Born in Fairfield, Connecticut, James Whiteside began his training at age nine at the D’Valda & Sirico Dance and Music Centre, where guest faculty included Charles Kelley, Franco De Vita and Raymond Lukens. He continued his training at the Virginia School of the Arts for one year under the direction of Petrus Bosman and David Keener. In 2002, Whiteside joined Boston Ballet II, where he continued to train under the tutelage of its director Raymond Lukens, now director of ABT’s National Training Curriculum. Whiteside joined the corps de ballet of Boston Ballet in 2003 and became a second soloist in 2006. He was promoted to first soloist in 2008 and to principal dancer with Boston Ballet in 2009.
Whiteside joined American Ballet Theatre as a Soloist in September 2012 and was named a Principal Dancer in October 2013.
Whiteside’s repertoire with Boston Ballet included Principal roles in George Balanchine’s Theme and Variations, Coppélia, Ballo della Regina, Rubies, The Four Temperaments (Sanguinic), Tchaikovsky Pas de Deux, Who Cares?, Serenade, A Midsummer Night’s Dream, Symphony in 3, and La Valse; Maina Gielgud’s Giselle; Mikko Nissinen’s The Nutcracker and Swan Lake; John Cranko’s Taming of the Shrew and Romeo and Juliet; Marius Petipa’s The Sleeping Beauty and Raymonda Act III; Antony Tudor’s Dark Elegies; Jirí Kylián’s Bella Figura, Sarabande, Petite Mort and Sechs Tänze; Twyla Tharp’s In the Upper Room; Mark Morris’ Drink to Me Only With Thine Eyes. He created roles in Jorma Elo’s Brake the Eyes, Plan to B, Carmen, Slice to Sharper, and In On Blue; Helen Pickett’s Eventide and Etesian; and Mark Morris’ Up & Down.
His repertoire with the American Ballet Theatre includes Principal roles in La Bayadere, Cinderella, Le Corsaire, Don Quixote, The Dream, Giselle, The Nutcracker, Raymonda Divertissements, Romeo and Juliet, The Sleeping Beauty, Swan Lake, Sylvia, The Tempest, and Manon, as well as roles in Bach Partita, Gong, Theme and Variations, Duo Concertant, Fancy Free, Chamber Symphony, Sinfonietta, Drink to Me Only With Thine Eyes, In the Upper Room, With A Chance of Rain, and Symphony in C.