What they are saying in the press…

Related articles

What the press said about…

Juicy Point B 2005

“Part of the fun of attending a Maureen Whiting Show is experiencing the surprisingly fresh and weirdly sexual physical movement that the Seattle-based dancer/choreographer brings to the stage.”
—Rachel Hart, Seattle Magazine 2/2005

“Whiting’s choreography—the sideways leans, vibrating fingers, clocklike turns and unexpected arcs of movement-were given absolute, gorgeous clarity by Julie Tobiason. A top ballerina recently retired from Pacific Northwest Ballet, Tobiason was compelling in this very different art form. Watching contemporary dance performed with this level of precision and projection can make you feel a new idea is being invented and coming alive before your eyes. It’s rare: downtown dance and ballet are usually kept in their separate compartments.”
—Mary Murfin Bayley, Seattle Times

Juicy Point 2004

“Whiting takes pleasure in thwarting our expectations: shifting from full throttle, kinetic dancing to more quirky physical examinations; transforming traditional performance spaces or abandoning them all together; making highly detailed movement phrases and then almost smothering them in long, sea weedy costumes.”
—Sandra Kurtz, Seattle Weekly 6/2004

Etta Lilienthal, Scenic Designer

“Not only a scenic designer, but also a design consultant, she has worked closely with creators and directors in the development of production and performance space. Among her career highlights, Lilienthal credits the performance art/dance installation Juicy Point as giving her the ability to find ‘an extension of my creative voice as a director and performer.’ She worked in collaboration with choreographer Maureen Whiting of the innovative Maureen Whiting Company during its development. For Juicy Point, which was lauded for its wonderfully different use of space and movement, Lilienthal and Whiting researched parking lots, old factories, even seedy hotel rooms and created a space that examined interaction with the ‘juicier points’ in people’s lives. With the guidance of resident designer Skip Mercier, she also played a fundamental role in the development of new plays at the Eugene O’Neill Playwright’s Conference.”
—Entertainment Design, October 1st 2004: Young Designers of 2004

Unravel Unrelated events 12/2002

“Maureen Whiting’s recent Unravel Unrelated Events was as rivering, mysterious, and startling…”
—Bret Fetzer, The Stranger, 5/2003

“…we can’t take our eyes off it’s spinning, glinting form for even a second. With Whiting’s powerful work, either way is a win.”
—Brangien Davis, Seattle Times, 12/2002

Wrecktangle 2/2001

“Through an intricate weaving of movement, sound, and video, Whiting successfully transforms a stripped-down stage into a surreal and astonishingly effective environment …with beautiful dancing, an eclectic music score (and) fascinating video…”
—Claire Whitley, Queen Anne News, 2/2001

“stage geometry, the way the dancers fill the space…coherent and filled with deliberate meaning …and one of the few examples in which video and dance combine instead of clashing.”
—Barley Blair, The Stranger, 2/2001

About other works…

“(Whiting’s choreography has) meticulously planned randomness… enriched with arresting spatial gambits…”
—Lewis Segal, The Los Angeles Times, 1/2000