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Welcome to Eye on the Arts. Articles are presented by Celia Ipiotis, Director of Eye On Dance And the Arts. Your comments are welcomed.



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                    LACKWANNA BLUES Reviewed by Celia Ipiotis                                           Junior Mack, Ruben Santiago-Hudson. Photo by Marc J. Franklin. Lackawana, NY, was one of those towns that lured many hopeful laborers up north only to test their spirits and claim their bodies. That hotspot of mobility and stagnation was home to Santiago Ruben-Hudson. Vivid memories of childhood animated Santiago-Hudson's autobiographical one-man show  Lackawanna Blues  at the Samuel J. Friedman Theater. Positioned on a relatively bare stage with only a stool, couple of chairs, table and the guitarist Junior Mack next to him, Santiago Hudson peppered his conversation with the soulful sound of a harmonica wailing the blues. Read full review.
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                                  TROUBLE IN MIND Review by Celia Ipiotis                                                LaChanze in Roundabout Theatre Company's Trouble in Mind. Photo by Joan Marcus You're not paid to think!" Sadly, that admonition is heard by many actors. The idea that someone else controls all your decisions is galling and in the newly revived drama "Trouble in Mind" it's downright maddening. Written in 1955 by the African American playwright, Alice Childress,  Trouble in Mind  was an Off-Broadway theater hit but never got a ticket to Broadway because of the controversial subject matter. Some 66 years later, the play finally landed on Broadway. The grand ensemble cast is led by a spot-on LaChanze as the esteemed, seasoned actor Wiletta Mayer along with the elder statesman Sheldon Foresster (Chuck Cooper) who's just about seen it all; a brash Millie Davis (Jessica Frances Dukes); the white, privileged ingenue Judy Sears (Danielle Campbe
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        NEW YORK CITY BALLET AND BALANCHINE. Review by Celia Ipiotis                                  The Four Temperaments. Photo by Paul Kolnik                                  Under a full moon on a chilly February night, NYCB warmed up the audience with no fewer than a dozen company member debuts. Romantic repertory bumped up against a Neo-classical ballet masterpiece and shimmering ballet duet. George Balanchine's masterful  Four Temperaments  fully reveals the dancer in the dance. Lean choreography dominates, tightening the vocabulary to a handful of steps combined and recombined to the music of Paul Himdemith. Legs slice the air, hands snap at the wrists and shards of unison movement thrill all. For sheer female warrior power, there's no better example than the invasion of the stage by four women advancing towards the male, legs flaring up, then stabbing floor followed by sharp pelvic thrusts forward and back.Hair rasing. All those who debuted: Jacqueline Bologna, Jonat
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