Broadway at Sardi’s Caitlin Carter, Charlotte d’Amboise, Mercedes Ellington, Donna McKechnie, and Desmond Richardson hosted CTFD “Between Shows,” March 28th.

Underwritten by the Shubert Organization for the 4th year, over 80 dancers from the Broadway musicals A Chorus Line, Beauty and the Beast, Chicago, Curtains, Hairspray, Mamma Mia, Tarzan, The Pro- ducers, The Lion King, The Pirate Queen, and 110 in the Shade attended. CTFD Board member Caitlin Carter spoke about CTFD’s methodology and programs and introduced clients Ana Maria Andricain of Beauty and the Beast and Todd Michel Smith of Hairspray. Both clients spoke about their introduction to CTFD at last year’s Sardi’s event and how CTFD has helped them develop their skills outside of dance. Through 1-on-1 career counseling and an entrepreneurial grant, Ana Maria started an online jewelry busi- ness, Jewel of Havana (jewelofhavana.com), and has expanded it to five retailers across the USA. Through an educational grant from the Caroline Newhouse Scholarship Fund, Todd recently graduated from col- lege and will pursue a career in Physical Education.

Photos (clockwise from top left): CTFD Clients Judine Somerville & Michelle Marie Robinson, Karen Ziemba, & Board Member Caitlin Carter; CTFD Counselor Suzie Jary, Hostesses Charlotte d’Amboise and Donna McKechnie, & CTFD Client Noah Racey; Members from The Lion King Kylin Brady, Dawn Noel Pignuola, Michelle Camaya, Jennifer Newman, Dennis Lue, Torya, Angelica Edwards, Kristina Bethel, Shekitpa Starke, & Camille Brown; Guest speaker Todd Michel Smith with members from Hairspray Arbender Robinson, Bryan West, Andrew Rannells, Abdul Latif, & Tommar Wilson (Photos: Linda Lenzi / BroadwayWorld.com).

Winter Heat Representing the spectrum of dancers’ careers, CTFD and Harbor Conservatory for the Performing Arts joined together March 1st for the third year of Winter Heat.

The evening’s event included special performances from the Gestures Dance Ensemble and members of Dance Times Square. After the performances, nearly 300 patrons took over the dance floor so they could “bust a move” to the 21 piece Harbor Latin Big Band. The event was a huge success thanks to Benefit Chairs Janice Becker, Fe Saracino Fendi, Beth Dannhauser, and Ginny Knott. Honorary Chairs included Peter Martins, Rosie Perez, Chita Rivera, and Sylvia Waters. Ronda and Mark Axelowitz, Caroline Cronson, Lisa I. Cuevas, Justine DiCostanzo, Kelly DeMarco, Robert Dorf, Alexander J. Dubé, Mercedes Elling- ton, Barry S. Friedberg and Charlotte Moss, Yolanda Santos Garza, Roberta Silbert, Susan Krysiewicz, Ketty Maisonrouge, Lady Maughan, Jean Shafiroff, Patricia Shiah, and Susan Fawcett Sosin served on the Benefit Committee. The evening was sponsored byRolex Watch USA and Capezio/Ballet Makers.

Photos (clockwise from top left): Event Chairs Fe Saracino Fendi & Janice Becker with event Sponsor Daniel Terlizzi of Capezio/Ballet Makers; Stone Phillips & Debra Del Toro-Phillips; Ann Van Ness & Josephine Hall; Benefit Committee Member Kelly DeMarco with Helen Corrigan, Julie Corrigan, Staci Kline, Megan Maloney, and Nina Jezic (Photos: Jerry Ruotolo).

Rolex Hosts Gala Luncheon Allen Brill, President and CEO of Rolex Watch USA, hosted a gala kick-off event at Sardi’s.

The June fifth luncheon was held to celebrateAnka K. Palitz and The Jerome Robbins Foundation being honored with CTFD’s awards for Outstanding Contributions to the World of Dance at the Annual Gala on October 29, 2007. Twenty-second Anniversary Chairs Allen Brill and Patricia J. Kennedy gave heartfelt speeches about the honorees; dedication to the mission of CTFD, and what an extraordinary privilege it is for the organization to be able to honor Ms. Palitz and the Robbins Foundation. Mr. Brill stated that “the movie industry has Cher, the music industry has Madonna, but the dance industry has Anka.” Ms. Kennedy announced this year’s goal of $1.1 million and the strategy she and the many other hard working gala chairs have created to achieve it. The luncheon was underwritten by the Gala’s Executive Producer Alexander J. Dubé. Thanks to Auction Chair Ann Van Ness, the wine for the event was graciously donated by Beni di Batasiolo, the Official Wine Sponsor of CTFD’s 22nd Anniversary Jubilee.

Photos (clockwise from top): Allen Brill with Gala Chairs & Honorees Floria Lasky, Laura Zeckendorf, Cynthia Gregory, Ann Van Ness, Ann Marie DeAngelo, Anka K. Palitz, Patricia J. Kennedy, Janice Becker, & Mercedes Ellington; Gala Sponsors Karla Johnson & Jeff Schaffer of MacFadden Performing Arts Media; Michele Riggi & Heléne Alexopoulos Warrick (Photos: Jerry Ruotolo).

Moving On Summer 07 #17 The semiannual newsletter of Career Transition For Dancers Family Trees President’s Message Dreams by Cynthia Fischer

We dreamed of a graduate study scholarship tity and a compelling vision. It forces us to Outreach Projects in 17 program to offer our undergraduate clients consider and to communicate both who we are cities throughout the the opportunity to continue their studies on a today and what we wish to become. United States to bring graduate level. Last year, through the gener- the CTFD message and osity of Sono Osato and her husband Victor Further, our clients are now computer savvy services to the local Elmaleh an endowment fund was established and online. As part of this project a user- dance communities. and we were able to award two $5,000 gradu- friendly, expanded and exciting website will In 2006, through the ate scholarships. This year the proceeds from be designed. We will have our grant applica- continued generosity this endowment allowed us to award four tions online, easy navigation and invaluable of the Bossak-Heilbron Charitable Founda- scholarships and help four more remarkable links to other services and organizations. Our tion and thanks to support from the National candidates to achieve their dreams. new website will deliver both services and Endowment of the Arts we increased our significantly more information. This project National Outreach Projects from three to an We dreamed of somehow expanding our is an essential step in supporting our national all time high of six NOP’s. There is a vibrant visibility and accessibility. Through Board program, in providing more effective delivery regional dance scene with both expanded edu- support and foundation funding CTFD has of our services and in our ability to reach out cational programs and a significant increase in embarked on a ground-breaking branding to the general public in a meaningful way. performing companies. It is so important that project which includes an extensive and much we can reach them! needed overhaul of our website. This project We dreamed of blanketing the US with our will enable us to reach the public, our clients National Outreach Project “NOP’s”. In the To all of you who inspire and make our dreams and our supporters with a distinctive iden- past seven years we have held 20 National possible our heartfelt thanks.

Call it a clan, call it a network, call it a tribe, call it a family. Whatever you call it, It has never been my object to record my dreams, just whoever you are, you need one. — Jane Howard, author to realize them. — Man Ray, artist

This issue, reflections on the extended families of dance

Mail Call Letters from our clients

Dear Mrs. Palitz, Dear Mr. Theodore Sayers,

I greatly appreciate the support of my continued education and thank I would like to take this opportunity to thank you for your generous you for your generous gift. I was a member of the Trisha Brown Com- gift to Career Transition For Dancers. Because of your help, I have pany for a five year span from 2002 to 2006. I also worked with Trisha received a grant to help pay for tuition at the University of Pennsyl- Brown in creating O Zlozony / O Composite for the Paris Opera Ballet. vania. In May 2008, I will graduate with a BA in English and hopefully start working towards a career in writing. In 2006, I left Trisha’s company due to a knee injury. Determined to rehabilitate my injury, I enrolled in a full-time, three-year course at the I would like to incorporate my passion for ballet — perhaps as a dance Manhattan Center for the Alexander Technique. CTFD provides a rare critic or a dance historian. I have had a tremendously full career and vital service to dancers in need of counseling and support. — eleven years with San Francisco Ballet and three years with the Pennsylvania Ballet — a principal dancer with both companies — Thank you for your ongoing support for this scholarship fund. and I look forward to my next step in life. CTFD provides the rare assistance to thousands of dancers attempting to change careers. Thank you again for your generous support.

Sincerely, Sincerely,

Cori Olinghouse, Brooklyn, NY Julie Diana, Philadelphia, PA

Dream Imagine Conceive Explore Focus Target Direct Move Act Believe Crossing Boundaries: The National Outreach Project Building Community and New Careers for Dancers by Paulette Fried, CTFD Senior Career Counselor

In 2000, Career Transition For Dancers (CTFD) infusing confidence and motivation in those The second step along began a new program to connect with dancers who have had success. For the latter, sharing the practical path around the country. Prompted by the fore- their experience helps them claim ownership involves exploring the sight and generosity of the Bossak-Heilbron of their achievements, realize their growth and career options identified Charitable Foundation, CTFD took our pro- appreciate the richness of the process. in Step 1. Again, a bit of grams and services “On the Road”, initiating “boundary crossing” the National Outreach Project (NOP). Hence, the “transition line” exercise becomes may be required. Danc- a way to promote an acceptance and under- ers may need to move We had no idea how many boundaries would standing of the stages of transition and outside their comfort zone and reach out be crossed when we ventured out with the diminish fears of the heretofore unknown. to people they don’t know in fields or occu- NOP initiative. Sure, there were state lines we Recognition of what is entailed in the change pations with which they are unfamiliar. For would pass through, but there were also unan- process, makes the movement into unknown some, networking and informational inter- ticipated emotional and relational boundaries emotional and experiential territory less viewing will involve making a big leap, which to be traversed for those with whom we met in loathsome and being with others, in a commu- includes overcoming self-imposed stops in different dance communities. Also, how would nity, makes it less lonesome. connecting with people who have had differ- the NOP’s be a catalyst for enabling attendees ent life and work experiences. Yet, by accessing to eclipse the blocks and chasms that can the same determination used in their dance impede a career transition? This begins by Crossing from the training and performances, as well as the tools reaching out. emotional terrain of a and information supplied in the NOP work- shop, dancers find that differences need not be The NOP workshops held in communities career transition into barriers. On the contrary, those in the “civil- around the U.S. include a number of activi- the practical presents ian world” are usually willing, even delighted, ties targeted at helping dancers experience to engage with dancers if they will simply and grapple with career transition challenges many barriers dancers venture out. in a very direct way. Taking advantage of the must navigate and unique and specialized expertise, CTFD Career Taking the second step paves the way to the Counselor Suzie Jary brings a unique skill as a move through. third, Focus and Goal Setting, which leads psycho-drama therapist; several techniques to Pro-Active Job Searching (the fourth) and are incorporated to get dancers actively and In the next part of the NOP workshop, we ultimately to Career Management. In time fully engaged with where they stand along the provide participants with a “Career Map” and one finds they have become part of a new transition process. Positioning themselves on a prescribed five-step path to follow in finding community, a professional community with an imaginary line that represents that contin- a next “good fit” career. To help them take that new colleagues who are able to partner with uum, dancers are able to really see and connect first step in their career development, coun- and support them. with the complexity of their present situation. selors guide the dancers through a series of individual exercises and more group activities The experience of the NOP is often a catalyst By sharing their circumstances as well as their that give them the opportunity to explore for 1-on-1 discussions with a career counselor, hopes, beliefs and concerns, they can begin to different aspects of themselves — specifically immediately following the workshop portion associate what it means to be in their spot (lit- their interests, skills, values, strengths and of the program or sometime thereafter — be erally and figuratively) and to understand how unique qualities. Noting these traits on their it in person or by phone. Whatever the timing it is relative to those standing beside them. personal Career Map, each dancer can begin to or the circumstances, the CTFD career counsel- envision other career prospects with increased ors are available to help dancers move out of Being able to voice such deep, often taboo, hope and self-assurance. A group brainstorm- the fog into greater clarity, to cross from now sentiments with other kindred spirits in such ing simulation for one of the NOP participants, into the future, as well as to traverse barriers a safe and supportive environment, can be then helps all to see how they can creatively that might keep them from turning dreams transforming. Hearing from others in different involve others in finding links between the into reality. places along the continuum line is invaluable pieces of information on their map — like link- — often providing perspective and encourage- ing together pieces of a puzzle — which often ment to those who are new to transition, while reveal “pictures” or possibilities for the future.

Spotlight On: Hans Kriefall Views on passion and pragmatism from a former Broadway dancer

To a dancer, dance is an extension of one’s identity — a reflection of lous and grueling rehearsals, and nerve-racking one’s devotion, drive and aspirations; and an established career validates auditions for years upon years, to the point in one’s ability to succeed and confirms confidence in oneself. For dancers, which their bodies are no longer able to keep up to the launching of a professional dance career is equivalent to a scientist speed with their drive. establishing a breakthrough discovery, or a runner completing a mara- thon — it is recognition of their skill and dedication, and an embodiment “If this was something I could do forever, I prob- of their lifelong passion. A career in dance exemplifies not only a dancer’s ably would” says Hans when asked about his dance dedication, but also a dancer’s love for the art. Hans Kriefall, an experi- career; and after glancing at his prolific resume. As a dancer whose focus enced performer in musical theatre, refers to dance as his “first love” — was exclusively on musical theatre, Hans’ work experience includes an a notion that many of CTFD’s clients can relate to, for it is their genuine array of performances both on and off Broadway, with national tours, love for this art form that motivates our dancers to pull through meticu- and in regional stock shows. His road towards a professional dance career began in 1987, when, equipped with a bachelor’s degree, Hans moved to seemed to appreciate. And as he began working for law firms in New York New York City and began to study dance more seriously at Steps on Broad- City, he witnessed that his co-workers appreciated his real world experi- way. From 1988-1995, after performing in some non-Equity shows, Hans ence. Now, as a corporate finance lawyer at Debevoise & Plimpton LLP, began touring nationally with a number of popular musicals starting with Hans has discovered how useful his discipline as a dancer is towards his West Side Story, and followed by Me & My Girl, Cats, A Chorus Line, career in law. and Jesus Christ Superstar. Well on his way towards a successful Broad- way career, Hans obtained a Broadway role as Alonzo in Cats in 1995. “It’s the attitude of how you approach work It was during his four years in Cats that that is consistent: putting your best foot Hans began evaluating his need for a career forward and having no fear of failure. I was change. He told CTFD that “I hit my early conditioned to accept challenges, do my Thirties and realized that there’s a finite life best and rely on that to get me through.” span to dancing.” This basic philosophy has helped Hans establish a successful career in law, and has availed some wonderful opportunities. Most recently, Hans’ While examining opportunities in other careers in theater, Hans decided, newfound career allowed him to spend two years in Europe as he worked “rather than starting over from square one, in an aspect of performing from the firm’s office in Frankfurt, Germany. that wasn’t necessarily something I was ‘dying’ to do, I decided to retire and quit while I was ahead.” With the help of Suzie Jary, CTFD counselor, When asked about the challenges and some of the fears he faced during Hans was able to take the next step towards finding something new. “It this period of redefining his professional self, Hans states: “the difficult is an absolutely priceless resource to have 1-on-1 attention focused on thing with any transition in life is that there’s such uncertainty…my fear you and your priorities…through the process of identifying what your was that I wouldn’t be equally passionate about whatever other work I strengths and interests are, and what you need to do to get where you found…however, I think you have to realize that your next field may not want to be.” be your first love — the way theatre was my first love.” During this period of self reflection, Hans seemed conflicted between his true passion and Hans was encouraged to apply for internships and to take advantage of his innate sense of pragmatism. Although, he understood the need to his previous experience as an actor’s union representative during con- transition and pursue a career outside of dance, his devotion and love for tract negotiations with Actors’ Equity Association. Recalling his experi- the art remained. ence as a committee member at Actors’ Equity, Hans remembers being impressed by the knowledge and communication skills of the lawyers on staff. He recalls how these individuals not only had some passion about “There are few things I would love as much the subject of contract negotiations, but also the hard facts and skills to as I loved dancing and musical theatre… back it up. As he continued to work more closely with lawyers through various internships, Hans realized how much this work appealed to him it’s a passion that I don’t think ever and was ready to pursue a career in law for himself. completely goes away.”

At Columbia Law School, Hans quickly learned the benefits of having an With CTFD’s help, Hans was able to find a new area of interest, and even- established professional career already under his belt. His previous career tually a new niche after coming to the realization that “you can’t dance in as a dancer left him equipped with a level of professionalism and a more a show forever” — a truism which made his pursuit of a career outside of “sophisticated view of the world,” which his professors and colleagues dance even more attainable.

Sanford (Bud) I. Wolff In memoriam

Sanford I. (Bud) Wolff passed away in New ing, as well as the Chicago Local of AFTRA, He retired from AGMA in 1993 to become Of Canaan, Connecticut on April 14, the day after the Central Region of AFTRA, the Directors’ Counsel to the law firm of Becker and London his 92nd birthday and was interred at Arling- Guild, American Guild of Musical Artists, until its dissolution. In 2006, Mr. Wolff ton National Cemetery on June 14, 2007. Born Screen Actors Guild in the Central Region and received the Career Transition For Dancers in Chicago where he attended public schools, United Scenic Artists. In 1968 Mr. Wolff began Award for Outstanding Contributions to the Bud Wolff was a graduate of Knox College, the a 17-year relationship with AFTRA, the 70,000- World of Dance. University of Chicago, and The John Marshall member union of professional performers, School of Law. Soon after being admitted to broadcasters and recording artists, as its During his career, Mr. Wolff also served as a the Illinois bar, Mr. Wolff enlisted as a private National Executive Secretary. In 1978, he was member of the Board of Directors of the AFL- in the Army, and during World War II saw ser- honored by State of Israel Bonds which, pre- CIO Department for Professional Employees vice as an Infantry Officer in New Guinea, the senting him with the coveted “Israel Award,” and Chairman of its Arts, Entertainment and Central Pacific, the Philippines and Japan. His cited his long commitment to the members of Media Industry Committee; as Executive citations include the Combat Infantryman’s the performer’s union and his parallel concern Secretary of the Associated Actors and Artistes Badge, The Purple Heart, The Bronze Star and for the survival of the State of Israel. Mr. Wolff of America, and a member of the Archive Advi- The Silver Star. At the time of his separation received AFTRA’s highest honor, the George sory Board of the Jewish Museum in New York. from the service in 1946, he had achieved the Heller Memorial Gold Card, in 1984 for his out- rank of Lieutenant Colonel, commanding the standing service to the union and its members. He is survived by his wife of 37 years, Ann 3rd Battalion of the 123rd Infantry. He resigned from AFTRA in 1985 to resume the Barry, his sons Paul and David Wolff and his practice of law. daughter, Laura Brant. Following the War, he resumed his legal career with a Chicago labor law firm, becoming a In 1988, Mr.Wolff became the National Execu- Modified and reprinted with permission from partner within two years. By the early 1950s tive Secretary of the American Guild of Musi- AFTRA magazine. Mr. Wolff had his own law firm in Chicago, cal Artists and counsel to Career Transition For representing many performers in broadcast- Dancers, which was incorporated that year. Ann Barry and Bud Wolff Setting the Foundation for Future Success Interview held December 2006

This year, as Career Transition For Dancers had served as Executive Director of AFTRA, and a stage manager when celebrates it’s 22nd year, we look back on how was now AGMA’s National Executive Secretary. she made her transition. much the organization has matured into Since she had found a adulthood. Celebrating some of the pioneers “[CTFD] was truly driven by Ann Barry,” said profession closely tied of CTFD — the essential people who helped Bud, “she really pushed it.” Ann recalls how to her previous one lay a solid foundation for the future growth of “Bud always had an affinity for dancers,” and and something she this organization, we acknowledge the collec- since his work exposed him to the needs of felt a great passion for, tive efforts of current Grants Administrator, all dancers, he was really responsive towards she realized that each and CTFD’s first President and Administra- helping Ann. “I leaned on Bud since he was transition is an individual process. “This,” she tive Director, Ann Barry and former Board a lawyer… he was always there… and the adds, “is one of the reasons why our organiza- Member, Sanford (Bud) Wolff. CTFD rejoices guidance he provided - I couldn’t have done tion can be so responsive — we recognize the in the success and growth that the organiza- without it.” Ann and Bud worked together individuality of each dancer and the individu- tion has experienced since its birth in 1985, to establish CTFD’s not-for-profit status, and ality of each dancer’s transition process.” and remembers the impact the efforts of this since their goals for the organization truly devoted couple have made on the lives of mirrored each other, they were able to focus As CTFD moves into the future and realizes thousands of dancers, nationwide. on bettering the organization and reaching out more and more opportunities for growth, the to as many dancers as possible. organization will always remain grateful for “What started as a union supported program is the foundation and original goals Ann and Bud now a nationally recognized arts service orga- set together. Ann and Bud hope that CTFD’s nization” says Ann as she reflects on CTFD’s “We shared the same fundamental philosophy of empowerment for evolution. The topic of career transition arose views,” says Ann, “that dancers continues. at an international conference in London in this was a program that 1981. The issue was later brought to a national Throughout her years with dance conclave at Lincoln Center, New York was much needed and the City, which recognized the problem that unions could be of great CTFD Ann has witnessed always existed but had never been addressed how “dancers have ‘found by the dance community. help — which they were and still are.” their voice’ sooner than All dancers eventually they used to… they are become aware that their Bud notes that some of their original concerns more aware and willing were “how do you make this attractive to careers will not last contributors?” and more importantly, “how to accept that dance is not forever, and when faced do you make it attractive to the people you’re trying to help?” These are challenges Bud and the be all and end all with this eventuality Ann faced together, along with CTFD’s other of their lives.” many find themselves board members and volunteer leaders. As an empowerment program, CTFD encour- in a serious crisis. Bud and Ann both agreed on the importance ages dancers to take charge of their lives and of approaching issues within the organization to take charge of managing change. “We are The result of the conferences was to make with a personal touch. here to help them understand,” says Ann, people in the dance world realize “that there “that they have the ability to take charge and was a void that could be filled by support- “Personal relationships do what is necessary.” When asked about ing dancers during their transitions.” Thus, it CTFD’s role in the future as dancers become was the performing arts unions that decided are instrumental in more proactive and independent, Ann states: to address this issue more proactively, and “I think there will always be an element of the Actors’ Fund of America initiated a pilot getting people to become concern as how to transfer the passion that program funded by the unions which coun- involved,” says Bud, “so that one has for performing as a dancer to another seled dancers in the process of transition. Ann career. Although people may be more able to served on the advisory board of this program help becomes welcoming identify what the challenge is, they may not and emphasized that “this was the Unions’ and not forbidding.” have the tools or see right away how they’re way of giving back to its dancers.” going to achieve their goal.” Thus, Ann’s current role as Grants Admin- As the program grew, Ann istrator is essential to the organization. Her This is when dancers come to CTFD for the warmth and ability to connect with dancers organization’s guidance and support. And realized that changing is important towards keeping the organiza- because of the hard work of Ann Barry and Bud the way the organization tion personal. “She has terrific patience,” Bud Wolff along the organization’s many support- added. However, Ann’s tremendous patience ers and advocates, dancers are able to continue was structured would and reverence for dancers aren’t the only through the transition process and create improve the long-term things that she contributes to CTFD pro- meaningful change for themselves. grams and services, her personal experience benefit to dancers. as a former dancer adds to the services she provides. Ann previously had a career danc- At this point, Ann looked to her husband Bud, ing on Broadway and in films and television, an experienced lawyer and union leader who and was able to work within the industry as March 20, 2008 Resource Information National Outreach Projects The ABC’s of Financial Planning Careertransition.org, an informational website; bi-coastal Smith Barney Financial Education Program (Part 2). Under- Career Resource Centers in New York City and Los Angeles; CTFD’s professional career counselors are taking their vital stand the reasons for saving, the value of a personal finan- the National Networking Directory connecting dancers individual and group career counseling services “On the cial plan, creating a successful plan and why budgets are around the country with similar career interests and edu- Road” to select cities this fall. important for taking control of ones future. cational resources; and computer literacy classes.

Boston, MA — September 23-24 May 27, 2008 Our Impact Hosted by the Boston Ballet Round Table: Gathering of the LA Dance Community Since its inception in 1985, CTFD has awarded more than An evaluation of the state of L.A. Dance Today — Needs 3,900 dancers in 47 states with an excess of $2.8 million Cincinnati, OH — October 7-8 and Solutions for the Community. in grants for various levels of education and retraining, Hosted by the Cincinnati Ballet and provided approximately 38,000 hours — equivalent July 26, 2008 to $4 million — of innovative career-counseling. Essential Seattle, WA — October 12-13 Balancing Life and Career to building a productive, satisfying future, these services Hosted by Pacific Northwest Ballet Are you trying to balance life and work and trying to do it have enhanced the lives of dancers who are attending, all? Learn some simple techniques that will help you put or have graduated from, an estimated 170 colleges, universities, and specialized certification programs, both Miami, FL — November 9-10 order and control into your life. here and abroad. Hosted by Miami City Ballet Holiday Networking Party NYC New York City, Actors’ Equity Building Monday, December 10, 2007 5-7pm.

Career Conversations Holiday Networking Party LA Scholarship News Los Angeles, SAG Building 5757 Wilshire in NYC Tuesday, December 18, 2007 4-6pm. Dancer and actress Sono Osato has recently given a major gift to increase the Sono Osato Graduate Scholarship September 17, 2007 Bring your business cards to hand out. Please come and Program. This generous gift of $200,000 will almost Grants and Scholarship Funds for School, join us for refreshments, munchies, and great company. double the current funds endowed to help dancers seeking Businesses, and Non-Profits Bring your own dish if you like. graduate degrees. Five “grant detectives” provide in-depth step by step strat- egies on how to research, acquire, and utilize grant money. Check our website at careertransition.org regularly for information on all NYC & LA activities and updates/ January 14, 2008 changes to the schedule above. Our website also has Teaching Artist Opportunities K-12 helpful links to other important organizations. Click on Supporters 06 Learn best practices on how to hone in on your dance skills “Programs and Services” to check them out. to get that perfect teaching job. Dear Friends,

February 25, 2008 On behalf of Career Transition for Dancers, I am High Powered, Big Bucks Careers profoundly grateful to your exceptional dedication and A panel of speakers talks about what it About Career Transition generosity during 2006. takes and how to become a tycoon or mover and shaker. For Dancers Your outpouring of friendship is the driving force that April 7, 2008 keeps CTFD on the cutting edge of specialized programs Start-Up Business Advice and Resources Dance is a passion. As a career, it is the fulfillment of a and services for dancers. With this and the year’s achieve- A panel of Entrepreneurs and representatives from Smith childhood dream — a privilege that many work hard to ments in mind, I am very proud to introduce CTFD’s list of Barney “Working Wealth” investment firm coach you on achieve and few attain. At CTFD, our goal is to keep danc- supporters for 2006. Its broad range of giving pays tribute, how to keep your money and use it to get you more. ers moving — as performers, as curious inquiring people, not only to the organization and its clients, but to you and when the time is right, as professionals possessed — our knowledgeable and enthusiastic donors whose gifts, April 24, 2008 of all the qualities and skills to make success happen a at every entry level of support, define the word, “partner.” The Business of Being a Dancer / second time around. Choreographer Each and every gift to our Annual Fund for 2006 and “ONE Representatives from Smith Barney investment firm Our Purpose WORLD,” our 21st Anniversary Jubilee Gala, helped make reveal how to best manage your money and always stay Whether our dancers are novice performers, seasoned the year a very memorable one. Thanks to our extended ahead of the game (co-sponsored by Dance/NYC). artists at the height of their technical and artistic “family” — growing roster of clients, alumni, and friends; prowess, or professionals on the brink of retirement, members of our Board of Directors and National Advisory May 12, 2008 CTFD recognizes they possess the assets and growth Board; foundation, corporation, and performing arts Idealists & Do Gooders: potential that every employer seeks. As the only arts- unions, we are forging ahead with new programmatic Careers in the Non-Profit World service organization in the United States dedicated solely initiatives and the educational and entrepreneurial schol- A panel of dancers discuss interesting jobs in the Non- to the enrichment of dancers’ post-performing years, arships that mean so much to dancer-clients throughout Profit and Foundation world and how to obtain those jobs. CTFD is committed to enhancing dancers’ many attributes the United States. through self-empowerment. Unique in purpose (unlike other programs that focus only on “survival jobs”), CTFD CTFD would like to thank Actors’ Equity It is with heartfelt appreciation for all that you have done helps dancers develop their identity and professional Association for hosting the Career to ensure the year’s success that I thank you, one and all. skills as they plan, pursue, and, ultimately, establish Conversations Seminars in New York City. rewarding careers to last a lifetime. Sincerely,

Our Programs and Services Alexander J. Dubé CTFD provides a broad range of cost-free specialized Executive Director services and resources. These include: Career Conversations Career Counseling in LA One-on-one strategic counseling and group “Career Con- versations” seminars, Focus and Support groups; National Career Transition For Dancers values the contributions of September 20, 2007 hands-on counseling through the National Outreach its many volunteers who gave so generously of their time Interview and Resume Do’s and Don’ts Project and local outreach seminars to the performers and talent throughout the year. With deepest gratitude, Learn what communicates your special skills and talents of major dance companies, as well as to pre-professional thank you so much. to your perspective employers. students of universities, conservatories, and dance com- pany-related academies; and CareerLine, our nationwide January 29, 2008 toll-free telephone hotline. The ABC’s of Credit Every effort has been made to ensure the accuracy of Smith Barney “Working Wealth” Financial Financial Support the list. Please call William Dale at (212) 764-0172 with Education Program (Part 1). Understand the definition of Limited educational scholarship grants for undergraduate questions or corrections. credit, its impact, managing credit, the application process and graduate education; entrepreneurial grants to help and safeguards to help you protect your credit rights. dancers grow and form a business. Sonja Rand & Anthony Kane Gail & Richard Maidman Stephanie French Supporters 06 SUSTAINERS $1,000 to $2,999 Heather Randall Sherry Matays Susan & Evan Friedman Leonard Abess Teresa Reyes & Martin Monas Peter Means Sandra Froelich The Actors’ Fund Of America – Nancy Ellison & William Rollnick Mr. & Mrs. Dudley Mecum Kathryn Gabler & Melvyn L. Cantor ANGELS $100,000 & above Joseph P. Benincasa Christina Rose Bruce Michael Mignon Ganne Rolex Watch U.S.A., Inc. Allomatic Industries Victoria Lasdon Rose & Dr. Donald J. Rose Gayle Miller Mr. & Mrs. Joseph Garber Screen Actors’ Guild – Producers Industry American Friends of the Paris Opera Gail Sanders Barbara Nessim & Jules Demchick Dov Gertzulin Advancement and Cooperative Fund Ballet Robert Schaffer Helen & Jim Neuberger Jonathan Gochu, M.D. Ann-Margret Eileen & Allen Scherl Michael & Nancy Newman Nancy S. Goldberg LEADERS $50,000 to $99,999 Anonymous Scott Schoettes Mary Nimkoff Patricia & David Goodrich Cambria Estate Vineyards & Winery Jody & John Arnhold Lisa & Bernard Selz, The Selz Foundation Paula Sarnoff Oreck Rachel & Charles Gray Dance Magazine and Pointe The George Balanchine Trust Jean Shafiroff Jo Ousterhout & Jeffrey D. Fergus Jane Grenier Samuel I. Newhouse Foundation, Inc. Mr. & Mrs. James P. Baldwin Susan B. Shanks Julie Fleece Owens Susan Beth Gruber Jami Baldwin Jean & Lawrence Shaw Guy Pace Mary Guettel PACESETTERS $25,000 TO $49,999 Margaux & Aaron Basha Linda Shelton – The Joyce Theater Jamie J. Brust Perez Burkes Hamner Denise & Brian Cobb Ruth & Ted Baum Irene & Fred Shen Pamela Phillips & Todd Morgan Joseph Harris Computer Associates, Inc., John Swainson Frank Baxter Adrianne & William Silver A.J. Pietrantone Vicki Harris John Goodman Tina Blakeman Mr. & Mrs. Jay Snyder Ellen & Roy Piskadlo Stanley E. Harrison Lloyd E. Rigler – Barbara & Robert Bradford Richard Soloway Jane Powell & Dick Moore Carole Divet Harting Lawrence E. Deutsch Foundation Inge & Lester Brafman Vada & Ted Stanley Lavinia Giuliani Ricci & Colette Hawkins Fe & Alessandro Saracino Fendi Christopher Brant Fran & Victor Strauss Giorgio Masetti Zannini Martha & Frank Hegeman Cynthia & Bruce Sherman Philippe Braunschweig Judy & Donald Tallarico Richard Rippe Sally & Elliot Heller Robin & Elliott Broidy Claudia Terlizzi Danielle Rodriguez & George Schneider Doris & Leo Hoenig BENEFACTORS $10,000 to $24,999 Isabel Brown & George Irving Barbara & Donald Tober Xenia Krinitzky Roff Fred Hohn Actors’ Equity Association, Inc. (NY) Elizabeth Bryden Chevalier Desmond Towey Janice & Donald Rosenthal Meg Huggins American Federation of Television and Buccellati, Inc. – Lauren & Mario Buccellati Lee & Marvin Traub Ralph Rucci Lucia Hwong-Gordon Radio Artists Foundation Rachel & Michael Byars June Ugelow Stephen Ruchman – Tracy Inman American Guild of Musical Artists, Robert M. Carr Mimi & Alan Vella Ruchman Associates, Inc. Robert Israel, D.D.S. AFL-CIO Susan & Alan Casden Honey Waldman Margery Russell Kenro & Yumiko Izu Anonymous Vivian B. Chambers Anne & Tom Wamser Homera Sahni Suzie Jary Bank of America José Farías Chapa Marilyn & Robert Weinberg Michael Alan Salem Lesley Jennings Tina & Jeffrey Bolton Theodore S. Chapin Fran & Barry Weissler Mary & Saul Sanders Lauren Jonas Bossak-Heilbron Charitable Emily Chen & Christopher Carrera Ann Colgin & Joseph Wender San Francisco Ballet Barbara & Christopher Kende Foundation, Inc. Mr. & Mrs. Gustavo Cisneros Daniel J. Williams John Sefakis Ray Klausen & John Harrington Capezio/Ballet Makers Dance Shepherd Clark Pat Woglom Philip Seldon Sue Klein Foundation, Inc. Coco Clayman-Cook Lois & Martin Zelman Barbara Selz Violetta Klimczewska Carnegie Corporation of New York Alice & Stuart Coleman Selma Sirkus Hans Kriefall Suzanne & Robert Chute Arlene C. Cooper SUPPORTERS $250 to $999 Marilyn & Barry Steiner Susan Landesman Condé Nast Publications, Inc. Caroline & Paul Cronson Actors Equity Foundation, Inc. (NY) Stephanie Stokes Sondra Bianca Landin Barbara & Robert Crown Mary Sharp Cronson Heléne Alexopoulos Warrick Elizabeth Stribling Jacqueline Leeds The Victor Elmaleh Foundation, NormaLynn Cutler Karen & Lewis Altfest Dr. Wilfredo Talavera Mr. & Mrs. Lee Leonard Sono Osato and Victor Elmaleh Scott Dainton & Cross Siclare Luis Alvarez Paul Taylor Dance Company Amir Levy The Ford Foundation Ada & Daniel de Maurier Donald J. Ambrose Jon Teeuwissen Dawn Lille Connie & Thomas Galloway Kelly Demarco Fran & Mahyar Amirsaleh Daphne Telfeyan Marc Lipman Jill & Martin Handelsman Mrs. Richard E. Diamond Marion Amsellem Theatrical Stage Employees, May & William Louie The Harkness Foundation For Dance Mr. & Mrs. Robert Donohue Judith Anderson & Donald Grody Local One I.A.T.S.E., AFL-CIO Lori Mahl Independent Artists of America Julia Dubno – Ballet Academy East Anonymous Cynthia A. Thelen – Roni J. Mahler Patricia J. Kennedy Mitzi & Warren Eisenberg Maryam Ansari & Akbar Lari General Mills Foundation Christina Mainwaring-Samwell Sandra Lee Family Foundation Veronica & James C. Baker Malcolm Thomson Brenda & Chris Major Nancy & Duncan MacMillan Gail & Alfred Engelberg Ballet Theatre Foundation, Inc. Marsha Tosk & Seymour Ubell Merceditas Manago Movado Group, Inc. – James A. Essey & Nina Zakin Essey Virginia & Robert Barnett Robert Valdes-Calusell Rosemary & David Mandelbaum Gedalio & Efraim Grinberg Fund – The New York Community Trust Dr. Phillip A. Bauman Jaquie von Rohrscheidt P.J. Mann John Scot Mueller Mary Lou Falcone & Nicholas Zann Samuel Bennett Terry Walker Herci Marsden, State Ballet of National Endowment for the Arts Patricia & Edward Falkenberg Eva & Tobias Bermant Peggy & David Weisbrod Rhode Island Anka K. Palitz Thomas King Flagg Bruce Bider Michael Weiskopf Lisa & Allan Marzen Lewis S. Ranieri Olivia & Adam Flatto Edith C. Blum Foundation, Inc. Maria C. Wirth Mary Ann & George Mathys The Jerome Robbins Foundation Martha & James Fligg Julianne Bond Barbara Wolf Brian McDonald Screen Actors’ Guild – Darren Fogel Bonny Borden Woo Family Charitable Foundation – Julie McDonald Motion Picture Players Welfare Fund Barbara Fox-Bordiga Dr. & Mrs. Jeffrey Borer Glenn & Linda Woo Kevin McKenzie Thornburg Charitable Foundation – The Barry Friedberg and Charlotte Elaine F. Brodey Doreen Wright Shirley M. Mordine Catherine Oppenheimer & Moss Family Foundation Lawrence Brodey – Jaclo Industries Marta Xercavins Milton J. Mosk & Tom Foutch Garrett Thornburg Annette and Jack Friedland Charitable Susan K. Burke Ingrid Yonke Barbara Myers Ann & William Van Ness Foundation, Inc. Pamela & John Casaudoumecq Zdenek Financial Planning LLC Eric Myers Laura & William Lie Zeckendorf Loti Falk Gaffney Jeannette & John Cibinic Baroness Mariucia Zevilli-Maremo Joanna Myers Marion & John Gasparinetti Jerry Cole Cathy & Seymour Zises Barbara & Norman Namerow PRODUCERS $5,000 to $9,999 Trutti Maria Gasparinetti C.C. Conner Rachel & Michael Zugsmith, NAI Capital Jeffrey L. Newhouse Actors’ Equity Association, Inc. (CA) Mrs. John W. Georgas Lauren B. Cramer Yana Nirvana Anonymous Mary Gilbert Dance Paws LLC Friends $5 to $249 Valentina Oumansky Janice & Stuart Becker Cynthia & Stanley Gingold Peggy & Gordon Davis Brenda Anderson Ann Owen Evelyn Berry Elaine & Joel Golstein Teran Davis Anonymous (6) Sabrina Pagani Broadway Cares/Equity Fights AIDS Cynthia Gregory & Hilary B. Miller Norberto De La Rosa Ian Archer & Jack Watters Laura Pati & Dr. Mark L. Urken Alexander J. Dubé Barbara & David Gross Josephine & John Destefano Karen Arenson Marianna Pecora Mercedes Ellington Sadie & John C. Hall Mr. & Mrs. Irwin Deutch Barbara Badyna Katherine Persky Gillian Fuller Anneliese Harstick Elizabeth Dobrish Nancy Ball Robert Petza Yolanda Santos Garza Betty & Fred Hayman, Fred Hayman Margaret F. Donovan Ballet Chicago Sally R. Phelps Victoria Herbert Family Foundation Patricia Eltinge Robert J. Banas Constance H. Poster Mr. & Mrs. Robert F. Hoerle Darlene & Brian Heidtke Adrienne & Russ Fierman Angela Barton Dr. Naomi Rabinowitz Lenore & Fred Kayne Chris Hellman Jeanne C. Finlay Mr. & Mrs. Robert Batchelor Bart Raffaele Linda & Jim Malone Michele & Lawrence Herbert Jacqueline Fowler Jeri Beaumont Melissa R. Randel Lori A. Milken – Celina & Noel Hernandez Elizabeth Frankel Jeanna Belkin William T. Rooney The Milken Family Foundation Yaz & Valentín Hernández Dame Diana Frankel Henry & Jayne Berger Kathy & Skip Rosenblatt Irene Belk Miltimore William Barron Hilton Marilyn & Lawrence Friedland Larisa Beskina Laura Rosenwald Alexandra Nadal & Eugene Slavin Judith M. Hoffman Lola M. Froman Irving & Joan M. Bolotin Fund Dr. Jeffrey S. Roth Newmark & Company Real Estate, Inc. Anita Jaffe Victoria & Jay Furman Zane Booker Sharyl & Greg Rubin New York State Council on the Arts Judith Jones Marina & Franchesco Gallesi Jeanne Bresciani & Steven A. Orenstein Maxine & David Rush North Fork Bank Johanna Judah Jane Gould Diana Baffa Brill Donna Russo Carol & Nicholas Paumgarten – Mariana & George S. Kaufman Susan Greenfield Steven C. Brill Suzy Saltzman Steps on Broadway, Inc. Richard M. Kielar & Christian Zimmermann Ricelle Grossinger Elaine & Daniel Brownstein Shelley Sayetta Mark Sayers Fiona & Alex Kirk Diane Grumet Barbara & Steven Buffone Lynn Hecht Schafran Theodore Sayers Bettie & Gary Kraut Maly Guirola Mary Burke – Burke Design Isabel & David Schmerler Karin Schwalb Dr. Susan C. Krysiewicz & Thomas Bell Josephine Hall Caitlin Carter Margaret Schwartz The Shubert Organization, Inc. Lisa & Jay Larkin Dr. Eva M. Hansen Marge Champion Christine & Raymond Serrano The Silbert Family Foundation – Dr. Roberta Leff & Roy Raved Fred D. Hoff Charles M. Chernick – Margaret M. Sharkey Roberta Silbert The Elbert Lenrow Fund, Inc. Hans E. Hopf Arthur Chernick Co., Inc. Stacey Shea Susan Fawcett Sosin Bernard H. Leser Lynn & Ralph Huber Annika L. Cioffi Susan Sigrist Michael Terlizzi – Harvey Lichtenstein Charles W. Hungerford Cheryl Clark Todd Sinett Capezio/Ballet Makers, Inc. Lea & Ben Lipman Marjorie S. Isaac Hope Clarke Martha M. Skidmore Vicky & Raul Walters David Mack Jacob’s Pillow Jane Condon & Kenneth Bartels Kathleen Stanford-Grant Susan & Morris Mark Denise Jefferson Judy Coopersmith Chantal Stern DIRECTORS $3,000 to $4,999 Lady Maughan Shelley Johnson Andrew Currie Joanne Stern ABC, Inc. Linda May & Jack Suzar Erica Jong & Ken Burrows Yvonne Curry Ruth Ann Stewart Amy & Elliott Adler Stephanie & David McCaw Florence B. Kahn Bella Malinka Dall Stuart A. Sundlun Allen & Company Incorporated Joe McGinnis Madeline & Theodore Kaplan Barbara De Leon Randy Swartz Mildrid C. Brinn Anne Walsh McNulty Jerry Kauff Webster Dean Christina Tadross Mr. & Mrs. John K. Castle The Edith Meiser Foundation Mr. & Mrs. Charles Kaufman Ann Marie DeAngelo Anna M. Taglieri Justine DiCostanzo Marla Metzner-Gidlow & Gary Gidlow Mary Theresa Khawly Joanne DiVito Sandra Teger & David Waks Linda & James Ellis Fund Vivian Milstein Dorothy Kochiras Carolyn Dorfman Pat Trott-Skarlatos Myrna Felder Ruth Mueller Margo Korda-Schoneman & James Dybas Demetrios M. Tryforos Cynthia Fischer, Esq. Barbara & Peter Newhouse Martin Gottfried Lisa Ebeyer Vanessa Valcillos Diane & Guilford Glazer Katharine & David Newhouse Mr. & Mrs. Marvin Krauss Bruce Emra Felicia d’Amico Velasco Rachel & David Goldring Lorry & Mark Newhouse Margaret Kreischer Ellen Estes Edwardo Vilaro Peter C. Gould Robyn A. Newhouse, Ph.D. Robert D. Krinsky – The Segal Company Lois Fischer Ewert Deborah Weaver Raul M. Gutierrez The New York Times Company Margaret M. Langenberg Charlotte Fairchild & A.J. Pocock Julia & Gerry Westerfield Judyth & Reuben Gutoff Foundation, Inc. Pia & David M. Ledy Juliette Feffer Edward Weston Ketty & Francois Maisonrouge Madeline Oden Dr. & Mrs. Larry Lerner Claudia Fine & Dr. David Hurwitz Mary & Paul Wolff New York City Department of Judith & Samuel Peabody Caroline Lieberman James Darrell Fontenot Diane Woodward Cultural Affairs Mr. & Mrs. Jeffrey Peek Julie & Richard Lobel Lori Lynott Freeman Annie Zinker, C.S.W. Patricia & Thomas Shiah Nancy & Steven Peters Murray Louis Mikala Freitas Christopher Zunner CTFD Ad 07 Newsletter F:Layout 3 8/14/07 10:13 PM Page 1

Career Transition For Dancers presents The Caroline & Theodore Newhouse Center for Dancers Career Transiitiion For Dancers 22nd Anniiversary Jubiillee

Cynthia Gregory Visit Us Online Chairman Emerita For more information about our programs and Caroline H. Newhouse services, please visit (1910-2003) careertransition.org. AN ELECTRIFYING EVENING OF ENTERTAINMENT Luigi Gasparinetti DANCEAN ELECTRIFYING EVENINRG OFOENTCERTAKINMSENT (1942-2002) Mailing List Sanford I. Wolff (1915-2007) If you would like to give MMOONNDDAAYY,, OOCCTTOOBBEERR 2299,, 22000077 •• 77::0000 PPMM •• NNEEWW YYOORRKK CCIITTYY Directors Emeriti us feedback or have your honoring name added to our mail- ing list, please email us at

Edward Weston (1925-2006) r e g n o i

[email protected]. l r

Founding Chairman o h t m O o o u o c l i R r B e y r d r m e e r o J T F :

MovingOn has been gener- : : o Ann Barry o o t t t o o o h h h p Founding Director ously underwritten by Screen p p Actors’ Guild – Producers Industry Advancement and BBEBBE NNEUUWWIIRTH TTHHE JJEERROMEE RROOBBBBIINNSS AANNKKAA KK.. PPAALLIITTZZ Board of Directors Cooperative Fund. FFOOUNNDDAATTIIOONN Honorary Jubilee Chair Cynthia Fischer Selected CTFD services l “the most e

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are supported, in part, by “…spectacular… A - exhilarating n a m

public funds from the scintillating…” e

n benefit occasion i Judith Anderson F New York City Depart- a n I’ve ever seen.”

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ment of Cultural Affairs. o Times t – WQXR Radio o h p Terry Walker PPRIISSCIILLLAA PPRRESLLEEYY Secretary / Treasurer with appearances by Special thanks to NYSCA s a l

Janice Becker for its support o h a c i e N n . Joseph P. Benincasa u t D S e e i e Elaine F. Brodey n d a l n e a R M :

Robert M. Carr : o o t t o o h h p Caitlin Carter p Denise L. Cobb The National Outreach Proj- C.C. Conner CCHHAARLOOTTTEE DD’’AAMMBOOIISSEE CCHHRRIISSTTIINNEEEEBBERRSSOOLLEE MMEELLIISSSSAA MMAANNCCHHEESSTTEERR ects for 2007 are underwrit- featuring special performances by and artists from Mercedes Ellington ten, in part, by the National Myrna Felder, Esq. Endowment for the Arts. AAmmeerriiccaann BBaalllleett TThheeaattrree,, AAttllaannttaa BBaalllleett,, BBaalllleett SSaann JJoossee,, DDaannccee TThheeaattrree ooff HHaarrlleemm’’ss David Goldring DDaanncciinngg TThhrroouugghh BBaarrrriieerrss EEnnsseemmbbllee,, DDaanncciinngg WWhheeeellss,, DDPPOONNEE,, MMiigguueell FFrraassccoonnii,, Nora V. Heiber TThhee JJooffffrreeyy BBaalllleett,, KKRR33TT’’SS,, NNeeww YYoorrkk CCiittyy BBaalllleett,, EElliizzaabbeetthh PPaarrkkiinnssoonn,, PPaarrssoonnss DDaannccee CCoommppaannyy,, Denise Jefferson KKeeiitthh RRoobbeerrttss,, JJoohhnn SSeellyyaa,, JJaassoonn SSaammuueellss SSmmiitthh,, MMrr.. WWiigggglleess,, WWyylllliiaammss//HHeennrryy DDaannccee TThheeaattrree Florence B. Kahn pplluuss mmoorree SSttaarrss aanndd ssuurrpprriisseess...... Harvey Lichtenstein produced and directed by Ann Marie DeAngelo Lourdes Lopez Program and cast subject to change without notice. Nancy S. MacMillan Career Transition For Dancers admits eligible Patron Tickets: $1.200; $750; $600 and Tables including Anka K. Palitz premium performance seating and post-performance Karin Schwalb current, former, and future "Anniversary Supper with the Stars" contact Marjorie Horne 212.228.7446 x33 • Group Sales: 718.499.9691 Roberta Silbert professional dancers of any Jae Je Simmons race, color, sexual orienta- PERFORMANCE ONLY TICKETS AT $130, $75, $55, $45 Michael Terlizzi tion, national and ethnic 2222nnddAAnnnniivveerrssaarryyCChhaaiirrssPattrriiciia J.. Kennedy aannddAllllen Brriillll origin to all the rights, Lori Rosecrans Wekselblatt UUnnddeerrwrriitttteennbbyyCondé Nastt Publliicattiions aanndd The Samuell II.. Newhouse Foundattiion Mary Lou Westerfield privileges, programs Laura Zeckendorf and activities generally is the official wine sponsor of the 22nd Anniversary Jubilee accorded or made available Executive Director to its clients. CTFD does not Alexander J. Dubé discriminate on the basis of race, color, sexual ori- New York City Office entation, age, national and The Caroline & ethnic origin in administra- Theodore Newhouse tion of its policies, scholar- Center for Dancers ship awards and other 165 West 46th Street organizational programs. Suite 701 New York, NY 10036-2501 Newsletter Credits Tel (212) 764-0172 Fax (212) 764-0343 William J. Dale Career Transition For Dancers Non-Profit Organization Director of Development The Caroline & Theodore US Postage Los Angeles Office Editor Newhouse Center for Dancers PAID 5757 Wilshire Boulevard 165 West 46th Street, Suite 701 Permit No. 79 Suite 455 Cynthia Fischer New York, NY 10036-2501 Hackensack, NJ 07601 Los Angeles, CA Anne Coburn 90036-3689 Paulette Fried Tel (323) 549-6660 Heidi Woo Fax (323) 549-6810 Contributing Editors & Writers Career Line 1-800-581-CTFD (2833) Keith Venkiteswaran Sponsored by The Silbert Design Family Foundation, Dance Magazine & Pointe, and Action Graphics Cynthia Fischer Printing