family-friendly show special is the sense of community it develops so quickly.”—Chicago Tribune, Chris Jones
“I left marveling at their creation of perfect Christmas theater. Kevin R. Kelly and Gwendolyn Whiteside deliver George and Mary with all the charm and charisma that these iconic lead roles require…By play’s end, I was choking back as many tears as I do watching this movie. (Is there higher praise than that?) They own this Christmas miracle of a show.”—Newcity Chicago, Brian Hieggelke
“Unimprovable cast of Chicago pros at the collective peak of their careers…adoring and empowering Mary (Gwendolyn Whiteside) clearly makes a difference in the world and for the folks around them.”—Chicago Theater Blog, Lawrence Bommer
“Gwendolyn Whiteside is warm and wise as George’s lifelong sweetheart Mary.”—Examiner, Catey Sullivan
“Glorious cast of actors…it is very difficult to convey a character such as a child or an old women when we the audience can see the young person handling the role, but the cast does it to perfection…the adorable and very agile Gwendolyn Whiteside plays George’s mother as well as his wife.”—Around the Town, Alan Bresloff
“Heartwarming clarity…[Gwendolyn Whiteside] so charming it’s a shame there aren’t two moons to lasso.”— Chicago Tribune, Kerry Reid
“Playing his mother and his lover, Gwendolyn Whiteside turns on and off the sex appeal. In the pivotal phone scene, Kelly and Whiteside emit sparks into flames.”—The Fourth Walsh, Katy Walsh
American Blues Theater, directed by Kimberly Senior
“The performance that stands out is from Gwendolyn Whiteside. Whiteside doesn’t make the mistake of just showing us the character’s traumas-although her sadness comes across with total clarity-she also reveals her inherent hope. That’s what makes this scene work so beautifully. You see a young woman who, in different circumstances, could achieve almost anything and make America a kinder place.”—Chicago Tribune, Chris Jones
“Gwendolyn Whiteside’s performance catalyzes the audience’s emotional understanding of the time.”–Chicago Theatre Review, Devlyn Camp
“…strong performance by the amazing Gwendolyn Whiteside.”—Around the Town Chicago, Al Bresloff
“Quite extraordinary in their connection with the material. Of the best, Zachary Kenney and Gwendolyn Whiteside give amazing performances taking each of their characters on a full-circle journey in fifteen minutes.”—Chicago Pride, Michael Roberts
Indiana Repertory Theatre, directed by James Still
“Intense, seamless portrayals…the war episodes are effectively reinforced by Whiteside’s gruff doubling as [a] sergeant.”–Indianapolis Star, Jay Harvey
“Charming…[Whiteside] builds beautiful moments as a girl experiencing first love and as a lover watching the obstacles faced by the object of her affection. Whiteside does a beautiful job allowing us to enter into her dream world.”—Examiner, Katelyn Coyne
“Whiteside plays Mary with unbridled enthusiasm. Each character reveals a vulnerable tenderness at just the right moments and their chemistry is what makes the story so beautiful.”—Stage Write, Melissa Hall
“Gwendolyn Whiteside plays [Mary] with the wide-eyed wonder of Hollywood musicals.”—NUVO, Josefa Beyer
American Blues Theater, directed by Cecilie Keenan
“American Blues has a lot of heavy-hitting actors throbbing under all of Kirkland’s mud. Feral Ellie May, has a cleft lip, and Gwendolyn Whiteside plays her as a young woman whose deformity is a source of both sexual frustration and useful ironic detachment.”— Chicago Tribune, Chris Jones
“Ellie May Lester, played by Gwendolyn Whiteside, is the heart of this piece. Born with a harelip, she is a young woman longing, damaged, beset, starving, and without typical beauty, frightened by the prospect of life without a husband for survival. Whiteside brings an eerie illness to this role. She writhes and floats, her physical command is impressive. She sits behind flat eyes, staring at a world that hates her on sight and she mourns.”— Chicago Theatre Blog, Scotty Zacher
“Other points also prove gripping: Ellie May’s animalistic seduction of brother-in-law, Lov.”— Time Out Chicago, John Beer
“Gwendolyn Whiteside is the harelip whose fierce sex drive makes for one very funny scene.”— Chicago Sun Times, Hedy Weiss
“…Dream ensemble that brilliantly delivers this all-American nightmare. Gwendolyn Whiteside is endearing [as] Ellie May. Constantly belittled for her facial deformity, she receives the least consideration yet shows the most childlike sweetness.”— Chicago Stage Review, Venus Zarris
“This is the ABT Ensemble and they’ve brought out some of their most prominent and best veteran players to portray Jeeter Lester and his wife and children.”— WBEZ, Dueling Critics, Jonathan Arbarbanel
“Ellie May [is a ] prime example of the shallow end of the gene pool; [Gwendolyn Whiteside] is superb at finding its depths.”— Steve on Broadway
“Gwendolyn Whiteside handles this difficult role with great ease.”— Steadstyle Chicago, Al Bresloff
“The cast consume themselves with bits of gorgeous stage business…Ellie May picking her toenails…an Ensemble perfectly integrated and ferociously good acting.”—New City Chicago, Fabrizio O. Almeida
directed by Meredith McDonough
“Highly Recommended! Gwendolyn Whiteside’s bravura turn [is as] intense as her imaginative gifts and flair for mimicry. The actress’ red-hot technique, displayed as she deftly conjures more than a dozen characters, along with her beautifully channeled energy, and vocal and physical finesse, pull you into the world of the play from its opening words. Whiteside makes every fish face, every cigarette puff, every quirky speech pattern and, most crucially, every act of cruelty and kindness come to life with the clarity, polish and timing of a master. As for her evocation of a heron, it is nothing short of poetry in motion.”— Chicago Sun-Times, Hedy Weiss
“Gwendolyn Whiteside is an actress who understands that truth lies in the details. At one point in this one-woman play, one of her many characters finds herself interacting with an Ohio mosquito. Not only would you swear you can see that pesky insect landing on Whiteside’s arm, you feel the surprise of its sting. This is certainly a provocative show, created in partnership with a gifted actor.”— Chicago Tribune, Chris Jones
“The whole story is told by just one very talented young actress. Her shorthand physical descriptions of each character, along with many sound effects impeccably woven into the monologue, make [her] performance seem both simple and fantastic. Only occasionally are we aware that the full weight of the story rests on Ms. Whiteside’s narrow shoulders, where it also (amazingly) takes flight.”— Talkin’ Broadway, Richard Green
“She narrates the story like a female Tom Sawyer, and then easily morphs into the denizens of the town. Whiteside does a tremendous job of establishing the personalities of the major characters with shifts in gestures and body language and varying voice inflections. It takes only a few minutes for the audience to set aside Whiteside as a gifted actress and mimic and settle into the engrossing story she tells and acts out. ‘The K of D’ is like a good ghost story told around a flickering campfire, with the shadows concealing who knows what mysteries. A very satisfying adventure in suggestive storytelling, and a terrific display of versatile acting.”— Copley News Service, Dan Zeff
“Marvelously performed! Each character has a mannerism that sets him or her apart as Ms. Whiteside takes us through the events. You do not want to miss one word or look from this brilliant actress, who masterfully takes on this ‘tour de force’. Ms. Whiteside’s energy and agility along with her marvelous characters are a must for anyone aspiring to be an actor, it is a learning experience as well as a theatrical experience.”— Steadstyle Chicago, Alan Bresloff
“[Whiteside] steeps her characterizations in the lifeblood of wondrous hurt and inquisitive joy. Magnificently, each of the fifteen different characters she plays are so well delineated that one never ponders whom she’s portraying at each moment. Whiteside ultimately makes this haunting summer play a true celebration of her talents and of Schellhardt’s twisted, beautiful world.”— Chicago Free Press, Brian Kirst
“Our inexhaustibly talented narrator, dovetails effortlessly from character to colorful character. Whiteside gracefully manages to capture the quirks and eccentricities of every person in her small town and, in the bat of an eye, switches from bully to drunkard to ditzy teenager to shy, reserved mute. It’s damn near impossible not to be wooed by the poetic pantomime and rural ramblings of ‘The K of D’.”— Center-stage, Anna Pulley
“Whiteside gets a workout in Schellhardt’s solo play, and she hardly breaks a sweat. It’s hard not to be impressed by how clearly the actor distinguishes each role with signature gestures and vocal shifts.”— Time-Out Chicago, Kris Vire
“Gwendolyn Whiteside has the acting chops to make The K of D: An Urban Legend a captivating night of theatre. Recommended!”— Chicago Critic, Chris Arnold
“Riveting. To call this a one-woman show is almost a misnomer, as the extraordinarily talented Gwendolyn Whiteside fills the stage with her rich, believable portrayals of a dozen different characters. Whiteside seamlessly transforms from one character to the next, recreating conversations among four or five people at once; her masterful use of voice, body language and mannerisms allows the audience to know effortlessly which character she’s portraying at any given moment…breathing life into each unique character of this compelling small-town urban legend.”— And Now Presenting, Sarah R. Gross
Indiana Repertory Theatre, directed by James Still
“the flailing, can’t-take-your-eyes-off-her Gwendolyn Whiteside…stand[s] out in a fine cast.”— Indianapolis Business Journal, Lou Harry
“Gwendolyn Whiteside [is] terrific…unrestrained but never clownish.”— NUVO, Josefa Beyer
“Her younger sister, Izzy (Gwendolyn Whiteside) does not hold back any of her feelings…The portrayals and relationships are all beautiful nuanced. Izzy [is] especially hilarious.”— Indy Theatre Habit, Hope Baugh
Indiana Repertory Theatre, directed by Priscilla Lindsay
“A particular pleasure is Gwendolyn Whiteside as both Scrooge’s sister, Fan, and as his intended, Belle. Whiteside’s impossible to suppress spirit adds considerably. The life she brings to every moment makes painfully clear that Scrooge didn’t just lose a generic Victorian woman. He lost someone special. That loss renders the Christmas Past sequences heartbreaking.”— Indianapolis Business Journal, Lou Harry
American Blues Theater, directed by Nora Dunn
“Very experienced cast committed to unstinting truths…that deal with two struggling cleaners played by Kate Buddeke and equally terrific Gwendolyn Whiteside. You buy the droll Whiteside entirely as the kind of small-town girl who can’t escape half-baked boyfriends. This crew has not a smidgen of actorly affectation.”— Chicago Tribune, Chris Jones
“Tight, zestily rendered, expertly cast, pitch-black comedy. Gwendolyn Whiteside, a petite looker who will win you over just by the way she swabs a floor, [plays Claire] young, attractive, and fiercely ambitious in her smart slacker way.”— Chicago Sun-Times, Hedy Weiss
“Droll, wickedly satiric. A feisty Gwendolyn Whiteside, with her brazen naivete, is every bit the impertinent newcomer.”— Daily Herald, Barbara Vitello
“A charming comedy with solid sense of timing. A truly perfect performance by Gwendolyn Whiteside.”— Epoch Times
“Gwendolyn Whiteside delivers a spirited performance as the naïve newbie to the labor force. The attacks on the spirit of corporate culture are real.”— Chicago Critic, Tom Williams
“Talented group assembled…a crispness that’s never slick and a comedic punch that’s never cheap. Gwendolyn Whiteside lends a mouthy, volatile Claire vulnerability.”— Chicago Reader, Justin Hayford
Indiana Repertory Theatre, directed by Peter Amster
“Masterful…invests the tragic with heat and comic with bite, particularly inspired performance by Gwendolyn Whiteside. Whiteside’s phrasing is audacious; it invests her Emily with a soul this girl/woman’s mortal world cannot contain.”— NUVO, David Hoppe
“Beautiful piece of theatrical work! Emily Webb, played by Gwendolyn Whiteside—an actress whose fresh performance is excellent—has a heart-wrenching scene. She gives one of the finest monologues ever spoken on stage.”— Inglewood Weekly, Melissa Mayer
“Wonderful work from actors. Whiteside gives the part a depth, a humor, a quirkiness, and, yes, a life that I haven’t seen in the role before.”— Indianapolis Business Journal, Lou Harry
American Blues Theater, directed by Rick Snyder
“Zany, smart, and fresh…uber-kinetic Gwendolyn Whiteside is way, way over the top as young Ruby Cummins, a weird 21-year-old with a mission. She’s consistently funny and a genuine pleasure.”— Chicago Tribune, Chris Jones, Chicago
“Wacky, way-out, wild-at-heart comedy! Gwendolyn Whiteside [is] a bundle of comic energy and sharp timing.”— Chicago Sun-Times, Hedy Weiss
“Zany Ruby, Gwendolyn Whiteside, plays it perilously close to the top. But she’s a skilled comedian with impeccable timing and a strong sense of physicality. Her character touches ultimately leave us grateful she decided to take Ruby so near the edge.”— Chicago Free Press, Louis Weisberg
“Red-hot, riveting theater…most outrageous child, Ruby (Gwendolyn Whiteside) knows it. Ruby is played with screaming, cheer-leader verve.”— Pioneer Press, Beverly Friend
American Blues Theater, directed by Damon Kiely
“Highly recommended! Smart, funny, playfully sexy, and zestfully performed. Moll, Gwendolyn Whiteside in a fleet, precise, no-nonsense performance, [has] a fierce sense of self.”— Chicago Sun-Times, Hedy Weiss
“Fun, involving, progressive, and highly entertaining…Moll is played in spunky fashion by the splendid Gwendolyn Whiteside”— Chicago Tribune, Chris Jones
“Moll (Whiteside) has the uncanny brains of Nancy Drew, the raggedy perk of Punky Brewster, and the sharp precociousness of an early Jodie Foster character…We can see how genuinely haunted Moll is.”— Time Out: Chicago, Christopher Piatt
“Delightful production…Moll is played with winning gusto by Whiteside.”— Chicago Reader, Kerry Reid
“Whiteside gives Moll a droll determination and a nerdy sensuality that wins us to her side.”— Chicago Critic, Tom Williams
“Gwendolyn Whiteside, as heroine Moll, a girl genius in goggles, is fierce, a perfect role model…attacks the play with energy.”— Inside Online, Reina Hardy
DREAM BOY, Hannah
About Face Theatre, directed by Eric Rosen
“The actors move balletically through their stylized scenes…charmingly real scene with Wendy Whiteside as his wide-eyed classmate radiates innocent longing.”— Chicago Sun-Times, Lucia Mauro
“…Receive excellent support from fellow players…and in a brief but charming appearance, Wendy Whiteside, as a girl who attempts a flirtation.”— Chicago Tribune, Richard Christiansen
“Inhabiting this world are members of the excellent supporting cast. In a too-brief appearance, Wendy Whiteside steals her one scene as Hannah, a charmingly awkward girl who tries to befriend Nathan.”— Windy City Times
“It is difficult to envision a supporting cast more seamlessly effective than the one here…[Wendy] Whiteside provides some hugely funny moments as (an) adolescent still quite close to childhood.”— NewCity Chicago
BUS STOP, Elma
American Blues Theater, directed by Cecilie Keenan
“Elma, [the smart but naïve high school student] is played enchantingly by Wendy Whiteside.”— Chicago Sun-Times, Hedy Weiss
“A courtly flirtation with the literature-loving waitress, the wonderful Wendy Whiteside…unpretentious enough not to insist on easy answers or obvious choices.”— Windy City Times, Lawrence Bommer
“The ensemble gives the play just the natural and unforced presentation the script requires. Wendy Whiteside is flawless as the sweet and inexperienced teenage waitress who falls under the spell of the professor’s fine words.”— Copley News Service, Dan Zeff
“Star-watchers are advised to note the intelligent performance of Wendy Whiteside as Elma.”— On Stage, Mary Shen Barnidge