Open Road sets date for 'Outrun'

'Outrun'Open Road Films has dated its first summer pic, the Dax Shepard romantic action-comedy "Outrun," for Aug. 24. Pic, which Shepard wrote and co-directed with David Palmer, follows an ex-getaway driver (Shepard) who, after agreeing to drive his girlfriend to Los Angeles, is confronted by the authorities and his former gang. Kristen Bell, Bradley Cooper, Tom Arnold, Beau Bridges and Kristin Chenoweth co-star. Producers are Andrew Panay, Nate Tuck, Kim Waltrip and Jim Casey. Open Road, whose only release so far, "Killer Elite," has cumed a modest $25 million this year, acquired U.S. rights to "Outrun" last month. "Outrun" is the fourth mostly male-targeted pic due out on Aug. 24, along with Warner Bros.' suspense thriller "The Apparition," with Ashley Greene and Tom Felton, Sony's Joseph Gordon-Levitt-actioner "Premium Rush" and Ethan Hawke-starrer "Sinister." Late August B.O. has become primo real-estate for some pics -- typically gender-specific titles like this year's femme hit "The Help" and male-driven "The Expendables" in 2010. Open Road's next release, Liam Neeson survival pic "The Grey," bows on Jan. 27, followed by horror film "Silent House" on March 9. Contact Andrew Stewart at andrew.stewart@variety.com

Relativity pushes 'Safe Haven' to 2013

Relativity Media has pressed back the release of the Nicholas Sparks adaptation "Safe PlaceInch to February 14, 2013, positioning the Lasse Hallstrom-directed love story for fulfillment over Valentine's weekend. Pic was skedded to start June 1, 2012, though Hallstrom yet to start casting, the expansion delay was inevitable. "Safe PlaceInch follows a young lady who moves with a small New You are able to town to have the ability to escape her past. She quickly falls for just about any loving widowed father who heals her heart helping her escape the danger that expects her. Dana Stevens ("Capital of scotland - Angels") written the script, which Jamie Linden ("120 MonthInch) recently did a rewrite on. Sparks is creating with Relativity Boss Ryan Kavanaugh and Temple Hill Entertainment principals Wyck Godfrey and Marty Bowen, while Relativity prexy Tucker Tooley will professional produce. Hallstrom is not any stranger to Sparks' work, getting formerly helmed the bigscreen adaptation in the best-selling author's novel "Dear John," which Kavanaugh funded and Temple Hill produced. That pic made nearly $115 million worldwide. Relativity acquired the rights to "Safe PlaceInch in the heated investing in an offer war in August 2010, once the organization introduced it may be fast-monitoring the project. Grand Central Posting released it the following month, and Relativity provided marketing and marketing support through its Rogue Network together with other shops. Contact Rob Sneider at rob.sneider@variety.com

Brad Bird on Not Killing Tom Cruise While Making 'Mission: Impossible - Ghost Protocol'

Director Brad Bird makes a tremendous leap from animation (some little movies you may have heard of like 'The Incredibles') to live-action with 'Mission: Impossible - Ghost Protocol.' It's nearly as big as a leap as his leading man, Tom Cruise, makes in the film -- part of a breath-stopping swing on the world's tallest building as he attempts to get back to safety with a rope that's far too short. Considering that was Cruise doing his own stunts, that it was all being shot in IMAX, with helicopters, while dozens of tourists looked on might have given even a seasoned pro a heart attack, but Bird told Moviefone he actually pushed Cruise to go faster. For your first live-action movie, you decided to shoot it in IMAX, film in locations all over the world and have death-defying stunts. So, just a little movie. [Laughs] It actually wasn't that pre-thought-out. I was actually working on another film called '1906,' which is also big and complicated, and the story is just very challenging to pull together. And then the opportunity arose to jump onto this. I'd known J.J. [Abrams] for a long time and I met Tom right after 'The Incredibles.' One element that I shared with both of those guys is not only a tremendous respect for their talent and their work, but we all really love the medium of film. When we talk, we can talk about it until our eyes are glazing over. We enjoy it so much that a chance to work with both of them on the same project was really fun. Were you worried at all about killing your leading man in the showpiece stunt on the Burj Khalifa? The sequence that we shot on the Burj Khalifa ... the sheer number of pieces to that puzzle were staggering. Tom is hanging from a helicopter that could only stay up in the air for half an hour and the IMAX cameras can only shoot for a couple of minutes and if they run out of film, there's no room to reload, so they have to fly back to base. And there's a deck about halfway up and the tourists there look up and they see Tom Cruise hanging on the building above them and they're shooting video and saying "Oh, hi, Tom," and Tom's just straining and every muscle in his body is quaking and he's starting to lose blood in his legs. Tom's on a wire and he has to run to the side of the building and then he has to hold on and while they were doing it, the helicopter drifted and I saw a better angle for the second part of the shot. So I said, "Wait a second! Go back to that position you were in!" And Tom's like holding on the side of the building and he's like, "Are we ready?" and he's just straining his muscles. And the stunt guys are like, "Hang on a second longer, Tom, we're just changing the camera position." And meanwhile, Tom's hanging onto the building and the tourists are filming and it's madness, absolute madness, but I think it resulted in a pretty cool sequence. It's a very cool sequence. So you got no complaints from Tom about being pushed to the limit? The shot where he runs down the side of the Burj, he did it and they were being a little conservative and I said, "Can you go a little faster," and Tom's like, "Yeah, let's go a little faster," I said, "OK, I think we got it." But Tom could hear it in my voice that I hadn't gotten what I wanted, so he was like, "What is it?" So, I asked [meekly], "Can you go a little faster?" And he said, "You bet." So we did it and that's the one that's in the film -- he's racing down the side of the building. Which one of you was pushing harder to be more extreme, you or Tom? We equally like things pushed, but certainly if you want to push it, Tom is your guy. Did it ever hit you that Tom could easily plummet to his death if something went wrong? Everybody was in the frame of mind of just focusing on doing their job the best they could. That said, when I went back to the hotel that night and we'd gotten some of these amazing shots, at about 3 in the morning, my eyes snapped open and I sat up and went "Hooh!" I realized if anything happens to Tom, we've got no movie. But in the moment, the adrenaline was flowing... Oh yeah. I was just intent on getting the camera into the right spot and not on losing blood flow to Tom's legs. [Laughs] Was the goal for the fourth film to make it bigger than the the others? Yeah, I think we were all attracted to the idea of these set pieces. But the weird thing is ... this is the biggest 'Mission: Impossible,' but I was really inspired by the last 'Mission: Impossible,' which got more emotional and got into smaller moments. So I would say, hopefully, it's got some of the biggest 'Mission: Impossible' moments but also some of the smallest 'Mission: Impossible' moments in terms of character stuff. Hopefully there's everything under the sun. Producer Bryan Burk said you'd made a decision to "punch up" the humor on this one. I wouldn't say I'd "decided." I felt like ... a movie that I absolutely love is 'Raiders of the Lost Ark' and to me, there's a wonderful balance between humor and genuine suspense and action. And the humor doesn't cut any of the genuine adrenaline that the rest of the movie has. I hate movies where they kind of wink at you. There's a couple of exceptions, 'Airplane' being one of them, where the whole movie is one big wink. I think you have to invest yourself in the moment. The humor in a movie like 'Raiders' comes out of real situations and it comes out of character and that, to me, is the best possible blend of those things. If you're going to have a popcorn movie, you can't do any better than 'Raiders.' Some of those famous lines, Harrison Ford famously improvised. Were you open to letting your actors riff like that? Why would you have those guys, like Simon Pegg, if you weren't? Many moments in the film, people just popped out with [a line] on the spot. Everyone was very good about doing what was written, but they also knew that I was up for deviations. Sometimes I asked for things, or I'd change a line on the spot. Sometimes they'd say something spontaneously. One of the things people ask me is "What's the difference between live action and animation?" and spontaneity that can happen in a live-action film but it's very difficult if not impossible in animation. The whole medium is about pre-planning. So that was fun for me, absolutely. I loved that. So nothing they did ever threw you? No, no. I took classes in acting to better understand how to talk to actors. Before this? Years ago, before I did my animated films. I know what that kind of stuff is. And in my animated film, I improv'd with soundtracks. Usually, I'll write things on the spot or just say, "Oh, what if we change this?" Renner came up with a lot of lines that actually would up in the film. [Photo: Paramount] Follow Moviefone on Twitter Like Moviefone on Facebook

Israeli TV formats make mark in States

Showtime has restored critical darling 'Homeland' using the Israeli skein 'Prisoners of War.''Who's Still Standing' debuts on NBC.'Traffic Light' stood a 13-episode work on Fox.The ascendance of Israel's fast-growing TV industry just like a supplier of series ripe for remakes by U.S. producers is buttressed by its readiness to think about chances on unusual styles with implies that might be cheaply produced.Showtime's terrorist drama "Homeland," using the Israeli series "Hatufim" ("Crooks of War"), might be the most recent to own made an impact with audiences and experts. The Claire Danes starrer, of a U.S. soldier whose loyalties will be in question after he returns home getting gone missing in Iraq, remains restored for just about any second season. Other Israeli suggests which have spurred the attention of U.S. customers have dedicated to periods from the mental health expert and patients (HBO's "In Treatment," which went for 3 seasons), together with rapport comedy between three pals as well as the women inside their lives (Fox's "Traffic Light," that have a 13-episode run taken).Put in this mix the other day is NBC gameshow "Who's Still Standing?" (see review, page 24), featuring mind-to-mind trivia battles between one primary competitor and 10 rivals. If participants have no clue the best reaction to an problem, a trap door opens and so they literally quit of the sport.InchIt is an easy-to-explain format and eye-catching," states Peacock alternative topper Paul Telegdy. "When you're in a position to experience plus a gameshow in the language and wish to consider what's happening, this can be a pretty strong indication" that it's going to translate.Lisa Shiloach-Uzrad created the first Israeli series, titled "Still Standing," with Amit Stretiner. Shiloach-Uzrad, who also brings out the Israeli reality competition series "The Frame" for the CW next season, qualities the present uptick in adaptations of Israeli programs to a lot of factors, like the energy of Israel's youthful, fast-growing TV industry. Until 18 in the past, Israel had only government-controlled public broadcasting. Using the development of a commercial broadcaster in 1993 one more private outlet 10 years later, Israeli TV increased being more competitive."Frequently it requires one success story being observed in order to become legitimate option, but 'In Treatment' could be an amount,Inch states Shiloach-Uzrad. "It gave us an chance to place a ft directly into exhibit that which you have.""Still Standing" can be a worldwide player. Another season in the original Israeli version remains bought, and five foreign models in the series air globally, including in the united states and Chicken. Aircraft aircraft pilots for French and German systems will probably be shot early next season. Ben Bailey ("Cash Cab") hosts NBC's edition.Tim Crescenti, leader of Small World Intl. Format Television, is experienced in buying foreign formats and re-creating Tv shows around the globe, including "I Managed to get a Japanese Game Show," which broadcast for just two seasons on ABC. According to him once-insular areas are becoming thinking about developing for foreign areas."Because you'll find minimal programming options to acquire by having an Israeli funnel, (Israeli producers) recognized they must be more creative and think outdoors of Israel," Crescenti states.Showtime entertainment leader David Nevins, who states the "Homeland" deal became a member of together through WME agent Ron Rosen, who introduced the idea to clients Howard Gordon and Alex Gansa, credits the privatization of broadcasting for Israel's creative surge, and states he sees Israel just like a "culture of storytellers.""It's switched to become fertile territory for sophisticated television," according to him. "There is a inclination to draw in interesting figures.""Homeland" producer Alex Gansa thinks the comparative youth in the Israeli TV marketplace is a considerable aspect in why its shows are becoming looked for-after characteristics by U.S. nets."They aren't boxed into in any manner of telling tales yet," according to him. "There's a freedom and freewheeling style that's very attractive to people within America. We frequently finish track of narrow-minded about things -- doctors, lawyers, police procedurals -- as well as the Israelis, among others, have broken free of that."Simply, that could be because of Israeli shows' lower budgets, an problem Shiloach-Uzrad also cites becoming an inspiration for creative solutions. Gansa states "Hatufim" is perfect for under $200,000 per episode."When there is not the financial outlay, there's a real freedom to check a new challenge,In . according to him, "which we've the advantage of watching to determine if they're effective." Contact the number newsroom at news@variety.com

Another Weak Weekend: New Years Eve #1 But Underperforming; So Is The Sitter #2

SATURDAYAM: I sound like a broken record because it’s anotherdisappointing domestic box office. And thesecond weekend in a row where the overall movie total won’t make more than $80M for possibly 2011′s lowest haul. It’s also down 8% from last year.No surprises in the Top 10 since Warner Bros’ New Years Eve was expected to unseat Summit’s Twilight Saga: Breaking Dawn Part 1 which spent three straight weeks at No. 1. But what is alarming is that the latest in thisholiday-themed franchise is coming in way less than the $20M which the studio predicted. New Year’s Eve hit a brick wall on the late shows last night and flattened out considerably.”Not much champagne for that opening,” one rival exec snarked to me. Especially with all those name actors and actresses cast in the season’s only romantic comedy. Showing yet again that in 2011 stars and derivative storytellingdon’t attract moviegoers right now. Audiences gave it a ‘B+’ CinemaScore. Fox’s The Sitter came in second and actually did some business late and in the West so the numbers came back a bit.Butit’s worse than even the lowered expectations going into this North American weekend.Audiences gave it only a ‘C+’ CinemaScore. Good thing this Jonah Hill pic cost next to nothing.Deadline Hollywood will be holding its movie awards season ‘The Contenders’ event this Saturday and Sunday: 1. New Years Eve (Warner Bros) NEW [3,505 Theaters] Friday $5M, Estimated Weekend$14.5M 2. The Sitter (Fox) NEW [2,750 Theaters] Friday $3.7M, Estimated Weekend $10M 3.Breaking Dawn Part 1 (Summit) Week 4 [3,605 Theaters] Friday $2.4M, Estimated Weekend $7.7M, Estimated Cume $259.3M 4. The Muppets (Disney) Week 3 [3,328 Theaters] Friday $1.6M, Estimated Weekend $7M, Estimated Cume $65.7M 5. Hugo (Paramount) Week 3 [2,608 Theaters] Friday $1.5M, Estimated Weekend $6M, Estimated Cume $33.3M 6.Arthur Christmas (Sony) Week 3 [3,272 Theaters] Friday $1.4M, Estimated Weekend $6.5M, Estimated Cume $33.4M 7. The Descendants (Fox Searchlight) Week 4 [876 Theaters] Friday $1.3M, Estimated Weekend $4.3M, Estimated Cume $23.5M 8. Jack and Jill (Sony) Week 5 [2,787 Theaters] Friday $870K, Estimated Weekend $3M, Estimated Cume $68.4M 8. Happy Feet Two (Warner Bros) Week 4 [2,840 Theaters] Friday $840K, Estimated Weekend $4M, Estimated Cume $57.1M 10. Tower Heist (Universal) Week 6 [2,069 Theaters] Friday $734K, Estimated Weekend $2.3M, Estimated Cume $74.1m Specialty Openings: Paramount has The Adventures Of Tintin for domestic, and Sony for overseas. The Steven Spielberg/Peter Jackson collaboration is having a great start in North America’s Quebec after a very successful European run.(Tintin Passes $200M International; Will U.S. Audiences Board The Bandwagon?) AnotherEuropean hit, Focus Features’Tinker Tailor Soldier Spy, begins its North American run and is looking at a Friday gross of $90K with a big per screen average of $22,671 in its4 runs (2 in NYC, 2 in LA). Estimated weekend gross is $313K.Focus said Tinker Tailor “really popped” – selling out invirtually all theaters from the late matinee shows into the prime hours through 9 PM.Its estimated weekend opening would make it the 3rd highest ranking filmopening on 4 screens on record. Paramount’s Young Adult is in 8 theaters based on per screen averages:Friday $89K, Per Screen Average $11,208. Young Adult at first looked soft but picked up. Paramountpoints out that itout-grossed the expansions of both The Artist and Shame on half the screens. Tinker, Tailor, Soldier, Spy (Focus Features) NEW [4 Theaters] Friday$90K,Estimated Weekend $313K, Per Screen Average $22,671 Young Adult (Paramount) NEW [8 Theaters] Friday $89K, Estimated Weekend $314M, Per Screen$11,208 The Adventures Of Tintin (Paramount)NEW [70 Theaters] Friday $366K,Estimated Weekend $1.3M, Per Screen $19,869, Cume $1.4M Ladies Vs Ricky Bahl (Yash Raj Films) NEW [80 Theaters] Friday $65K, Estimated Weekend $215K, Per Screen $815 I Melt With You (Magnolia) NEW [2 Theaters] Friday $1K, Estimated Weekend $3K, Per Screen $389 Shame (Fox Searchlight) Week 2 [21 Theaters] Friday $83K (-24%),Estimated Weekend $277K, Per Screen$3,993, Estimated Cume $775K My Week With Marilyn (The Weinstein Co) Week 3 [244 Theaters] Friday $215K,Estimated Weekend $747K, Per Screen$3,062, Estimated Cume $5.1M The Artist (The Weinstein Co) Week 3 [16 Theaters] Friday $77K,EstimatedWeekend $280K, Per Screen$4,817, Estimated Cume $873K A Dangerous Method (Sony Classics) Week3 [4 Theaters) Friday $20K, Estimated Weekend $122K, Per Screen $5,141, Estimated Cume $480K Melancholia (Magnolia) Week5 [135 Theaters] Friday $64K, Estimated Weekend $238K, Per Screen $474, Estimated Cume $1.8M Like Crazy (Paramount Vantage) Week 7 [162 Theaters] Friday $53K,Estimated Weekend $251K, Per Screen $327, Estimated Cume $3M

Allison Janney on The Help, Her Mentor Paul Newman and Overindulging in Eggnog This Holiday Season

After approximately eighty roles in television and film, four Emmy awards, two Tony nominations and countless Kaiser Permanente ads, the inimitable Allison Janney has certainly earned her place among Hollywood’s best character actresses. In her most recent film, the Civil Rights-era comedy-drama The Help — Tate Taylor’s adaptation of Kathryn Stockett’s novel — the Ohio-bred thesp channeled her own mother to play the worrisome mama bear to Emma Stone’s boundary-pushing protagonist. In lesser hands, Charlotte Phelan could have been a thin character — a Southern woman more concerned with her daughter’s marital prospects than her happiness — but Janney summoned fear, humor and subtlety for a fully-fleshed and fully-flawed character who earns her personal growth. In celebration of The Help’s home-video release this week, the quadruple Emmy winner phoned Movieline to reminisce on her character’s cure for lesbianism, her one television role that changed lives and the time Paul Newman cast her in college — all while suffering a bit of a holiday-season hangover. You’ve been in so many films and television shows; do you ever just turn on the television and flip through five consecutive channels that are airing Allison Janney projects? No! I’ve never had that happen. I have seen that American Beauty or one of my movies is on but I’ve never seen them coincidentally on at the same time. That would be amazing. Do you stop and watch? No, I usually don’t, I have to tell you. I’m one of those actors who doesn’t like looking at themselves. Years after I can. I can look at Drop Dead Gorgeous now and say, “Oh my God! I know I was playing trailer trash but I didn’t look so bad.” I can look at American Beauty. I just need some time to transpire. That being said, if I do watch, it won’t be to watch myself. It’ll be to have all of those memories come back and to remember what it was like filming. That’s what lingers. The Help was based on a book, but did you base your character on anyone you know in real life? I think most of my characters have my mother’s sensibility in there. She’s someone who always inspires me and informs my characters because I think she is heartbreakingly funny. She doesn’t try to be funny but her commitment to the things she thinks are important sometimes [are funny]. When Charlotte tells [Emma Stone’s character] Skeeter that there is a root tea that could cure her if she is a lesbian. Those moments are just very fun for me to play. I love playing the tragically uninformed and stuck-in-their-ways types. I also related to Charlotte in that I have too much fear in my life. I’m afraid of change. That’s how I really got into her character — because I knew what it’s like to not want anything to change. That’s all life is though is change. I just want to hold onto things too tightly and I think that Charlotte would too. I was so grateful to Tate for giving her some redemption at the end since that wasn’t in the book. It was wonderful to get two moments — the one when I dress down [Bryce Dallas Howard’s character] Hilly and throw her off of the porch and the moment where she finally sees her daughter for who she really is and not for who she wants her to be. That was a great moment to get to play. She was a really rewarding character to play because I got to do a 180 and completely change. She was an amazingly complicated character to get to play. What’s your history with Tate? This movie was kind of like a family business. Tate and I have known each other since 1988. Octavia [Spencer] as well, and of course [author] Kathryn [Stockett] and Tate grew up together in Jackson. We knew Kathryn through Tate. Brunson Green, who is one of the producers is a dear friend of ours too. We’re all really good friends. We made a lot of really low-budget movies on weekends or whenever we got together, so for this to happen is just an unlikely Hollywood story. It’s very satisfying — the loyalty and friendship, which were some themes in the movie too. I’m glad you were able to film in Mississippi and not Los Angeles as Mississippi. That was so important. That informed the acting and the characters. Being down there just felt more authentic in your role. To be in these houses and these great locations — people opened up their homes and we were filming in these big, old houses with beautiful wrap around porches. It really was 114 degrees and you’ve got corsets on. I feel like now, if I ever have to do a show on Broadway that is set in the South, I will know what that is. It just really gives you a good foundation. It feels like you’re in a different country down there, I swear. Knowing the history of what happened down there — it’s just a shameful part of our history. To be down there — I don’t know what I’m trying to say. I’m sorry, I’m so hungover. [Laughs] What did you do last night? I went to a tree-trimming party and I think I ended up trimming myself a little bit. Sorry! What were you asking? Let’s change direction: As an actor, are you able to use your acting abilities in real-life situations? Are you a convincing liar or able to dial in a dramatic performance with a customer service rep to get your way? You know what, I’m terrible without a script in front of me. I can’t. I wish! That’s why I’m an actor though because I love having everything written out for me and I can just say it. Even just talking to you now, it’s frustrating because I can’t ever finish a sentence or finish a thought. It’s very frustrating. I wish. My friends though — they would tell you that I can be overly dramatic, especially after a couple of egg nogs. [Laughs] You starred in the last Diabo Cody-Jason Reitman collaboration. Have you seen Young Adult yet? I have not, and I can’t wait to see it. I know it’s going to be amazing. I wish I could have been in it, but I can’t wait to see it. They were both so wonderful to work it. I can’t wait to see The Descendants too. There are a lot of good movies this year! The Artist, I want to see that. What else? I’m excited for The Girl With the Dragon Tattoo and Mission Impossible: Ghost Protocol. That’s right! When does Mission Impossible come out? I think next Friday in IMAX. Oh, it’s going to be in IMAX? That’s going to be fantastic. I will wait in line to see that. It’s amazing that in spite of your lengthy filmography, you haven’t worked with Tom Cruise yet. You’re right. I’ve never worked with him, and I don’t think I’ve ever met him either. Nope, I never have. I used to work out with Katie [Holmes] at Barry’s Boot Camp, here in the Valley. She was in the same class as me. But that’s the closest I’ve been to Tom Cruise. It’s been five years since The West Wing ended, yet that series is still very dear to a lot of people. Do you carry any bits of C.J. Cregg with you? I love her. I wish that I carried more of her with me than I actually do. She is kind of my hero. What a great woman to get to play! I wish that she could have lived on and done other things. She’s just such a truly great role model for women and that’s one of my characters and one of those instances where you felt like you got to give back. I feel like I really got to inspire young girls. I get so many letters and see people on the street who come up to me and say, “Oh my God. You changed my life. I was majoring in this and I changed it to this and now I’m going to work in Washington.” Aaron Sorkin really inspired a lot of people with that show. Getting to play C.J., that was an important female role on television and I am still really, really proud of it in a different way than I am of my other characters. Like in Mr. Sunshine, I loved my character, but she was the exact opposite. C.J. will always be the role that I’m maybe most proud of in terms of what it said to the world. Are you looking to get back into television? I am. I’m looking at some other shows now figuring out what’s going to become a reality for me. I very much want to be back on television and I’m actively looking for the right script for me. I’m chomping at the bit. I’m a worker bee — I need to be working all of the time, so I’d love to find a home for awhile on a good television show. Are you thinking drama? Premium cable drama? Oh, I’ll go either way. I don’t care. I particularly like things that have a healthy dose of comedy and drama. I like things that are a little messy and complicated, not just punchline-punchline-punchline. I’m not a fan of [the sitcom format] as much. I don’t know if I’ve ever done that, other than, I suppose Mr. Sunshine. As long as the writing is great, I will go anywhere. Finally, is it true that Paul Newman cast you in one of your first plays while you were in college? Yes it is. He had gone to Kenyon College and he came back to christen the brand new theater there by directing the first play. I read for him, he cast me and he and Joanne Woodward kind of became my mentors as I started off in this world of acting. When I came to NY, Joanne got me into the Actor’s Studio. She directed a group of actors and formed a company and gave us the opportunity to act as a young actor. Usually, you have to find agents. Everything is such a catch-22 when you’re starting out with Paul Newman and Joanne Woodward’s support — it’s a great leg up in this business. I know you have about four movies in post-production. Which one are you most excited for audiences to see? The Chris Colfer movie, Struck By Lightning is a beautiful, beautiful movie that I’m very proud to be a part of. Josh Radnor’s movie Liberal Arts is going to Sundance, and I’m excited about that. I’m anxiously awaiting both of those movies, and I think that they are going to do really well. [Top photo: Getty Images; Help photo: Dale Robinette/DreamWorks II] Follow Julie Miller on Twitter. Follow Movieline on Twitter.

Casting 3 Celebrity Airplane Snafus That Should Be Movies

I love when celebrities can’t behave on airplanes. Travel is the only occasion where they can’t hide from plebes, and I imagine it hurts them tremendously even to acknowledge the tiny plastic cups of Diet Coke around them. Or the little Wheat Thins packets. Three recent celebrity snafus on airplanes deserve full cinematic adaptations (including one that just occurred a couple days ago), and I’ve decided to cast them before Jason Reitman can turn their traumas into Oscar material starring George Clooney and Vera Farmiga. Come fly with these lunatics! Alec Baldwin Working Title: Wars With Friends Cast: Colin Firth as Alec Baldwin, Amanda Peet as befuddled flight attendant Charmaine Elliston, Joan Allen as Twitter Vice President Damiana Wood Synopsis: Alec Baldwin is a hugely successful thespian who loves the craft of acting, the perks of celebrity, and the art of 140-character quips. But more than anything, he loves Words With Friends, the iPhone app that connects him with other game players and reminds him of his dear grandmother Elsie (Candice Bergen, in flashback), a no-nonsense war bride who used to tell her stuttering grandson Alec, “Use your words, Al. They’re beautiful.” When an uppity flight attendant (Peet) tells Baldwin he must turn off his phone mid-flight, Baldwin spins into a rage of wounded pride and repressed memories. Instinctively, he drops off Twitter to reclaim his sanity, but Twitter Vice President Damiana Wood (Allen) knows that she must keep Baldwin on Twitter to ensure its relevance for the next decade. Will she prevail? Or will Alec never overcome the silence — and the regained stutter — inflicted by one brash, but ultimately loving American Airlines flight attendant? Gerard Depardieu Working Title: #1 Passenger Cast: Channing Tatum as Gerard Depardieu, Marisa Tomei as passenger Fern Trellice With the assistance of makeup artist Rick Baker, Channing Tatum comes alive as Gerard Depardieu, the French icon who just wants respect when it comes to his urinary habits. Aboard a flight to France, Tatum finds himself needing badly to relieve himself; unfortunately, transcontinental diamond thief Fern Trellice (Tomei) has locked herself in the plane’s sole bathroom with a urinary tract infection, as the stress of her work is finally taking a toll on her body. As Depardieu makes a scene at the front of the plane — “Je veux pisser!” — and theatrically pees himself, can Fern survive the gut-wrenching pain, sneak back to her seat with $50,000 worth of Smithsonian gems, and woo the brash, but ultimately loving Depardieu? Naomi Campbell Working Title: Runway on the Runway Cast: Zoe Saldana as Naomi Campbell, John Goodman as attending police officer Theodore McFadden, and Stanley Tucci as Campbell’s long-suffering assistant Petey Perkins Synopsis: In this kooky comedy, Naomi Campbell (Saldana) attempts to boost her image by visiting third-world countries with her fun-loving assistant Petey (Tucci). Unfortunately, Campbell cannot board an airplane without finding several issues with her flight — the air is too crisp, the seats are too gray, the passengers are too angular (and in the wrong way) — which means Petey receives the brunt of her rage. In a hilarious sight gaga, Petey is pummeled with dozens of Campbell’s cell phones on each flight. At her worst, she’s told to disembark the plane and meet with attending officer Theodore McFadden (Goodman), who looks beyond Campbell’s impatience to find a joyful philanthropist who loves to learn. In order to make up for causing over 500 in-flight ruckuses, Campbell must arrange a fashion show on Heathrow’s largest runway — and not scream or kill someone when it turns out her best friends George Michael and Manuel Noriega can’t even make it that day. Follow Louis Virtel on Twitter. Follow Movieline on Twitter.

ABC Family renews 'Liars'

ABC Family has renewed hourlong drama "Pretty Little Liars" for a third season. "Liars" received a 24-episode order for season three, expected once again to begin in June. More than 2.5 million viewers have tuned on average during its second season, which resumes Jan. 2 with a switch from Tuesdays to Mondays. The series features an ensemble of Troian Bellisario, Ashley Benson, Holly Marie Combs, Lucy Hale, Ian Harding, Laura Leighton, Chad Lowe, Shay Mitchell and Sasha Pieterse. I. Marlene King, Oliver Goldstick and Leslie Morgenstein exec produce "Liars" for Alloy Entertainment in association with Warner Horizon Television. Contact Jon Weisman at jon.weisman@variety.com

Hugh Laurie: I'm Done With TV After House

House, Hugh Laurie When House eventually wraps its run, it won't just be the end of a long-running series, it will be the end of a 30-year TV career. Star Hugh Laurie tells Scotland's The Daily Record that he plans to leave television acting when House concludes. "I think I have been rather spoiled here," the 52-year-old actor told the newspaper. "I can't imagine there will be another one quite like this. ... I wouldn't go looking for lightning to strike twice." House preps for the end Laurie's small screen career dates back to the 1982 British sketch special The Cellar Tapes. He went on to star in several other sketch series in the United Kingdom, including A Bit of Fry & Laurie and Jeeves and Wooster, each of which ran for four seasons. The 2012 Guinness Book of World Records lists Laurie as the highest paid actor in a TV drama and also the most-watched leading man on television. A two-time Golden Globe winner, Laurie said he thinks he is "no longer a desirable commodity for TV," but said he would be open to doing work behind the camera. Laurie directed an episode of House in 2010. "I think I will probably be as interested by either writing or producing or directing, or some other aspect. I find the whole field of it fascinating," he says, noting that he's gained new confidence over his eight-year (and counting) run on House. "That's a huge amount of experience and that sort of experience gives you a confidence in a way. I think that I have a confidence that I might not have had." House: The new Dean of Medicine speaks! Laurie, who released his first music album earlier this year and plays in the group Band From TV, said he hopes to work more on his music. "My big source of solace and comfort is music. If the record company is up for it, I certainly am up for doing a second album," he says. "I'd jump for it like a shot." Do you think Laurie should leave TV after House?

Tops in tubthumps?

'Harry Potter as well as the Deathly Hallows' cast at one of the final photocalls. Steven Spielberg preems 'The Adventures of Tintin' in Paris. Every year, the 80 roughly people in the Hollywood Foreign Press Assn. spend the majority of time flying forward and backward within the U.S. and across the world, attending tests and press junkets and talking with celebs regarding latest film."Our press conferences are pretty serious and expected," states former leader Philip Berk, who produces for FilmInk Australia. "But sometimes something really special happens."Here's an example: When the HPFA gang travelled to Paris in October for your "Tintin" junket, furthermore they handled to setup a press conference with exiled director Roman Polanski for "Carnage.""In 33 years of being while using HFPA, this really is really the first time I've ever met him which he was very affable, charming and remarkably accessible," Berk states. "Clearly, we didn't desire to broach the subject from the scandal once we are there to go over the film, but he really alluded in it several occasions. That was pretty memorable."Judy Solomon, an connect since 1956 who reps Israel and produces for Women's World, confirms the Paris trip was "most likely probably the most outstanding moment of year. To acquire two leaders like Spielberg and Polanski in one day? It can't have better, and they're both so competent to interview -- you'll be able to request them anything."Solomon last asked Polanski personally in 1974 when he had been dwelling in Hollywood. "Clearly a great deal has happened ever since then, but he retains the identical desire for film," she states.HFPA member Yukiko Nakajima, who produces for your Japanese market, also cites the Paris trip. "Spielberg was fascinating, while he spoken about how exactly he first discovered Tintin in the French summary of 'Indiana Manley,' " she recalls. "So he bought the rights, nevertheless it then needed him thirty years to produce the film."Jorge Camara, who produces for your Dominican Republic's Cineasta, which has offered as HFPA leader six occasions, states talking with Pedro Almodovar recently for "The Skin Home Is,Inch will be a standout interview "together with a genuine insight. He told us he's had many proposes to direct Hollywood studio pictures, but switched these lower as they couldn't be employed in the Hollywood system, while Polanski told us he, unlike lots of European company company directors who attempted making it in Hollywood, understood the best way to 'work the machinery.' "Ruben Nepales, who produces for your Philippines market, cites Mickey Rourke for "Immortals" and Robin Williams for "Happy Foot Two" because the wedding press conferences of year. "Mickey is actually colorful -- a journalist's dream while he doesn't hold anything back," Nepales states. "He told us about bulking around play a rugby player within the next film, 'The Beautiful Game,' and mentioned his physician had OK'd him to take advantage of steroid drugs - they'd help his energy, stamina and also the sex existence. Nobody could quite accept it. At another point, he apologized to his agent inside the back for saying another factor he shouldn't have."According to Nepales, Williams appeared to become uncontrollable, but in a really different way. "He's carrying out a 1-guy show every time we view him," states the journalist, "and this time around around, since he'd got remarried again each week roughly before, he known to his honeymoon in Paris -- all in French. He awoke and did a quarter-hour round the honeymoon, plus it was hysterical."For Gabriel Lerman, who produces for that country shops, an HFPA trip in September to Polk and Miami was best. "First, we visited Winter, the dolphin star of 'Dolphin Tale' in their aquarium near Polk, and so they shown us how her prosthetic tail labored, and many people got not not even close to her in addition to touched her. That was incredible.InchThe audience then travelled to Miami to visit the audience of "Charlie's Angels." "We met the celebs, and there's no fighting or anything such as this, but we are in a position to tell something wasn't quite working," he recalls. "So nobody was that surprised if the was cancelled 2 days later."For German Karen Martin, who produces for Swiss, German and Japanese shops, the highlight would London for your final "Harry Potter" film. "It absolutely was bittersweet, because we asked all the kids when the franchise began about 10 years ago, and spoken on their behalf for every one since, which is like watching family develop,Inch she states. "They were all so shy and nervous 10 years ago, which we had them gain confidence and become more fun over time.In . Because the eight-movie multibillion-dollar franchise has finally ended, "you question how their careers will establish,In . she adds. "What is going to they're doing next?"GOLDEN GLOBES RACETops in tubthumps? Best Picture: Drama Best Picture: Comedy or Musical Television Animation Contact the number newsroom at news@variety.com

Interview with the Vampire Author Anne Rice Sounds Off on Twilight's Sparkly Vampires

Twilight, True Blood Team Edward is not happy with vampire queen Anne Rice. The Interview with the Vampire author caused a furor on Facebook after commenting that the undead in her books would "feel sorry for vampires that sparkle in the sun." Check out the rest of today's news "I was just joking," Rice tells The Daily Beast. "People ask me what I think about that, and I finally pretended that Lestat and Louis were real and gave their opinion on what they thought of the vampires in Twilight. Unfortunately, I think some of Stephenie Meyer readers took it the wrong way, came to my Facebook page, and were quite unpleasant. But I think they're very... young. It was quite a ruckus! "I can see why the kids like them," Rice says of the Twilight novels and films. "What I say right away is they take the formula of women's romance that was used by Jane Eyre, and they put it in a new context. You have the young girl, Bella; she falls in love with this mysterious figure, and he's menacing just like Mr. Rochester was in Jane Eyre, but he's protective. I think it's an enduring formula." For her formula in creating vampires, though, Rice wanted a more "realistic" take. "I went along with what I inherited from Hollywood-that vampires burn up in the sun.... I thought if they responded hysterically to garlic or crucifixes, that was not as interesting as their being nihilistic and atheistic, and not having a 'magical' response to something but having definite limitations and rules." Check out photos of True Blood The new genre of vampires, Rice notes, are much different from her Interview with the Vampire protagonists. "What I see happening, with writers like [True Blood's] Charlaine Harris and Stephenie Meyer, is the domestication of the vampire. I was more interested in a powerful, Old World figure that had a lot of knowledge, experience, and was surrounded by a lot of glamour and mystery... Charlaine Harris is doing something different by imagining what it's like if vampires are legal and you have them living in your Southern town, and I think she gets a tremendous amount of energy out of that. She's very witty-there's a lot of satire there-and on the HBO showTrue Blood, there's even a romance with Vampire Bill." With the supernatural on the rise, Rice will now tackle werewolves though her new novel, The Wolf Grit, which has a much different take on werewolf mythology from the Twilight series. "I prefer to go with the idea of the man-wolf that remained a man, but became very powerful and strong," she says. "He doesn't turn into a four-footed animal that lives in a pack." Rice isn't opposed to True Blood's werewolf Alcide (Joe Manganiello), though that may just be because "the character's hot," she says. Which vampires do you prefer, the ones in Twilight, True Blood or Interview with the Vampire?

Bellas Breaking Beginning Wedding Dress In A Lower Cost

First Launched: November 22, 2011 4:20 PM EST Credit: Access Hollywood La, Calif. -- Caption Designer Alfred Angelos replica of Bellas wedding dress within the Twilight Saga: Breaking Beginning - Part 1Twi-hards might not be capable of marry A Vampire Named Edward, but beginning today, you can purchase a replica of Bellas wedding dress within the Twilight Saga: Breaking Beginning - Part 1. Designer Alfred Angelo constitutes a substantially less pricey version in the figures gown, listed at $799. The Carolina Herrera gown worn inside the movie needed six several days to produce and was hands crafted by four seamstresses. The first stunning dress consists of crepe satin with French Chantilly lace with 152 buttons that line the entire back. It's thought being worth $35,000. I desired to make a magical moment they within the wedding, Herrera told Reuters the other day when asked for about Bellas gown. Shes an innocent girl that's finding her first soul mates, so there's romance, there's miracle, there's everything together. Alfred Angelos version consists of satin sheath with lace applique with 126 buttons. Clothing will fit women of numerous dimensions, different from to 18. Celebrity stylist Joey Tierney, who came out on Tuesdays Access Hollywood Live, told Billy Rose rose bush and Package Hoover, Its for every lady. Everybody might be Bella. The waist is very slimming, the way they designed it. Its classy. Alfred Angelo also created replicas of Bellas bridesmaids dresses an affordable solution for promenade too accessible in crimson and lavender and listed at $189. See really Bellas wedding replica gown, HERE! Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

The Expendables 2 Poster Arrives

The most action movie poster everWARNING:a mere glance at this poster is what caused half the dinosaurs in Jurassic Park to turn into males, so pumped with testosterone is it. This promo for Expendables 2 contains, by our estimate, 75% more muscles and 190% more guns than every other poster this year put together.The film, as you are no doubt aware, sees Sylvester Stallone and company (including Jason Statham, TerryCrews, Dolph Lundgren and Jet Li) taking on another impossible mission. With beefed-up roles this time, Bruce Willis and Arnold Schwarzenegger are back, and they're joined by Chuck Norris and Jean-Claude VanDamme. So much bicep!So many roundhouse kicks to the head! And, er, Liam Hemsworth. Maybe that'll make more sense once we see him in action in Hunger Games; currently, in the wake of The Last Song it doesn't make so much sense. Simon "Con Air" West is directing this time.[[Poll554]]Expendables 2, which appears to have dropped the definite article, is due out on August 17, 2012. We're not going to call it "EX 2"; too many traumatic memories of LXG.

Netflix Revives Arrested Development

Arrested Development Netflix has arrived the privileges to stream new instances of Arrested Development, Variety reviews. In October, Arrested creator Mitch Hurwitz introduced the sitcom would return for just one abbreviated season, concentrating on exactly what the figures happen to be doing because the show was canceled in 2006. Showtime was apparently a contender like a new house for Arrested, but Netflix won the putting in a bid war, that will see new instances of the series around the streaming service in 2013. Arrested Development Creator: We are back! "Arrested Development is among the finest American comedies in TV background and its return through Netflix is an ideal illustration of the way we will work carefully with galleries and systems to supply customers with entertainment they love,'" stated Ted Sarandos, Netflix Chief Content Officer. Inside a joint statement, Hurwitz, Howard and John Grazer stated from the deal: "Getting a set back from cancellation rarely happens, however, Arrested always involved as unconventional because they get, therefore it appears totally appropriate this reveal that broke the mold is smashing it to pieces once more." Ron Howard states you will find no roadblocks for Arrested Development movie While it's unclear what this signifies for that possible movie that Hurwitz stated would stick to the return of Arrested, executive producer Ron Howard lately assured TVGuide.com that each cast member has an interest in doing the show. The show opened in 2003, and was canceled for only three seasons despite its popularity. Are you going to watch Arrested Development on Netflix?

Woody Allen: A Documentary Trailer: Manhattan Master Mystery

PBS’s American Masters series is shining their “Viewers Like You”-funded spotlight on Woody Allen, who is decidedly uninterested in being a part of Academy consideration this year. In the trailer for the star-studded doc, we field gushy soundbites from Diane Keaton, Sean Penn, Larry David, Scarlett Johansson, Mariel Hemingway, Mira Sorvino, and more. Oh, and Woody also shows up. Watch Woody Allen: A Documentary on PBS. See more from AMERICAN MASTERS. I wouldn’t mind if half of the movie was Diane Keaton’s confessionals. She’s been killing it lately with the candor. Think she’ll talk about how her affair with Woody was hindered by bulimia, or do you think she’ll stay on the “He’s brilliant, but a little nutty!” line of diplomacy? Either way, the movie premieres on PBS this Sunday, November 20 from 9-11 PM and airs again Monday, November 21 from 9-10:30 PM. I’m there. Verdict: Keaton’ it real! (Sorry.) [via PBS]

Alex Lacamoire Brings It Together for 'Bring It On: The Musical'

Alex Lacamoire Brings It Together for 'Bring It On: The Musical' By Melinda Loewenstein November 10, 2011 Photo by Ryan Miller Musical theater fans can list their favorite composers and lyricists by name, and performers probably have a wish list of potential musical collaborators, but members of either group may not be as aware of the important role musical supervisors play in bringing all the musical elements together behind the scenes. Alex Lacamoire, the music supervisor on the new " Bring It On: The Musical" (running Oct. 30 to Dec. 10 at the Ahmanson Theatre), describes his job as the "traffic control center of the music in the show." Lacamoire wears multiple hats on the show, loosely based on the 2000 cheerleading film, also serving as co-arranger and co-orchestrator. The show features a book by Jeff Whitty ("Avenue Q"), music by Lin-Manuel Miranda ("In the Heights") and Tom Kitt ("Next to Normal"), and lyrics by Miranda and Amanda Green ("High Fidelity"). Lacamoire has arranged music for such Broadway hits as "Wicked," "Legally Blonde," and "In the Heights," for which he won a 2008 Tony Award for best orchestrations.Music has always been a part of his life. "I've been told stories that even when I was 2 years old, I would sit in front of the stereo speaker and just stare at the speaker and be transfixed by music," he recalls. "So this is definitely something that I feel like I was born to do." Ironically, "What I Was Born to Do" is the title of "Bring It" 's first song. Lacamoire has been playing piano since age 4 and has always loved all styles of music. That love for music intertwined with a love for the theater in high school when he was called on to join the band for a production of "Bye Bye Birdie." He says, "I loved the music of theater, I loved the people in it, I loved the camaraderie of the people involved, I loved the outgoingness of the people who performed it, so theater is always something I've gravitated towards, and I just found out by the time I was in high school and college that it was something that I had a knack for."At Berklee College of Music, he studied different styles of music, which paved the way for a versatile career. "All the things I've done are very different, but I feel very lucky that these are all styles that I feel like I either know about or have studied or just love," he explains. "I love all kinds of music. I feel lucky that I've learned just enough about all these styles of music that I'm able to create music that references these styles when needed."Lacamoire has been involved with "Bring It On" since the beginning of its development process. He'd worked with director and choreographer Andy Blankenbuehler on "In the Heights" and "9 to 5." During the latter show, they forged a working relationship, so when Blankenbuehler was hired to direct and choreograph "Bring It On," he brought on Lacamoire. "So basically I got on the project because I had worked with Andy and we had worked so well together," says Lacamoire. "Basically anything that Andy does from here on out, he says he will hire me for anything he does, which is great."As music supervisor, Lacamoire has also been involved in the casting process for both "In the Heights" and "Bring It On." Although his role is to assess the vocal abilities of those auditioning, he also takes the bigger picture into consideration. He notes, "If there's someone that really inhabits the role from an acting perspective and has the look and the feel that we're looking foreven if they aren't the best voice we've ever heardI still know that the other things that they have on the table are worth going for, and their voice can either be worked on by me or I can find ways to make the song fit better in their voice." Dancing Challenges The demanding choreography in "Bring It On" posed unique casting challenges. "You have to be at a high level of performance just to be able to execute the moves that [Blankenbuehler] crafts," Lacamoire says. Because of this degree of difficulty, the productions needed professional cheerleaders, but most didn't have musical theater experience. For many of the cheerleaders, their audition was the first time they'd sung in public. This created a challenge for Lacamoire because he had to "determine whether or not someone had the ability to sing and belt, to make sure they had pitch, to make sure they had rhythm. Because sometimes people have that, but you wouldn't know it." To complicate matters, because they were cheerleaders, they often didn't have a book of songs. "So Andy came up with a brilliant idea, which is when we have auditions we have a stack of top songs that these cheerleaders probably know and that they can sing for us," says Lacamoire. The cheerleaders were given songs such as "This Love" by Maroon 5, "Ordinary People" by John Legend, or "Since U Been Gone" by Kelly Clarkson. Then Lacamoire would work with them for five minutes on just the chorus, encouraging and nurturing their natural singing abilities, to find skilled cheerleaders who also had the necessary vocal abilities.Lacamoire really liked the development process, because he felt that he was given a lot of input on the vocal arrangements, which he worked on with Kitt. "Because Andy is very big on musical transitions and using music and dance to get from point A to B in the story," he says, "I ended up creating a lot of transitional cues that happened in the show." For the end of Act 1, Lacamoire created the rhythmic melody for Kitt to use in creating the notes for the song. He was also able to "string together" the different sections that Miranda had written for the song "Saturday Night Jackson" in a way that made the story make sense for Blankenbuehler. Because of the dance-intensive nature of the show, Lacamoire had to simplify the harmonies to make them as easy as possible. "So normally people might write for four-part harmony," he continues, "[but] there are a lot of times in the show where we have two-part harmony just because we have to factor in that we're losing half the voices because they are doing stunts onstage." Knowing that he "had input on the way a song feels and what the groove is and what it does and whether it's going to make someone tap their foot or whether it's going to make someone excited or whether it's going to move the story further" is rewarding to Lacamoire. He acknowledges that his role is behind the scenes but is also aware that even though people may not notice what he has contributed to a song, "if it wasn't there, they would notice it." "Bring It On: The Musical" continues at the Ahmanson Theatre, 135 N. Grand Ave., L.A., through Dec. 30. (213) 628-2772. www.centertheatregroup.org/tickets/. Alex Lacamoire Brings It Together for 'Bring It On: The Musical' By Melinda Loewenstein November 10, 2011 PHOTO CREDIT Ryan Miller Musical theater fans can list their favorite composers and lyricists by name, and performers probably have a wish list of potential musical collaborators, but members of either group may not be as aware of the important role musical supervisors play in bringing all the musical elements together behind the scenes. Alex Lacamoire, the music supervisor on the new "Bring It On: The Musical" (running Oct. 30 to Dec. 10 at the Ahmanson Theatre), describes his job as the "traffic control center of the music in the show." Lacamoire wears multiple hats on the show, loosely based on the 2000 cheerleading film, also serving as co-arranger and co-orchestrator. The show features a book by Jeff Whitty ("Avenue Q"), music by Lin-Manuel Miranda ("In the Heights") and Tom Kitt ("Next to Normal"), and lyrics by Miranda and Amanda Green ("High Fidelity"). Lacamoire has arranged music for such Broadway hits as "Wicked," "Legally Blonde," and "In the Heights," for which he won a 2008 Tony Award for best orchestrations.Music has always been a part of his life. "I've been told stories that even when I was 2 years old, I would sit in front of the stereo speaker and just stare at the speaker and be transfixed by music," he recalls. "So this is definitely something that I feel like I was born to do." Ironically, "What I Was Born to Do" is the title of "Bring It" 's first song. Lacamoire has been playing piano since age 4 and has always loved all styles of music. That love for music intertwined with a love for the theater in high school when he was called on to join the band for a production of "Bye Bye Birdie." He says, "I loved the music of theater, I loved the people in it, I loved the camaraderie of the people involved, I loved the outgoingness of the people who performed it, so theater is always something I've gravitated towards, and I just found out by the time I was in high school and college that it was something that I had a knack for."At Berklee College of Music, he studied different styles of music, which paved the way for a versatile career. "All the things I've done are very different, but I feel very lucky that these are all styles that I feel like I either know about or have studied or just love," he explains. "I love all kinds of music. I feel lucky that I've learned just enough about all these styles of music that I'm able to create music that references these styles when needed."Lacamoire has been involved with "Bring It On" since the beginning of its development process. He'd worked with director and choreographer Andy Blankenbuehler on "In the Heights" and "9 to 5." During the latter show, they forged a working relationship, so when Blankenbuehler was hired to direct and choreograph "Bring It On," he brought on Lacamoire. "So basically I got on the project because I had worked with Andy and we had worked so well together," says Lacamoire. "Basically anything that Andy does from here on out, he says he will hire me for anything he does, which is great."As music supervisor, Lacamoire has also been involved in the casting process for both "In the Heights" and "Bring It On." Although his role is to assess the vocal abilities of those auditioning, he also takes the bigger picture into consideration. He notes, "If there's someone that really inhabits the role from an acting perspective and has the look and the feel that we're looking foreven if they aren't the best voice we've ever heardI still know that the other things that they have on the table are worth going for, and their voice can either be worked on by me or I can find ways to make the song fit better in their voice." Dancing Challenges The demanding choreography in "Bring It On" posed unique casting challenges. "You have to be at a high level of performance just to be able to execute the moves that [Blankenbuehler] crafts," Lacamoire says. Because of this degree of difficulty, the productions needed professional cheerleaders, but most didn't have musical theater experience. For many of the cheerleaders, their audition was the first time they'd sung in public. This created a challenge for Lacamoire because he had to "determine whether or not someone had the ability to sing and belt, to make sure they had pitch, to make sure they had rhythm. Because sometimes people have that, but you wouldn't know it." To complicate matters, because they were cheerleaders, they often didn't have a book of songs. "So Andy came up with a brilliant idea, which is when we have auditions we have a stack of top songs that these cheerleaders probably know and that they can sing for us," says Lacamoire. The cheerleaders were given songs such as "This Love" by Maroon 5, "Ordinary People" by John Legend, or "Since U Been Gone" by Kelly Clarkson. Then Lacamoire would work with them for five minutes on just the chorus, encouraging and nurturing their natural singing abilities, to find skilled cheerleaders who also had the necessary vocal abilities.Lacamoire really liked the development process, because he felt that he was given a lot of input on the vocal arrangements, which he worked on with Kitt. "Because Andy is very big on musical transitions and using music and dance to get from point A to B in the story," he says, "I ended up creating a lot of transitional cues that happened in the show." For the end of Act 1, Lacamoire created the rhythmic melody for Kitt to use in creating the notes for the song. He was also able to "string together" the different sections that Miranda had written for the song "Saturday Night Jackson" in a way that made the story make sense for Blankenbuehler. Because of the dance-intensive nature of the show, Lacamoire had to simplify the harmonies to make them as easy as possible. "So normally people might write for four-part harmony," he continues, "[but] there are a lot of times in the show where we have two-part harmony just because we have to factor in that we're losing half the voices because they are doing stunts onstage." Knowing that he "had input on the way a song feels and what the groove is and what it does and whether it's going to make someone tap their foot or whether it's going to make someone excited or whether it's going to move the story further" is rewarding to Lacamoire. He acknowledges that his role is behind the scenes but is also aware that even though people may not notice what he has contributed to a song, "if it wasn't there, they would notice it." "Bring It On: The Musical" continues at the Ahmanson Theatre, 135 N. Grand Ave., L.A., through Dec. 30. (213) 628-2772. www.centertheatregroup.org/tickets/.

Muppets Oscar Campaign: Miss Piggy Spoofs Melissa Leo in New Ad

On Wednesday evening, Variety reported the Muppets probably wouldn't be hosting the Oscars. However, you may need a much more than an unverified source to avoid them -- especially Miss Piggy. Behold the appropriate-released Miss Piggy Oscar ad, which harkens towards the questionable ("questionable") Melissa Leo Oscar campaign taken. Will this be adequate to sway the Academy? Not likely! But! For the moment, see the new ad, along with our 10 potential substitutes for your Oscar host, ahead. [Photo: Disney] 10 Possible Oscar-Host Substitutes Ough GervaisRobert Downey Junior.The MuppetsMeryl StreepTina FeySteve Martin and Alec BaldwinNo OneNeil Patrick HarrisHugh JackmanBilly Very See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook

Olivia Wilde and Steve Buscemi Apparently Settling for 'Burt Wonderstone'

More 'Burt Wonderstone' casting news that may simply be referred to as -- wait for this -- magical! (GROAN!) (SERIOUSLY?) THR reviews that Olivia Wilde and Steve Buscemi have been in discussions to become listed on Steve Carell, Jim Carrey along with a presently settling James Gandolfini within the magician comedy for brand new Line Cinema. Abracadabra! Or something like that. 'Wonderstone' concentrates on two estranged Vegas masters of magic (Carell and also the role Buscemi would play) who team-up to defend myself against a harmful street magician (Carrey). Wilde would play Carell's love interest -- his former assistant who now works together with Carrey's character. Gandolfini will have a billionaire casino boss. While Buscemi appears somewhat, you will find conflicting reviews on Wilde. Deadline reviews that she's basically one of many potential co-stars with Sarah Silverman, Judy Greer and Jessica Biel. Both THR and Variety have Wilde settling for any part within the film. Stay updated. Directed Don Scardino ('30 Rock'), 'Burt Wonderstone' is placed to use front of cameras in The month of january. [via THR] [Photo: FilmMagic] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Entertainment Stocks Pop Amid Stronger U.S. Economic Growth

NY - Big entertainment stocks opened with a nice pop Thursday as U.S. stock markets rose following a European debt deal for Greece and news that the U.S. economy grew at its strongest pace in a year during the third quarter. Gross domestic product in the U.S. expanded at an inflation-adjusted annual rate of 2.5 percent, up from 1.3 percent in the second and 0.4 percent in the first quarter. Investors seemed to take the growth trajectory as good news amid recent concerns that the U.S. economy could fall back into recession. With a stronger economy potentially allowing companies to continue spending on advertising, entertainment industry conglomerate share rose in early Thursday trading, in many cases outperforming the broad-based S&P 500 stock index. As of 10am ET, the index was up 2.2 percent. At the same time, CBS Corp.'s stock was up 4.7 percent, News Corp. shares trended 3.9 percent higher, and Viacom was also up 3.9 percent. Walt Disney gained 2.4 percent, roughly in line with the S&P 500, while Time Warner shares rose 1.9 percent. Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Topics Time Warner CBS Corporation

'Time' for change

Actors Vincent Kartheiser and Toby Hemingway arrive at the "In Time" Los Angeles Premiere at Regency Village Theatre on October 20, 2011 in Westwood, California. "Producer Eric Newman and actress Amanda Seyfried arrive at the "In Time" Los Angeles premiere.Andrew Niccol and Olivia Wilde, along with producer Eric Newman and pic's Amanda Seyfried, convene in the BevWilshire parking structure. Fox's Tom Rothman and Tony Sella flank Justin Timberlake at Westwood preem. "In Time" didn't start on time at its Thursday preem at the Regency Theater in Westwood, where stars Amanda Seyfried and Justin Timberlake showed up in support of the 20th Century Fox and New Regency Film. Pic, directed by Andrew Niccol, is set in a world where time is literally money and a Robin Hood-style hero steals time from the rich to give to the poor. "I think Will's in the 99%," Timberlake said of his character. "I remember a time when I grew up in the 99%," he added, giving a nod to the current Occupy Wall Street movement. "It's incredibly serendipitous, you know, the timing of everything that's happening right now and also getting to play a character that you feel represents a mass of people." The after-party, appropriately enough, was held in Beverly Wilshire Hotel's darkened parking structure, replicating the industrial city of the pic. That world, however, didn't include the food trucks parked around the party, where guests, including Olivia Wilde and Jessica Biel, could chow down on some of Los Angeles' finest mobile fare. Contact Rachel Abrams at Rachel.Abrams@variety.com

The Actor-brad Pitt Banned From Speaking 'The Rum Diary' With ABC Affiliate marketers

Disney has apparently banned ABC affiliate marketers from talking to and recording The Actor-brad Pitt with his new film, The Rum Diary.our editor recommendsJohnny Depp Hosts Surprise Concert in Northern CaliforniaIn Theaters March. 28FEINBERG FORECAST: 'Tintin' Triumphs working in london, 'Descendants' Descends on NY, 'Rum' Hangover in Hamptons PHOTOS: 'The Rum Diary' Photo Stills: The Actor-brad Pitt, Aaron Eckhart and Amber Heard The actor showed up in the Austin Film Festival on Friday in which the Rum Diary is going to be tested and he's accepting an award in the festival's coordinators for his "Remarkable Contribution to Film." But, if you are watching with an ABC affiliate, you will not be hearing what Depp needs to say on either subject. Based on Houston's KHOU, no ABC affiliate marketers were permitted to talk with as well as shoot the actor in the event because of a clause in the contract with Disney because of its effective film franchise, Pirates from the Caribbean. "We came here expecting to speak to among the greatest names in Hollywood," say KHOU News reporter Shelton Eco-friendly. "But apparently, Disney does not want Johnny Depp's new movie premiering at the Vital [Theatre] to obtain more exposure than his new Pirates from the Caribbean movie. So, they would not let us interview him nor would they can let us get video of him, but 100s of others did." PHOTOS: The Actor-brad Pitt's Most Memorable Career Moments The Wally Disney Co. is the owner of ABC Corporation. and many ABC possessed and operated stations. The Rum Diary is dependant on the novel of the identical title by Hunter S. Thompson in regards to a reporter in Puerto Rico throughout the nineteen fifties. Depp both created and stars within the film in cinemas on March. 28. The 4th installment from the Pirates from the Caribbean franchise, On Stranger Tides, first showed last may. The following installment is apparently because of get into production in summer time 2012. Related Subjects The Actor-brad Pitt The Rum Diary The Wally Disney Company Pirates from the Caribbean: On Stranger Tides

Whitechapel

'Whitechapel'Filmed in the U.K. by Carnival. Executive producer, Sally Woodward Gentle; producer, Marcus Wilson; line producer, Julie Clark; director, SJ Clarkson; writers, Ben Court, Caroline Ip.DI Joseph Chandler - Rupert Penry-Jones DS Miles - Phil Davis Edward Buchan - Steve Pemberton Dr. Llewellyn - Clarie Rushbrook Commander Anderson - Alex Jennings Jimmy/Johnny Kray - Craig Parkinson DCI Torbin Cazenove - Peter Serafinowicz DC McCormack - George Rossi DC Kent - Sam Stockman The allure of Jack the Ripper is so ingrained in the public consciousness it's difficult to go wrong revisiting the story, from innumerable movies to "The Night Stalker." Plunging into those fog-enshrouded streets comes "Whitechapel," a slick U.K. production in which somebody begins replicating the 120-year-old murders in modern-day London, leaving a newbie detective ("The 39 Steps'?" Rupert Penry-Jones) tasked, as a colleague says, with "solving the unsolvable." Like most Ripper stories, the payoff isn't equal to the buildup, but whoever dunnit, the first three hours provide another fine opportunity to let 'er rip. Investigating the murders provides an instant source of tension between Penry-Jones' newly arrived, politically connected Det. Inspector Joseph Chandler and his gruff charges, led by world-weary second in command DS Miles (Phil Davis), who snaps at the new boss, "All your courses might look good on paper, but they count for nothing here." Still, Chandler not only identifies the killer's pattern but seeks the aid of a "Ripperologist," Edward Buchan (Steve Pemberton), who makes his living leading guided tours of Ripper landmarks. Yet can that knowledge crack the case, along with modern innovations like CTV cameras that make it more difficult for the killer to remain concealed? Writers Ben Court and Caroline Ip ("Primeval") have considerable fun updating the familiar elements, debunking aspects of Ripper lore while introducing new wrinkles -- like an intrusive electronic media complicating the investigation. The dynamic between Penry-Jones and Davis' Neanderthal cops more than anything approximates the original "Life on Mars," and Pemberton's historian is a hoot to have around. On the down side, "Whitechapel" employs gore and spooky, flash-cut editing in ways that feel a trifle overdone. In addition, the limited series doesn't just deal with the Ripper, but segues in the second half of its six-episode run into a string of crimes mirroring damage inflicted by Britain's notorious 1960s-era Kray twins (the subject of a 1990 movie). Beyond that arc being more obscure to Yank viewers, the underlying idea of a detective squad repeatedly facing such copycats strains the suspension of disbelief to near its breaking point. Then again, the luxury of British drama and its short-order approach is the freedom not to overextend a concept past its expiration date. Viewed that way, "Whitechapel" can be enjoyed for what it is -- an excuse to take another bloody stroll down memory lane, while tacking on yet another cinematic addition to the house that Jack built.Camera, Balazs Bolygo; production designer, Martyn John; editor, Liana Del Giudice; music, Ruth Barrett, Martin Phipps; casting, Andy Pryor. 60 MIN. Contact Brian Lowry at brian.lowry@variety.com

Shelton aboard indie 'Decoding'

SheltonMarley Shelton ("Scream 4") has joined the cast of indie pic "Decoding Annie Parker."Film already stars Helen Hunt, Samantha Morton, Christina Hendricks and Maggie Grace, with Steven Bernstein on board to direct.Story is based on the true life story of Annie Parker, a breast-cancer patient whose belief that her illness had a genetic component led researchers to discover the breast cancer gene.Steven and Adam Bernstein penned the script, with Clark Peterson, Tatiana Kelly, Jim Young and Keith Kjarval producing.Shelton is repped by UTA and Untitled. Contact Justin Kroll at justin.kroll@variety.com

Hasbro 3Q Salary Is Not successful Of Anticipation Despite Transformers

Hasbro 3Q earnings were lighter than Wall Street expected, no matter an effective upturn at its entertainment and certification segment which accomplished good success from Vital’s Transformers: Dark In The Moon together with a onetime payment from Universal Art galleries.The toy company reported internet gain of $171.0M for your quarter, up 10% versus the identical period a year ago, on revenues of $1.38B, up 5%. Earnings at $1.27 a share missed experts’ target of $1.30.Furthermore they expected revenues tohit $1.45B. The drag came from from U.S. and Canadian sales of games and puzzles, and products specific to boys and ladies — all of the groups declined. But entertainment and certification revenues leaped 69% to $46.3M because the unit’s operating earnings was up 159.3% to $15.3M. The business didn’t use financials for your Hub, the cable funnel for children it really works with Discovery. Boss John Goldner states Hasbro has “a great make of innovative, looked for-after games and toys for your holiday, a couple of which are simply recently striking retail shelves” and requires strong sales overseas. The business’s share cost has fallen about 25% throughout the final 12 several days, closing Friday at $34.75 — and CFO Deborah Thomas states Hasbro repurchased 5.6M shares in 3Q within an average price of $37.74.

Tori Spelling Gives Birth To Young Girl

First Launched: October 11, 2011 5:41 PM EDT Credit: WireImage La, Calif. -- Caption Tori Spelling and Dean McDermott cope with towards the 22nd Annual GLAAD Media Honours on April 10, 2011 in Los AngelesIts another girl for Tori Spelling and Dean McDermott! Our familys so happy 2 announce tht 10/10/11 R young girl Hattie Margaret McDermott was produced at 7:08am! Tori Tweeted on Tuesday morning. (Go to a look at baby Hatties foot, HERE!) In April, the happy couple stopped by Access Hollywood Live, where the reality star mentioned the couples two children, Liam, 4, and Stella, 3, continued to be as becoming familiar with the idea of a completely new addition for the family. Liam kind of understood. Liam saved saying, ' Mama, your belly will get huge. There's an infant inside! For a while, I used to be like, No, no, no, theres nothing inside. Maybe I positioned on somewhat weight. And hed finish up like, No, there's an infant inside, there's an infant because belly. I mentioned, Why? He mentioned, Because, I needed with this. she told Billy and Package in those days. Stella, shes much less inside it. I remind her, Have a look inside my belly, she states, Yeah, I showed up in this area of the belly! Tori ongoing. So, In my opinion its apt to be somewhat harder on her. Dean also provides a 13-years of age boy, Jack, in the previous marriage. Tori and Dean tied the knot in Fiji on May 7, 2006 once you have involved with December 2005. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Early warnings

Morelia's 2009 doc competition winner, 'Presumed Guilty,' went on to boffo box office in Mexico.Pedro Gonzalez-Rubio preemed his film 'Alamar' in 2009.The Morelia festival has rapidly established itself as a forum for emerging young Mexican filmmakers, cultivating an atmosphere of artistic experimentation far from the wheeling-dealing hullabaloo of festival markets.But a swath of success stories underscores the festival's impact as a font of film talent. Especially considering that, since 2008, Morelia's short winner qualifies for submission for Oscar consideration, and pics with top plaudits go on to screen at Cannes Critics' Week.For starters, Elisa Miller took Morelia's 2006 short prize with "Ver llover," which then went on to win Cannes' short film Palme d'Or in 2007.In 2010, Miller brought "Alicia, Go Yonder" to Morelia -- it was picked up by sales agent Funny Balloons before going on to play Rotterdam.From Mantarraya Films, Pedro Gonzalez-Rubio's "Alamar" preemed at Morelia in 2009, won its fiction feature prize, and after being picked up by sales agent MK2, was sold to about 20 territories.The list goes on: First-time helmer Mariana Chenillo took the audience prize with 2009's "Without Nora," followed by a run through second-tier fests, producing 15 territory sales and theater runs in 40 U.S. cities.Morelia doc entry "Presumed Guilty" -- a scathing indictment of the Mexican judicial system -- made a huge impact at the Mexican B.O. and won the fest's 2009 doc prize.Festival president Alejandro Ramirez, also CEO of Mexico's top exhib Cinepolis, was so moved by the project that after two years of problematic distribution deals, he opened a distrib wing of Cinepolis to screen the film in Mexico in February.It became Mexico's top-grossing docu of all time, sparking a nationwide debate about the judicial system that continues to this day.Morelia's impact on the docu world looks to have been bolstered significantly in "Presumed Guilty's" aftermath. So much so that organizers of the doc-only festival Ambulante, founded by thesps Diego Luna and Gael Garcia Bernal, will hold their inaugural press conference at Morelia mid-festival.Since 2005, Mexican film institute Imcine has run a producer-centered Lab workshop parallel to the fest.Machete Prods.' Edher Campos attended in 2009 with project "The Room." Three months later, at Ventana Sur he sold international rights to Pyramide Intl. on Michael Rowe's "Leap Year" -- the Cannes 2010 Camera d'Or winner."Morelia's Lab gave me the necessary tools as a producer to face the challenge of presenting 'Leap Year' to distributors and agents at Ventana Sur's (rough-cut) Primer Corte showcase," Campos says.The festival sees only a fraction of the industry participation of many other festivals. But the quality-over-quantity factor is palpable as you walk along the tightly knit avenues of colonial Morelia in a sort of running meet-and-greet, or even more so at the industry-only hospitality suite, where you can find yourself at any moment sitting down to eat with visiting festival brass, studio execs, exhibs, distribs, producers and the twenty-something director that just came on the radar the night before at his premiere.As festival veep Cuauhtemoc Cardenas acknowledges, Morelia is about producers "seeing what's here, finding talent," not necessarily inking deals.RELATED LINKS Michoacan mission Contact the Variety newsroom at news@variety.com

CBS Films sets 'Salmon Fishing' release

"Salmon Fishing in Yemen"CBS Films has set March 2 for a limited opening of Lasse Hallstrom's romantic comedy ''Salmon Fishing in Yemen.'' The March 2 date already has wide openings set for Paramount's ''Hansel and Gretel: Witch Hunters,'' Lionsgate's ''Safe,'' Uni's ''Dr. Seuss' The Lorax'' and Warner comedy ''Project X.'' Limited releases include Paramount Vantage's ''Jeff Who Lives at Home'' and Magnolia's ''Tim and Eric's Billion Dollar Movie.''The distributor paid an estimated $5 million for domestic rights last month at the Toronto Film Festival, where Summit was also active in the bidding for ''Salmon Fishing.'' The drama, starring Ewan McGregor, Emily Blunt, Kristin Scott Thomas and Amr Waked, was one of the higher-profile titles for sale during the festival.Lionsgate U.K. is producing alongside BBC Films and Paul Webster at Kudos Pictures and began selling foreign territories during last year's Cannes market. Executive producers are Jamie Laurenson, Stephen Garrett, Paula Jalfon, Zygi Kamasa and Guy Avshalom. ''Slumdog Millionaire'' scribe Simon Beaufoy penned ''Fishing,'' which follows an ordinary Englishman's path of self-discovery as he becomes involved in a project that makes Yemen a new home for salmon. Script's based on the book by Paul Torday.CBS Films signaled that it was looking to amp up its acquisitions biz in July when it tapped veteran Sony exec Scott Shooman as exec VP of acquisitions. CBS Films entered the distribution business last year and its acquisition ''The Mechanic'' drew $30 million in domestic grosses. Acquisitions slated for release in 2012 include ''The Woman in Black,'' starring Daniel Radcliffe, and ''Gambit'' starring Colin Firth, Cameron Diaz and Alan Rickman. Contact Dave McNary at dave.mcnary@variety.com

Undergraduate and Graduate Dance Programs & Dance Studios

Undergraduate ALABAMAAuburn UniversityDepartment of Theatre, 211 Telfair B. Peet Theatre, Auburn, AL, 36849-5422; Scott Phillips, chair, theatre@auburn.edu; www.auburn.edu/theatre; 334-844-4748; Offers minor in danceThe University of AlabamaDepartment of Theatre and Dance, Box 870239, 115 Rowand-Johnson Hall, Tuscaloosa, AL, 35487-0239; William Teague, chair; Christopher M. Montpetit, director, theatre management, theatre.dance@ua.edu; theatre.ua.edu; 205-348-5283; B.A. in danceALASKAUniversity of Alaska, AnchorageDepartment of Theatre and Dance, 3211 Providence Dr., Anchorage, AK, 99508; Anna Owens, student info/front desk; Tom T. Skore, dept. chair; Jill Crosby, dance program coordinator, theatre@uaa.alaska.edu; theatre.uaa.alaska.edu; 907-786-1792; B.A. in theater with a dance emphasisARIZONAArizona State UniversitySchool of Dance, 107A Physical Education Building East, PO Box 870304, Tempe, AZ, 85287-0304; Simon Dove, director, dance@asu.edu; dance.asu.edu; 480-965-5029; BFA in danceUniversity of ArizonaSchool of Dance, PO Box 210093, 1713 E. University Blvd., Ina Gittings Bldg., Rm 121, Tuscon, AZ, 85721-0003; Jory Hancock, interim dean and director, dance@email.arizona.edu; www.cfa.arizona.edu/dance; 520-621-4698; BFA in dance and minor in danceARKANSASUniversity of Arkansasat Little RockTheatre Arts and Dance Department, 2801 S. University Ave., Little Rock, AR, 72204; Jay E. Raphael, chair, jeraphael@ualr.edu; www.ualr.edu; 501-569-3291; BFA in danceCALIFORNIAAMDA Collegeand Conservatoryof Performing Arts6305 Yucca St., Los Angeles, CA, 90028; info@amda.edu; www.amda.edu; 800-367-7908; BFA in dance theaterCalifornia Institute of the ArtsSharon Disney Lund School of Dance, 24700 McBean Pkwy., Valencia, CA, 91355-2397; Stephan Koplowitz, dean, zwigfall@calarts.edu; www.calarts.edu; 661-253-7853; 800.545.2787(ARTS); BFA in danceCalifornia State University, Dominguez HillsDepartment of Theater Arts and Dance, 1000 E. Victoria St., Carson, CA, 90747; Bill DeLuca, chair, bdeluca@csudh.edu; www.csudh.edu/theatre; 310-243-3588; B.A. in theater arts with an option in danceCalifornia State University, FresnoDepartment of Theatre Arts, 5201 N. Maple Ave., M/S SA46, Fresno, CA, 93740-8027; Melissa Gibson, mgibson@csufresno.edu; pamd@csufresno.edu; www.csufresno.edu/theatrearts; 559-278-3987; Offers an option in danceCalifornia State University, FullertonDepartment of Theatre and Dance, 800 N. State College Blvd., PO Box 6850, Fullerton, CA, 92834-6850; Bruce Goodrich, chair, ddombrow@fullerton.edu; www.fullerton.edu/arts; 657-278-3628; B.A. in danceCalifornia State University, Los AngelesDepartment of Theatre Arts and Dance, 5151 State University Dr., Los Angeles, CA, 90032; James Hatfield, dept. chair, tad@calstatela.edu; www.calstatela.edu/dept/theatre_dance/; 323-343-4110; B.A. in theater arts with an option in danceCalifornia State University, SacramentoDepartment of Theatre and Dance, 6000 J St., Shasta Hall, Sacramento, CA, 96819-6069; Linda S. Goodrich, chair, theatre.dance@csus.edu; achebe@csus.edu; www.csus.edu/dram; 916-278-6368; B.A. in danceCalifornia State University, San BernardinoDepartment of Theater Arts, Performing Arts Building, Rm. 111, 5500 University Parkway, San Bernardino, CA, 92407-2397; Kathryn Ervin, dept. chair, moreinfo@csusb.edu; theatre.csusb.edu; 909-537-5876; Offers dance emphasisHumboldt State UniversityDepartment of Theatre, Film & Dance, 1 Harpst St., Arcata, CA, 95521; Margaret Kelso, dept. chair, theatre@humboldt.edu; www.humboldt.edu; 707-826-3566; B.A. in dance studies (interdisciplinary)Loyola Marymount UniversityDepartment of Theatre Arts, One LMU Dr., Foley 308, Los Angeles, CA, 90045-8210; rcabebe@lmu.edu; www.lmu.edu; 310-338-5233; B.A. and minor in dancePomona CollegeDepartment of Theatre and Dance, 300 E. Bonita Ave., Claremont, CA, 91711; Arthur Horowitz, dept. chair, mtr04747@pomona.edu; theatre.pomona.edu; 909-621-8186; B.A. in danceSan Jose State UniversitySchool of Music and Dance, 1 Washington Square, San Jose, CA, 95192-0095; dance@sjsu.edu; www.music.sjsu.edu/dance; 408-924-5041; B.A. in dance; BFA in dance; minor in danceSanta Clara UniversityDepartment of Theatre and Dance, 500 El Camino Real, Santa Clara, CA, 95053-0340; Barbara Murray, chair, bmurray@scu.edu; www.scu.edu/cas/theatre; 408-554-4989; B.A. in theater arts with an emphasis in danceSonoma State UniversityDepartment of Theater Arts and Dance, 1801 E. Cotati Ave., Rohnert Park, CA, 94928; Shelley Martin, performing arts program specialist, shelley.martin@sonoma.edu; www.sonoma.edu/performingarts/theatre/index.shtml; 707-664-2474; Offers concentration in danceStanford UniversityDepartment of Drama, Dance Division, Memorial Auditorium, Rm. 144, 551 Serra Mall, Stanford, CA, 94305-5010; beedavid@stanford.edu (dance); www.stanford.edu/dept/drama; 650-723-2576; Minor in danceUniversity of California, BerkeleyDepartment of Theater, Dance, and Performance Studies, 101 Dwinelle Annex, Berkeley, CA, 94720-2560; Michael Mansfield, undergraduate adviser, tdps@berkeley.edu; tdps.berkeley.edu; 510-642-1677; B.A. in dance and performance studiesUniversity of California, Los AngelesDepartment of World Arts and Cultures, Glorya Kaufman Hall, 120 Westwood Plaza, Ste. 150, Box 951608, Los Angeles, CA, 90095-1608; wacinfo@arts.ucla.edu; www.ucla.edu; 310-825-3951 or 310-206-1342; B.A. in world arts and cultures (concentration in dance)University of California, RiversideDepartment of Dance-109, Arts Building 121, 900 University Ave., Riverside, CA, 92521; Linda J. Tomko, chair, danceadvising@ucr.edu; dance.ucr.edu; 951-827-3944; B.A. in dance, minor in danceUniversity of California, San DiegoDepartment of Theater and Dance, 9500 Gilman Dr. MC0344, La Jolla, CA, 92093-0344; Kyle Donnelly, head of acting; Allyson Green, dance dept. chair; lajimenez@ucsd.edu; www.theatre.ucsd.edu; 858-534-3791; B.A. in danceUniversity of California, Santa BarbaraDepartment of Theater and Dance, 552 University Rd., Santa Barbara, CA, 93106-7060; Simon Williams, chair, theaterdance-ugradadv@theaterdance.ucsb.edu; www.theaterdance.ucsb.edu; 805-893-3241; B.A. or BFA in danceCOLORADOUniversity of ColoradoDepartment of Theatre and Dance, 261 UCB, Boulder, CO, 80309-0261; Kyle Neidt, academic advisor; Michelle Ellsworth, co-director (dance); Nada Diachenko, co-director (dance), michelle.ellsworth@colorado.edu; nada.diachenko@colorado.edu; www.colorado.edu/theatredance; 303-492-7355; B.A. or BFA in danceUniversity of Northern ColoradoSchool of Theatre and Dance, Frasier Hall 107, Campus Box 49, Greeley, CO, 80639; David Grapes, director, di.smice@unco.edu; www.arts.unco.edu; 970-351-2930; Offers minor in danceCONNECTICUTCentral Connecticut State UniversityDepartment of Theatre, 1615 Stanley St., Maloney Hall, New Britain, CT, 06050; Tom Callery Jr., chair, callery@ccsu.edu; www.theatre.ccsu.edu; 860-832-3150; B.A. in danceConnecticut CollegeDepartment of Theater, Palmer Auditorium, 270 Mohegan Avenue, New London, CT, 06320; Mary Lowe, admission@conncoll.edu; www.conncoll.edu; 860-439-2605; B.A. in danceNutmeg Conservatory for the ArtsNutmeg Ballet, 58 Main St., Torrington, CT, 06790; info@nutmegconservatory.org; www.nutmegconservatory.org; 860-482-4413; ConservatoryTrinity CollegeDepartment of Theater and Dance, 300 Summit St., Hartford, CT, 06106-3100; Patricia A. Kennedy, administrative assistant, pkennedy@trincoll.edu; www.trincoll.edu; 860-297-5122; B.A. in danceUniversity of HartfordHartt School, 200 Bloomfield Ave., West Hartford, CT, 06117; lesko@hartford.edu; www.hartford.edu/hartt; 860-768-2478; BFA in dance performance or ballet pedagogyDISTRICT OF COLUMBIAAmerican UniversityDepartment of Performing Arts, 4400 Massachusetts Ave. N.W., Washington, DC, 20016-8053; Caleen Jennings, co-chair, dpa@american.edu; www.american.edu/cas/performing-arts/theatre.cfm; 202-885-3414; Minor in danceGeorge Washington UniversityDepartment of Theatre & Dance, 800 21st St. N.W., Ste. 227, Washington, DC, 20052; Dana Tai Soon Burgess, dept. chair, onstage@gwu.edu; theatredance.gwu.edu; 202-994-8072; B.A. in danceHoward UniversityDepartment of Theatre Arts, 2455 Sixth St. N.W., Washington, DC, 20059; Joe Selmon, interim chair, jselmon@howard.edu; www.coas.howard.edu/theatrearts/; 202-806-7050; BFA or minor in dance artsFLORIDAFlorida School of the ArtsSt. Johns River Community College, 5001 St. Johns Ave., Palatka, FL, 32177; Patti Cason, assistant to the dean, floarts@sjrcc.edu; www.floarts.org; 386-312-4300; A.A. in danceFlorida State UniversityDepartment of Dance, 201 Montgomery Gym, Tallahassee, FL, 32306-2120; dance-info@fsu.edu; dance.fsu.edu; 850-644-1023; BFA in danceNew World School of the ArtsDance Division, 300 N.E. Second Ave., Miami, FL, 33132; dlewis@mdc.edu; www.mdc.edu; 305-237-3582; A.A. degree in dancePalm Beach Atlantic UniversitySchool of Music and Fine Arts & Theatre Department, PO Box 24708, West Palm Beach, FL, 33416; Mr. Josu Lon, admissions counselor, josue_leon@pba.edu; www.pba.edu; 561-803-2104; B.A. in danceRollins CollegeDepartment of Theatre and Dance, 1000 Holt Ave., Box 2735, Winter Park, FL, 32789; Jennifer Jones Cavenaugh, dept. chair; Annie Russell, producing director (theatre), jcavenaugh@rollins.edu; www.rollins.edu/theatre; 407-646-2501; Offers minor in danceUniversity of Central FloridaUCF Conservatory Theatre, PO Box 162372, Orlando, FL, 32816; Earl Weaver, associate professor/program coordinator, earl.weaver@ucf.edu; theatre@mail.ucf.edu; www.theatre.ucf.edu; 407-823-2862; Offers minor in danceUniversity of FloridaSchool of Theatre and Dance, PO Box 115900, Gainesville, FL, 32611; sotd@arts.ufl.edu; www.arts.ufl.edu/theatreanddance; 352-273-0500 or 352-273-0501; BFA in dance performanceUniversity of South FloridaSchool of Theatre and Dance, 4202 E. Fowler Ave., TAR 230, Tampa, FL, 33620-7450; Merry Lynn Morris, theater and dance academic advisor, mmorris3@usf.edu; www.arts.usf.edu; 813-974-3867; B.A. in dance studies, BFA in dance performanceGEORGIAAgnes Scott CollegeDepartment of Theater and Dance, 141 East College Ave., Decatur, GA, 30030-3797; Dudley Sanders, chair, dsanders@agnesscott.edu; www.agnesscott.edu; 404-471-6250; B.A. in danceAtlanta Ballet Centre for Dance Education1695 Marietta Blvd. N.W., Atlanta, GA, 30318; brothermel@atlantaballet.com; www.atlantaballet.com; 404-873-5811, ext. 310; ConservatoryBerry CollegeDepartment of Fine Arts, Theatre Program, 2277 Martha Berry Hwy., NW, Mount Berry, GA, 30149-0309; Dr. John Countryman, jcountryman@berry.edu; www.berry.edu; 706-236-2289; Offers minor in danceBrenau UniversityDepartment of Performing Arts, 500 Washington St. S.E., Gainesville, GA, 30501; Ann Demling, chair (theatre); Vincas Greene, chair (dance), ademling@brenau.edu (theatre); vgreene@brenau.edu (dance); www.brenau.edu; 770-534-6264 (theatre); 770-534-6245 (dance); BFA in dance or dance education, B.A. in dance studiesEmory UniversityTheater Studies, Rich Memorial Building 230, 1602 Fishburne Dr., Atlanta, GA, 30322; Leslie Taylor, chair, jward03@emory.edu, dance@emory.edu; www.theater.emory.edu; 404-727-6751; B.A. in dance and movement studiesKennesaw State UniversityDepartment of Theatre & Performance Studies & Dance, Wilson Building 31, Rm. 249, 1000 Chastain Rd., #3103, Kennesaw, GA, 30144-5591; Dr. John S. Gentile, chair, jgentile@kennesaw.edu; www.kennesaw.edu/theatre; 770-499-3123; B.A. in danceValdosta State UniversityDepartment of Communication Arts, College of the Arts, 1500 N. Patterson St., Valdosta, GA, 31698; Jacque Wheeler, jwheeler@valdosta.edu; www.valdosta.edu; 229-333-5820; BFA in danceHAWAIIUniversity of Hawaii at ManoaKennedy Theatre, Department of Theater and Dance, 1770 East-West Rd., Honolulu, HI, 96822; Paul Mitri, chair, theatre@hawaii.edu; mitri@hawaii.edu; www.hawaii.edu/theatre; 808-956-7677; B.A. or BFA in danceIDAHOBallet Idaho Academy501 S. Eighth St., Boise, ID, 83702; Lacey VanderBoegh, academy administrator, info@balletidaho.org; www.balletidaho.org; 208-343-0556, ext. 22; ConservatoryBoise State UniversityDepartment of Theatre Arts, 1910 University Dr., Boise, ID, 83725-1565; Carrie Applegate, administrative assistant/advising coordinator.; Marla Hansen, head of dance, mhansen@boisestate.edu (dance); theatre.boisestate.edu; 208-426-3957 (theatre), 208-426-3568 (dance); B.A in theatre with dance emphasis, minor in danceUniversity of IdahoCenter for Dance, HPERD, PO Box 442401, Moscow, ID, 83844-2401; halloran@uidaho.edu; www.dance.uidaho.edu; 208-885-2184; B.A. in danceILLINOISColumbia College ChicagoTheater Department, 72 E. 11th St., Rm. 300, Chicago, IL, 60605; John Green, dept. chair, theatre@colum.edu; www.colum.edu; 312-369-6101; B.A. or BFA in danceIllinois State UniversityCollege of Fine Arts, School of Theater/Dance Program, Campus Box 5700, Normal, IL, 61790-5700; Sara Semonis, head of dance program, ssemoni@ilstu.edu; www.ilstu.edu; 309-438-2850; 309-438-8021 (dance); B.A. or B.S. in dance performance or dance educationLoyola University ChicagoDepartment of Fine and Performing Arts, Mundelein Center, Ste. 1200, 1020 W. Sheridan Rd., Chicago, IL, 60660; Mark E. Lococo, director of theatre, theatre-info@luc.edu; www.luc.edu/theatre; 773-508-3830 or 773-508-7511; Offers minor in danceMillikin UniversityDepartment of Theatre and Dance, 1184 W. Main St., Decatur, IL, 62522; Laura Ledford, Chair, mspencer@millikin.edu; www.millikin.edu; 217-424-6282; Offers minor in danceNorthern Illinois UniversitySchool of Theatre and Dance, Stevens Building, DeKalb, IL, 60115-2854; Alexander Gelman, director, agelman@niu.edu; www.niu.edu/theatre; 815-753-1334 or 815-753-8253; BFA in dance performanceNorthwestern UniversityDance Program, Marjorie Ward Marshall Dance Center, 10 Arts Circle Dr., Evanston, IL, 60208; nu-dance@northwestern.edu; www.northwestern.edu; 847-491-3147; B.A. in danceSouthern Illinois University at EdwardsvilleDepartment of Theater and Dance, Box 1777, Dunham Hall, Rm. 1031, Edwardsville, IL, 62026-1777; Peter Cocuzza, chair; J. Calvin Jarrell, head of dance area, pcocuzz@siue.edu; osweeze@siue.edu; cjarrel@siue.edu (dance); www.siue.edu/artsandsciences/theater; 618-650-2773 or 618-650-2788; B.A. or B.S. in danceUniversity of Illinois at Urbana-ChampaignDepartment of Dance, 907 1/2 W. Nevada St., Urbana, IL, 61801; Jan Erkert, head, dance@illinois.edu; www.dance.uiuc.edu; 217-333-1010; BFA in danceWestern Illinois UniversityDepartment of Theatre and Dance, Browne Hall 101, 1 University Circle, Macomb, IL, 61455; David E. Patrick, chair, theatre@wiu.edu; www.wiu.edu/theatre; 309-298-1543; Offers comprehensive dance minorINDIANABall State UniversityDepartment of Theatre and Dance, 2000 W. University Ave., AC 306, Muncie, IN, 47306-0415; Bill Jenkins, chair; Andrea Sadler, recruitment coordinator, amsadler@bsu.edu; wjenkins@bsu.edu; theatrestu@bsu.edu; www.bsu.edu/theatre; 765-285-8740; B.A. or B.S. in danceButler UniversityJordan College of Fine Arts, Department of Dance, Lilly Hall, Rm. 50, 4600 Sunset Ave., Indianapolis, IN, 46208; Larry Attaway, dept. chair dance, jggonzal@butler.edu; www.butler.edu/dance; 800-368-6852, ext. 9346; B.A., B.S., or BFA in dancePurdue UniversityDepartment of Theater, Patti and Rusty Rueff School of Visual and Performing Arts, PAO Hall, 552 W. Wood St., West Lafayette, IN, 47907-2002; Joel Ebarb, chair, theatre@purdue.edu; www.purdue.edu/theatre; 765-494-3074; Offers minor in modern danceVincennes UniversityTheatre/Speech/Dance & Music Department, Red Skelton Performing Arts Center, RSPAC-04/Room 105, Vincennes, IN, 47591; JoEllen Horne, performing arts secretary, jhorne@vinu.edu; www.vinu.edu; 812-888-5110; Certificate in danceKANSASKansas State UniversityDepartment of Communication Studies, Theatre and Dance, 129 Nichols Hall, Manhattan, KS, 66506-2304; John Uthoff, director of theatre, jsutd@ksu.edu; www.k-state.edu/theatre; 785-532-6864; B.A. or B.S. in theatre (with concentration in dance)University of KansasDepartment of Dance, 1301 Sunnyside Ave., Rm. 251, Lawrence, KS, 66045-3102; Michelle Heffner Hayes, chair, kudance@ku.edu; dance.ku.edu; 785-864-4264; B.A. or BFA in danceWichita State UniversitySchool of Performing Arts, 1845 N. Fairmount St., Box 153, Wichita, KS, 67260-0153; Linda Starkey, chair; Nick Johnson, program director of dance, performingarts@wichita.edu; finearts.wichita.edu/performing/index.asp; 316-978-3368; BFA in danceKENTUCKYNorthern Kentucky UniversityDepartment of Theatre and Dance, FA-205, Nunn Dr., Highland Heights, KY, 41099-1007; Ken Jones, chair, jonesk@nku.edu; www.nku.edu/~theatre/; 859-572-6362; BFA in danceWestern Kentucky UniversityDepartment of Theatre and Dance, Gordon Wilson Hall, 1906 College Heights Blvd., #71086, Bowling Green, KY, 42101-1086; Dr. David Young, dept. head, david.young@wku.edu; www.wku.edu/pcal/index.php?page=theatre-and-dance; 270-745-5845; B.A. in danceLOUISIANALouisiana State UniversityDepartment of Theatre, 105 M & DA Building, Baton Rouge, LA, 70803; Kristin Sosnowsky, interim chair, theatre@lsu.edu; www.lsu.edu; 225-578-4174; Minor in danceLoyola University New OrleansDepartment of Theatre Arts and Dance, 312 Marquette Hall, New Orleans, LA, 70118; Cheryl Conway, office manager, drama@loyno.edu; dance@loyno.edu; www.loyno.edu; 504-865-3840; Minor in balletNorthwestern State University of LouisianaSchool of Creative and Performing Arts, 150 Central Ave., Natchitoches, LA, 71497; Scott Burrell, coordinator of theater and dance, nfburrellc@nsula.edu; theatre.nsula.edu; 318-357-6891 or 318-357-4483; B.S. in theatre (with concentration in dance)Tulane UniversityDepartment of Theatre and Dance, 215 McWilliams Hall, New Orleans, LA, 70118; Marty Sachs, chair, msachs@tulane.edu; www.tulane.edu; 504-314-7760; B.A. or BFA in danceUniversity of Louisiana at LafayetteDepartment of Performing Arts, McLaurin Hall, Room 109, PO Box 43690, Lafayette, LA, 70504-3690; Jennifer Potter, administrative assistant, performingarts@louisiana.edu; www.pfar.louisiana.edu; 337-482-6357; BFA in performing arts (with concentration in dance)MAINEBowdoin CollegeDepartment of Theater and Dance, 9100 College Station, Brunswick, ME, 04011-8491; Noma Petroff, dept. coordinator, theater-dance@bowdoin.edu; academic.bowdoin.edu/theaterdance; 207-725-3663; Minor in danceMARYLANDGoucher CollegeDepartment of Dance, 1021 Dulaney Valley Rd., Baltimore, MD, 21204; Elizabeth Ahearn, chair; Sara Thomson, dept. coordinator, goucherdance@goucher.edu; www.goucher.edu; 410-337-6390 or 800-468-2437; B.A. in dance (with tracks in performance, dance education, dance science, dance therapy, dance administration, choreography, dance history and criticism, dance and theatre)Towson UniversityDepartment of Dance, 8000 York Rd., Towson, MD, 21252; dance@towson.edu; www.towson.edu; 410-704-2760; BFA and in danceUniversity of Maryland, College ParkSchool of Theatre, Dance, and Performance Studies, 2810 Clarice Smith Performing Arts Center, College Park, MD, 20742-1610; Daniel MacLean Wagner, professor and director, tdps@umd.edu; www.tdps.umd.edu; 301-405-6676; B.A. in danceMASSACHUSETTSAmherst CollegeDepartment of Theater and Dance, 27 Webster Hall, Amherst, MA, 01002; Linda T. Celi, academic dept. coordinator, ltceli@amherst.edu; www.amherst.edu; 413-542-2411; B.A. in danceThe Boston ConservatoryTheater Division, 8 The Fenway, Boston, MA, 02215; Neil Donohoe, director, admissions@bostonconservatory.edu; www.bostonconservatory.edu; 617-912-9153 or 617-536-6340; BFA in danceEmerson CollegeDepartment of Performing Arts, 120 Boylston St., Boston, MA, 02116; Eric Weiss, performing arts admission coordinator, stagedoor@emerson.edu; www.emerson.edu; 617-824-8780; Offers minor in danceMount Holyoke CollegeDepartment of Dance, 104 Kendall Sports & Dance Complex, South Hadley, MA, 01075; Terese Freedman, chair dance, dance@mtholyoke.edu; www.mtholyoke.edu/acad/dance; 413-538-2310; B.A. in danceSmith CollegeTheatre Department, Mendenhall Center for Performing Arts, Northampton, MA, 01063; Ellen W. Kaplan, dept. chair, ekaplan@smith.edu; www.smith.edu; 413-585-3201; B.A. in danceTufts UniversityDepartment of Drama and Dance, Aidekman Arts Center, 40 Talbot Ave., Medford, MA, 02155; Downing Cless, chair, downing.cless@tufts.edu; ase.tufts.edu/drama-dance; 617-627-3524; Offers minor in danceMICHIGANHope CollegeDepartment of Dance, 168 East 13th St., Holland, MI, 49423; M. Linda Graham, graham@hope.edu; www.hope.edu/academic/dance; 616-395-7700; B.A. in danceMichigan State UniversityDepartment of Theatre, 113 Auditorium Building, East Lansing, MI, 48824; Kirk Domer, dept. chair, theatre@msu.edu; www.theatre.msu.edu; 517-355-6690; Offers minor in danceUniversity of Michigan - Ann ArborDepartment of Dance, 3501 Dance Bldg., 1310 University Court, Ann Arbor, MI, 48109-2217; Samantha Strayer, administrator, sstrayer@umich.edu; www.music.umich.edu/departments/dance; 734-763-7558; BFA in danceUniversity of Michigan - FlintDepartment of Theater and Dance, Theatre 238, Flint, MI, 48502-1950; Lauren Friesen, chair, lfriesen@umflint.edu; www.umflint.edu/theatredance; 810-762-3230; B.A. in danceWayne State UniversityMaggie Allesee Department of Dance, 4841 Cass Ave., Ste. 3226, Detroit, MI, 48202; dance@wayne.edu; www.dance.wayne.edu; 313-577-4273; BFA or B.S. in danceMINNESOTAGustavus Adolphus CollegeTheater and Dance Department, 800 W. College Ave., St. Peter, MN, 56082-1498; aseham@gac.edu; www.gustavus.edu; 507-933-7353; B.A. in danceMinnesota State University, MankatoDepartment of Theater and Dance, 201 Performing Arts Center, Mankato, MN, 56001; Paul Hustoles, chair, admissions@mnsu.edu, paul.hustoles@mnsu.edu; www.msutheatre.com, www.msudance.com; 507-389-2118; B.A. in dance; B.S. In dance educationSt. Olaf CollegeDepartment of Dance, 1520 St. Olaf Ave., Northfield, MN, 55057; jroberts@stolaf.edu; www.stolaf.edu; 507-786-3240; B.A. in danceUniversity of Minnesota, Twin CitiesDepartment of Theater Arts and Dance, Barbara Barker Center for Dance, 500 21st Ave. South, Minneapolis, MN, 55455-0480; umdance@umn.edu; dance.umn.edu; 612-624-5060; B.A. and BFA in danceWinona State UniversityTheater and Dance Department, PO Box 5838, Winona, MN, 55987-5838; Gretchen Cohenour, dance director; Jim Williams, chair, gcohenour@winona.edu; www.winona.edu/thad/; 507-457-5230; Offers minor in danceMISSISSIPPIUniversity of Southern MississippiDepartment of Theater and Dance, 118 College Dr., Box 5052, Hattiesburg, MS, 39406-0001; dance@usm.edu; www.usm.edu/theatre; 601-266-4161; B.A. in danceMISSOURIAvila UniversityDepartment of Theater, 11901 Wornall Rd., Kansas City, MO, 64145; Robert Foulk, robert.foulk@avila.edu; www.avila.edu; 816-501-2405; B.A. in danceLindenwood UniversityFine & Performing Arts Division, 209 S. Kings Highway, St. Charles, MO, 63301; lquiggins@lindenwood.edu; www.lindenwood.edu; 636-949-4906; B.A. in danceMissouri State UniversityDepartment of Theater and Dance, 901 S. National Ave., Springfield, MO, 65897; Mark Templeton, managing director, theatreanddance@missouristate.edu; www.theatreanddance.missouristate.edu; 417-836-4400; BFA in danceMissouri Valley CollegeDivision of Fine Arts, 500 E. College St., Marshall, MO, 65340; maland@moval.edu; www.moval.edu; 660-831-4215; B.A. in danceNorthwest Missouri State UniversityDepartment of Communication, Theater, and Languages, 148 Wells Hall, Maryville, MO, 64468; jkreizi@nwmissouri.edu; www.nwmissouri.edu/dept/ctl; 660-562-1172; Offers minor in danceSoutheast Missouri State UniversityDepartment of Theater and Dance, One University Plaza, MS7850, Cape Girardeau, MO, 63701; theatreanddance@semo.edu; www.semo.edu; 573-651-2149Stephens CollegeSchool of the Performing Arts, Theater Department, Box 2077, Columbia, MO, 65215; Beth Leonard, chair, bleonard@stephens.edu; www.stephens.edu; 573-876-7194; BFA in danceWashington University in St. LouisPerforming Arts Department, 1 Brookings Dr., Campus Box 1108, St. Louis, MO, 63130-4899; pad@artsci.wustl.edu; pad.artsci.wustl.edu; 314-935-5858; B.A. in danceWebster UniversityConservatory of Theatre Arts/Department of Dance, 470 E. Lockwood Ave., St. Louis, MO, 63119; Dottie Marshall Englis, chair (theatre); Beckah Reed, chair (dance), marshado@webster.edu; voigtbe@webster.edu; www.webster.edu; www.webster.edu/dance; 314-968-6929; BFA in danceMONTANAThe University of MontanaSchool of Theatre & Dance and Montana Repertory Theatre, PARTV Center Room 197, Missoula, MT, 59812-8136; umtheatredance@umontana.edu; www.umt.edu/theatredance; 406-243-4481; B.A. or BFA in danceNEVADAUniversity of Nevada, RenoDepartment of Theatre and Dance-228, Reno, NV, 89557; Rob Gander, chair, rgander@unr.edu; www.unr.edu/cla/theatredance; 775-784-6839; Offers minor in danceNEW HAMPSHIREKeene State CollegeDepartment of Theater Arts and Dance, 229 Main St., Keene, NH, 03435-2407; Daniel L. Patterson, chair, naubrey@keene.edu; academics.keene.edu/tad; 603-358-2162; B.A. in dancePlymouth State UniversityDepartment of Music, Theater, and Dance, MSC 37, 17 High St., Plymouth, NH, 03264-1595; Jonathan C. Santore, Ph.D., chair, mtd_dept@plymouth.edu; www.plymouth.edu/mtd; 603-535-2334; Offers minor in danceUniversity of New HampshireDepartment of Theatre and Dance, Paul Creative Arts Center, D-22, 30 College Rd., Durham, NH, 03824; Chris Peabody, administrative assistant, c.peabody@unh.edu; www.unh.edu/theatre-dance; 603-862-2919; B.A. in danceNEW JERSEYMason Gross School of the Arts at Rutgers33 Livingston Ave., New Brunswick, NJ, 08901; Mandy Feiler, admissions officer, mfeiler@masongross.rutgers.edu; www.masongross.rutgers.edu; 732-932-9891 (theatre); 732-932-8497 (dance); BFA or B.A. in danceMontclair State UniversityCollege of the Arts, Department of Theater and Dance, Upper Montclair, NJ, 07043; Eric Diamond, dept. chair; Lori Ketterhenry, dance program coordinator, eric.diamond@montclair.edu; www.montclair.edu/arts; 973-655-7343 (Mr. Diamond); 973-655-7080 (Ms. Ketterhenry); B.A. in dance education, BFA in dance.Rowan UniversityDepartment of Theater and Dance, Bunce Hall, 201 Mullica Hill Rd., Glassboro, NJ, 08028; Elisabeth Hostetter, advisement coordinator, hostetter@rowan.edu; www.rowan.edu/colleges/fpa/theatre_dance; 856-256-4030; B.A. in theater with a concentration in danceNEW MEXICOUniversity of New MexicoDepartment of Theater and Dance, MSC04 2570, 1 University of New Mexico, Albuquerque, NM, 87131-0001; William Liotta, chair; dance@unm.edu; theatre.unm.edu; 505-277-3660; B.A. in danceNYAdelphi UniversityPerforming Arts Center, Rm. 149, PO Box 701, Garden City, NY, 11530-0701; Frank Augustyn, dance chair, augustyn@adelphi.edu; academics.adelphi.edu/artsci/pfa/dance; 516-877-4250; BFA in danceThe Ailey SchoolThe Joan Weill Center for Dance, 405 W. 55th St, NY, NY, 10019; bfa@alvinailey.org; www.theaileyschool.edu; 212-405-9000; BFA in dance (with Fordham University)Alfred UniversityDivision of Performing Arts/Theater, Miller Performing Arts Center, 1 Saxon Dr., Alfred, NY, 14802-1232; Dr. Lisa Lantz, division chair, performs@alfred.edu; las.alfred.edu/performing-arts; 607-871-2562; Offers minor in danceAMDA College and Conservatory of Performing Arts211 W. 61st St., NY, NY, 10023; David Dent Martin, artistic director, info@amda.edu; www.amda.edu; 800-367-7908; Two-year conservatory program in dance theatreBard CollegeDivision of the Arts, Theater and Dance Program, PO Box 5000, Annandale-on-Hudson, NY, 12504; admission@bard.edu, theater@bard.edu, dance@bard.edu; theater.bard.edu, dance.bard.edu; 845-758-7970; B.A. in dance, concentrations in dance, and choreographyBarnard CollegeColumbia University, Department of Dance, 3009 Broadway, NY, NY, 10027; Mary Cochran, chair and artistic director, dance@barnard.edu; www.dance.barnard.edu; 212-854-2995; B.A. in danceCornell UniversityDepartment of Theater, Film, and Dance, Schwartz Center for the Performing Arts, 430 College Ave., Ithaca, NY, 14850; theatre@cornell.edu; www.cornell.edu; 607-254-2700; B.A. in danceDance Theatre of Harlem School466 W. 152nd St., NY, NY, 10031; Endalyn Taylor, school administrator, info@dancetheatreofharlem.org; nheyward@dancetheatreofharlem.org; www.dancetheatreofharlem.org; 212-690-2800; Certificate granting professional training programHofstra UniversityDepartment of Drama and Dance, 112 Hofstra University, Hempstead, NY, 11549-1120; David Henderson, chair; Rachel List, director of dance, rachel.list@hofstra.edu or anita.feldman@hofstra.edu; www.hofstra.edu; 516-463-5444; B.A. in dance, B.S. in dance education, or minor in danceHunter CollegeDance Program, 695 Park Ave., THH 614, NY, NY, 10021; jfeinman@hunter.cuny.edu; www.hunter.cuny.edu/~dance; 212-772-5012; B.A. in danceThe Joffrey Ballet434 Avenue of the Americas, 5th Fl., NY, NY, 10011; joffrey@joffreyballetschool.com; www.joffreyballetschool.com; 212-254-8520; ConservatoryThe Juilliard SchoolDance Division, 60 Lincoln Center Plaza, NY, NY, 10023; Lawrence Rhodes, artistic director (dance); Sarah Adriance, administrative director (dance), www.juilliard.edu; 212-799-5000, ext. 255; BFA in danceLong Island UniversityC.W. Post Campus, Theatre, Film, Dance, & Arts Management, 720 Northern Blvd., Brookville, NY, 11548; Cara Gargano, cgargano@liu.edu; www.liu.edu; 516-299-2353; BFA in danceLong Island University, Brooklyn CampusDepartment of Dance, 1 University Plaza, Brooklyn, NY, 11201-8423; jstuart@liu.edu; www.liu.edu; 718-488-1075; BFA in dance or performance and choreography, B.S. in dance or dance educationMartha Graham School of Contemporary Dance316 E. 63rd St., NY, NY, 10065; info@marthagraham.org; www.marthagraham.org/school; 212-838-5886; Non-degree program, conservatoryMerce Cunningham Studio55 Bethune St., 11th Fl., NY, NY, 10014; studio@merce.org; www.merce.org; 212-255-8240, ext. 30; Non-degree programNazareth CollegeDepartment of Theater Arts, 4245 East Ave., Rochester, NY, 14618; Lindsay Korth, chair, lkorth3@naz.edu; www.naz.edu; 595-389-2780; Offers minor in danceNY UniversityMusic and Performing Arts Professions, Dance Education Program, 35 W. Fourth St., Ste. 777, NY, NY, 10012; steinhardt.dance@nyu.edu; www.steinhardt.nyu.edu/music/dance; 212-998-5400; M.A. in dance educationPurchase CollegeConservatory of Dance, 735 Anderson Hill Rd., Purchase, NY, 10577; Wallie Wolfgruber, director, dance@purchase.edu; www.purchase.edu; 914-251-6830; BFA in dance with concentration in composition, production, ballet performance, or modern performanceSarah Lawrence CollegeDance Program, 1 Mead Way, Bronxville, NY, 10708-5999; dwatson@sarahlawrence.edu; www.slc.edu; 914-395-2433; B.A. in liberal arts (dance)SUNY BrockportDepartment of Dance, 350 New Campus Dr., Brockport, NY, 14420; Jacqueline Davis, interim chair, www.brockport.edu/dance; 585-395-2153; B.A., B.S., or BFA in danceSUNY FredoniaDepartment of Theater & Dance, 212 Rockefeller Arts Center, Fredonia, NY, 14063; theatre.dance@fredonia.edu; www.fredonia.edu/department/theatredance; 716-673-3596; B.A. in theater with minor in danceSUNY GeneseoSchool of the Arts, One College Circle, Geneseo, NY, 14454; johnston@geneseo.edu; www.geneseo.edu; 585-245-5841; Minor in danceUniversity at BuffaloCollege of Arts & Sciences, Department of Theater & Dance, 285 Alumni Arena, Buffalo, NY, 14260-5030; td-theatredance@buffalo.edu; www.theatredance.buffalo.edu; 716-645-6897; B.A. or BFA in danceWagner CollegeTheatre Department, One Campus Rd., Staten Island, NY, 10301; fruff@wagner.edu; www.wagner.edu/departments/theatre; 718-390-3223; Offers minor in danceNORTH CAROLINAAppalachian State UniversityDepartment of Theater and Dance, PO Box 32123, Boone, NC, 28608-2123; asutheatre@appstate.edu; www.theatre.appstate.edu; 828-262-3028; B.A. in danceEast Carolina UniversitySchool of Theater & Dance, Messick Theatre Arts Center, 1001 E. 5th St., Greenville, NC, 27858; theatre@ecu.edu; www.theatre-dance.ecu.edu; 252-328-6390; BFA in dance & dance educationElon UniversityDepartment of Performing Arts, Campus Box 2800, Elon, NC, 27244; krippy@elon.edu; www.elon.edu/perarts; 336-278-5600; BFA in danceUniversity of North Carolina at GreensboroSchool of Music, Theatre, and Dance, PO Box 26170, Greensboro, NC, 27402-6170; Janet Lilly, head, dance@uncg.edu; performingarts.uncg.edu; 336-334-5789; B.A. or BFA in danceWake Forest UniversityDepartment of Theater & Dance, PO Box 7264, Winston-Salem, NC, 27109; theatre@wfu.edu; www.wfu.edu/theatre; 336-758-5294; Offers minor in danceWestern Carolina UniversitySchool of Stage and Screen, 246 Central Dr., ST233, Cullowhee, NC, 28723; Thomas Salzman, director, tmsalzman@wcu.edu; www.wcu.edu; 828-227-7491; Offers minor in danceOHIOKent State UniversitySchool of Theater and Dance, B 141 Music & Speech Ctr., Kent, OH, 44242-0001; Cynthia Stillings, director; dance@kent.edu; www.theatre.kent.edu; 330-672-2069; BFA in danceOberlin CollegeTheater and Dance Program, 30 N. Professor St., Warner Center, Oberlin, OH, 44074; janice.sanborn@oberlin.edu; new.oberlin.edu/arts-and-sciences/departments/theater_dance; 440-775-8152; B.A. in danceThe Ohio State UniversityDepartment of Dance, 1813 N. High St., Columbus, OH, 43210-1266; Susan Van Pelt Petry, chair, dance@osu.edu; dance.osu.edu; 614-292-7977; BFA in danceOhio UniversitySchool of Dance, Putnam Hall 137, Athens, OH, 45701-2979; dance@ohio.edu; www.finearts.ohio.edu/dance; 740-593-1826; B.A. or BFA in danceOtterbein UniversityDepartment of Theatre and Dance, 30 S. Grove St., Westerville, OH, 43081; jstefano@otterbein.edu; www.otterbein.edu/theatre; 614-823-1657; BFA in musical theatre (with concentration in dance), minor in danceThe University of AkronSchool of Dance, Theatre, and Arts Administration, Akron, OH, 44325-1005; theatre@uakron.edu; www.uakron.edu/dtaa; 330-972-7890; B.A. or BFA in danceUniversity of Cincinnati College - Conservatory of MusicDivision of Dance, PO Box 210003, Cincinnati, OH, 45221-0003; Shellie Cash, cashsb@ucmail.uc.edu; www.ccm.uc.edu; 513-556-5803; BFA in danceWright State UniversityDepartment of Theatre, Dance, and Motion Pictures, Dayton, OH, 45435; Stuart McDowell, stuart.mcdowell@wright.edu, victoria.oleen@wright.edu; www.wright.edu/academics/theatre; 937-775-3072; BFA in danceYoungstown State UniversityDepartment of Theater and Dance, 1 University Plaza, Youngstown, OH, 44555-0002; theater@cc.ysu.edu; www.fpa.ysu.edu; 330-941-3810; B.A. in dance management, minor in danceOKLAHOMAOklahoma City University2501 N. Blackwelder Ave., Oklahoma City, OK, 73106-1493; Jo Rowan, chair; Jennifer Polvado, audition coordinator, jpolvado@okcu.edu; www.okcu.edu/dance_amgt; 405-208-5644; B.P.A. in performance or B.S. in dance management or American dance pedagogyOral Roberts UniversityDepartment of Communication, Arts and Media, 7777 S. Lewis Ave., Tulsa, OK, 74171; lholland@oru.edu; amcintosh@oru.edu (dance); www.oru.edu; 918-495-6870; B.A. in dance performanceUniversity of Central OklahomaDepartment of Dance, 100 N. University Dr., Box 86, Edmond, OK, 73034-5209; Jamie Jacobson, chair, jjacobson@uco.edu; www.uco.edu/cfad/academics/dance; 405-974-5231; BFA in dance or B.A. Ed in dance educationUniversity of OklahomaSchool of Dance, 560 Parrington Oval, Rm. 1000, Norman, OK, 73019-3021; Mary Margaret Holt, director, dance@ou.edu; www.ou.edu/finearts/dance; 405-325-4051; BFA in ballet pedagogy, ballet performance, or modern dance performanceOREGONWestern Oregon UniversityDepartment of Theatre and Dance, 345 N. Monmouth Ave., Monmouth, OR, 97361; Lenore Eliassen, eliassl@wou.edu; www.wou.edu; 503-838-8461; B.A. or B.S. in danceWillamette UniversityDepartment of Theatre, 900 State St., Salem, OR, 97301; theatre-info@willamette.edu; www.willamette.edu; 503-370-6222; B.A. in theater with a dance emphasisPENNSYLVANIACalifornia University of PennsylvaniaDepartment of Theater and Dance, 250 University Ave., Box 16, California, PA, 15419-1394; Michael J. Slavin, Chair, slavin@calu.edu, walmsley@calu.edu; www.calu.edu; 724-938-4220 or 4221; Offers minor in danceDeSales UniversityDepartment of Performing Arts, 2755 Station Ave., Center Valley, PA, 18034-9568; Dennis Razze, chair (theatre); Tim Cowart, chair (dance), dennis.razze@desales.edu (theatre); timothy.cowart@desales.edu (dance); www.desales.edu/arts; 610-282-1100; B.A. in danceFranklin and Marshall CollegeDepartment of Theatre, Dance & Film, PO Box 3003, Lancaster, PA, 17604-3003; admission@fandm.edu or jsimeral@fandm.edu; www.fandm.edu/theatre; 717-291-4017; B.A. in danceIndiana University of PennsylvaniaDepartment of Theater and Dance, 104 Waller Hall, 401 S. 11th St., Indiana, PA, 15705; brjones@iup.edu; www.iup.edu/theater; 724-357-2965; B.A. in interdisciplinary fine arts (emphasis in dance)Marywood UniversityDepartment of Music, Theatre, & Dance, 2300 Adams Ave., Scranton, PA, 18509; Dr. Joan McCusker, chair, mccusker@maryu.marywood.edu; www.marywood.edu/mtd; 570-348-6268; Minor in danceMuhlenberg CollegeDepartment of Theatre & Dance, Trexler Pavilion for Theatre & Dance, 2400 Chew St., Allentown, PA, 18104-5586; bien@muhlenberg.edu; www.muhlenberg.edu/theatre&dance; 484-664-3335; B.A. in dancePoint Park UniversityConservatory of Performing Arts, Department of Dance, 201 Wood St., Pittsburgh, PA, 15222; Susan Stowe, chair; www.pointpark.edu; 412-392-3450; B.A. and BFA in danceSeton Hill UniversityTheater and Dance Program, 1 Seton Hill Dr., Greensburg, PA, 15601-1599; cross@setonhill.edu; www.setonhilltheatre.edu; 724-552-2900; B.A. in danceSlippery Rock UniversityDepartment of Dance, 110 Morrow Field House, Slippery Rock, PA, 16057; Lisa Smith, dept. secretary; Ursula Payne, chair, ursula.payne@sru.edu; www.sru.edu; 724-738-2036; B.A. or minor in danceSwarthmore CollegeDepartment of Music and Dance, Lang Performing Arts Center, 500 College Ave., Swarthmore, PA, 19081; Sharon E. Friedler, director of the dance program; dance@swarthmore.edu; www.swarthmore.edu; 610-328 -8227; B.A. in danceTemple UniversityDepartment of Dance, 1700 N. Broad St., Ste. 309, Philadelphia, PA, 19122; Philip Grosser, program director, boyer@temple.edu; www.temple.edu; 215-204-5169; BFA in danceUniversity of the ArtsSchool of Dance, 320 S. Broad St., Philadelphia, PA, 19102; info@uarts.edu; www.uarts.edu/academics/school-dance; 215-717-6577; BFA in ballet, jazz, or modern danceWilkes UniversityDivision of Performing Arts, Dorothy Dickson Darte Center, 84 W. South St., Wilkes-Barre, PA, 18766; Joseph C. Dawson, chair, joseph.dawson@wilkes.edu; www.wilkes.edu/pages/382.asp; 570-408-4420; Offers minor in danceYork College of PennsylvaniaDepartment of English and Humanities, Theater Major, York, PA, 17405-7199; jmcghee@ycp.edu; www.ycp.edu; 717-815-1401; Offers minor in danceRHODE ISLANDBrown UniversityDepartment of Theater, Speech, and Dance, PO Box 1897, 77 Waterman St., Providence, RI, 02912; taps@brown.edu; www.brown.edu; 401-863-3283; B.A. in danceProvidence CollegeDepartment of Theater, Dance & Film, 1 Cunningham Square, Providence, RI, 02918; jgarrity@providence.edu; www.providence.edu; 401-865-2327; Minor in danceSalve Regina UniversityTheater Arts Department, 100 Ochre Point Ave., Newport, RI, 02840-4192; Patricia Hawkridge, chair, www.salve.edu; 401-341-3163; B.A. in danceSOUTH CAROLINAColumbia CollegeDepartment of Dance, 1301 Columbia College Dr., Columbia, SC, 29203; Wrenn Cook, chair; www.columbiacollegesc.edu; 803-786-3749; B.A. in dance or dance education with certification, BFA in dance performance and choreography, and minor in danceUniversity of South CarolinaDepartment of Theater and Dance, Longstreet Theater, Green and Sumpter Streets, Main Office, Rm. 402, Columbia, SC, 29208; Susan Anderson, director of dance, dance@sc.edu; www.cas.sc.edu/dance; 803-777-5636; B.A. in danceWinthrop UniversityDepartment of Theater and Dance, 115 Johnson Hall, Rock Hill, SC, 29733; Andrew Vorder Bruegge, Ph.D., theaterdance@winthrop.edu; www.winthrop.edu/cvpa/theatredance/default.aspx; 803-323-2287; B.A. in danceTENNESSEEUniversity of MemphisDepartment of Theater and Dance, 144 Theater Communication Building, Memphis, TN, 38152-3150; kshupe@memphis.edu; www.memphis.edu; 901-678-2523; BFA in danceTEXASBaylor UniversityTheater Arts Department, One Bear Place, Box 97262, Waco, TX, 76798; lisa_denman@baylor.edu; www.baylor.edu/theatre; 254-710-1861; Minor in danceHouston Ballet Ben Stevenson Academy601 Preston St., Houston, TX, 77002; Stanton Welch, artistic director, hbacademy@houstonballet.org; www.houstonballet.org; 713-523-6300; ConservatorySam Houston State UniversityDepartment of Theater and Dance, Box 2297, Huntsville, TX, 77341-2297; Jennifer Pontius, coordinator; www.shsu.edu/~dnc_www/; 936-294-1329; BFA in danceSouthern Methodist UniversityMeadows School of the Arts, Division of Theater/Division of Dance, PO Box 750356, Dallas, TX, 75275-0356; Stan Wojewodski, Jr., chair; Kevin Paul Hofeditz, chair (dance), theatre@smu.edu; hguthrie@mail.smu.edu; www.smu.edu/meadows/areasofstudy/theatre.aspx; www.smu.edu/meadows/areasofstudy/dance.aspx; 214-768-2558; BFA in danceTexas Christian UniversitySchool for Classical & Contemporary Dance, TCU Box 297910, Fort Worth, TX, 76129; Ellen Page Shelton, chair, www.dance.tcu.edu; 817-257-7615; BFA in ballet or modern danceTexas State University-San MarcosDepartment of Theater & Dance, Dance Division, 178 Jowers Center, San Marcos, TX, 78666-4616; LeAnne Smith, director, ls14@txstate.edu; www.theatreanddance.txstate.edu/dance; 512-245-2949; BFA in dance studes or performance/choreography, BFA in dance with teaching certificationTexas Tech UniversityDepartment of Theater and Dance, PO Box 42061, Lubbock, TX, 79409-2061; fred.christoffel@ttu.edu; www.ttu.edu; 806-742-3601; B.A. in danceTexas Womans UniversityDepartment of Music and Drama, PO Box 425768, Denton, TX, 76204-4254; Dr. Penelope Hanstein, chair; dance@twu.edu; www.twu.edu/dance; 940-898-2086; B.A. in danceUniversity of Texas at AustinDepartment of Theatre and Dance, College of Fine Arts, 1 University Station, D3900, Austin, TX, 78712-0362; inquiry@uts.cc.utexas.edu; www.finearts.utexas.edu/tad; 512-471-5793; BFA in danceUniversity of Texas at El PasoDepartment of Theater & Dance, 500 W. University Ave., FOX 371D, El Paso, TX, 79968-0549; Joel K. Murray, Ph.D, theater dept. chair; Lisa Smith, dance dept. head, www.theatredance.utep.edu; 915-747-5146; B.A. in dance with teaching certification, BFA in danceUTAHBrigham Young UniversityDepartment of Dance, 296 Richards Bldg., Provo, UT, 84602-6405; Marilyn Berrett, chair, dance@byu.edu; dance.byu.edu; 801-422-5086; B.A. in dance or dance education, BFA in music dance theaterSouthern Utah UniversityDepartment of Theater Arts & Dance, 351 W. University Blvd., Cedar City, UT, 84720; marchantj@suu.edu; www.suu.edu; 435-586-7746; B.A. in dance performance or educationUniversity of UtahDepartment of Modern Dance, 330 South 1500 East, Rm. 106, Salt Lake City, UT, 84112-0170; Stephen Koester, chair, stephen.koester@utah.edu; www.dance.utah.edu; 801-581-7327; BFA in dance, minor in danceVERMONTBennington CollegeDance/Drama Program, 1 College Dr., Bennington, VT, 05201; lhurley@bennington.edu; www.bennington.edu; 802-440-4547; B.A. in danceMiddlebury CollegeDepartment of Theatre and Dance, Mahaney Center for the Arts, Middlebury, VT, 05753; admissions@middlebury.edu; www.middlebury.edu; 802-443-5601; 802-443-5245 (dance); B.A. in danceVIRGINIACollege of William and MaryDepartment of Theatre, Speech, and Dance, PO Box 8795, Williamsburg, VA, 23187-8795; jsgava@wm.edu; www.wm.edu/theatre; 757-221-2660; B.A. in interdisciplinary studies (combining dance and theater), minor in danceJames Madison UniversitySchool of Theater and Dance, 147 Warsaw Avenue, MSC 5601, Harrisonburg, VA, 22807; theatredance@jmu.edu; www.jmu.edu/theatre; 540-568-6342; B.A. with concentration in danceRadford UniversityDepartment of Dance, PO Box 6966, Radford, VA, 24142; Margaret Devaney, chair, mdevaney@radford.edu; dance.asp.radford.edu; 540-831-5012; B.A. in dance, BFA in ballet or contemporary, B.S. with teacher licensure in dance educationShenandoah UniversityShenandoah Conservatory, 1460 University Dr., Winchester, VA, 22601; conservatory@su.edu; www.su.edu; 540-665-4565; B.A. or BFA in danceUniversity of RichmondDepartment of Theatre & Dance, Modlin Center for the Arts, 50 Crenshaw Way, Richmond, VA, 23173; dmullin@richmond.edu; theatredance.richmond.edu; 804-289-8592; B.A. in danceUniversity of VirginiaDepartment of Drama, PO Box 400128, 109 Culbreth Rd., Charlottesville, VA, 22904-4128; drama@virginia.edu; www.virginia.edu/drama; 434-924-3326; Offers minor in danceVirginia Commonwealth UniversitySchool of the Arts, Department of Dance and Choreography, PO Box 843007, 1315 Floyd Ave., Richmond, VA, 23284; Dr. James Frazier, chair, dance@vcu.edu; www.vcu.edu/arts/dance/dept; 804-828-1711; BFA in dance and choreographyWASHINGTONCornish College of the ArtsDance Department, Main Campus Center, 1000 Lenora St., Seattle, WA, 98121; Kitty Daniels, chair; admissions@cornish.edu; www.cornish.edu; 206-726-5079; BFA in dancePacific Northwest Ballet School301 Mercer St., 1000 Lenora St., Seattle, WA, 98109; Peter Boal, school director, pnbschool@pnb.org; www.pnb.org; 206-441-2435; ConservatoryUniversity of WashingtonDance Program, Meany Hall, Box 351150, Seattle, WA, 98195-1150; Elizabeth Cooper, dance program director, uwdance@u.washington.edu; depts.washington.edu/uwdance; 206-543-9843; B.A. in danceWestern Washington UniversityTheatre & Dance Department, 516 High St., Performing Arts Center 395, Bellingham, WA, 98225-9060; Deborah Currier, chair; Cher Carnell, associated chair; Sherena Geariety, dance program coordinator, deb.currier@wwu.edu; cher.carnell@wwu.edu; sherena.geariety@wwu.edu; www.wwu.edu/theatre; www.wwu.edu/dance; 360-650-3876; B.A., BFA, or minor in danceWEST VIRGINIAWest Virginia UniversityCollege of Creative Arts, Division of Theater & Dance, PO Box 6111, Morgantown, WV, 26506-6111; Dr. Yoav Kaddar, director of dance, theatre@mail.wvu.edu; theatre.wvu.edu; 304-293-2020; Offers minor in danceWest Virginia Wesleyan CollegeDepartment of Theater & Dance, 59 College Ave., WVWC MSC 72, Buckhannon, WV, 26201; Gregory Mach, dept. chair, mach@wvwc.edu; www.wvwc.edu; 304-473-8855; Offers minor in danceWISCONSINUniversity of Wisconsin - Eau ClaireDepartment of Music and Theatre Arts, Haas Fine Arts Center 156, Eau Claire, WI, 54702-4004; musicandtheatre@uwec.edu; www.uwec.edu/mus-the; 715-836-4954; Offers minor in danceUniversity of Wisconsin - Green BayDepartment of Theater and Dance, 2420 Nicolet Dr., Green Bay, WI, 54311-7001; Mike Ingraham, chair, www.uwgb.edu/performarts; 920-465-2348; Offers minor in danceUniversity of Wisconsin - MadisonDance Program, Lathrop Hall, 1050 University Ave., 821 University Ave., Madison, WI, 53706; uwdance@education.wisc.edu; www.dance.wisc.edu; 608-262-1691; BFA or B.S. in danceUniversity of Wisconsin - MilwaukeePeck School of the Arts, Department of Dance, PO Box 413, Milwaukee, WI, 53201; Ed Burgess, chair; danceinfo@uwm.edu; arts.uwm.edu/dance; 414-229-2571; B.A. in dance, early childhood through adolescence teacher certification; BFA in performance/choreography with tracks in African diaspora or contemporary danceUniversity of Wisconsin - River FallsDepartment of Health and Human Performance, 111 Karges, 410 S. Third St., River Falls, WI, 54022; www.uwrf.edu/csta; 715-425-3971; Offers minor in danceUniversity of Wisconsin - Stevens PointDepartment of Theatre & Dance, Noel Fine Arts Center, Rm. 161, 1800 Portage St., Stevens Point, WI, 54481; Stephen Trovillion Smith, acting program coordinator; Joan Karlen, dance program coordinator, theatre@uwsp.edu; dance@uwsp.edu; www.uwsp.edu/theatre-dance; 715-346-4429 (theatre); 715-346-3982 (dance); B.A. or B.S. in danceUniversity of Wisconsin - WhitewaterTheatre/Dance Department, Greenhill Center of the Arts, 800 W. Main St., Whitewater, WI, 53190-1790; altermas@uww.edu; www.uww.edu/cac/theatre; 262-472-1566; Offers minor in danceWYOMINGCasper CollegeDepartment of Theater and Dance, 125 College Dr., Casper, WY, 82601; rburk@caspercolleg.edu; www.caspercollege.edu/theatre_dance/index.html; 307-268-2365; A.A. in danceUniversity of WyomingDepartment of Theater and Dance, Dept. 3951, 1000 E. University Ave., Laramie, WY, 82071-3951; jchapman@uwyo.edu; www.uwyo.edu/th&d; 307-766-2198; B.A. in dance performance; BFA in dance performance or dance scienceGraduate ARIZONAArizona State UniversitySchool of Dance, 107A Physical Education Building East, PO Box 870304, Tempe, AZ, 85287-0304; Simon Dove, director, dance@asu.edu; dance.asu.edu; 480-965-5029; MFA in danceUniversity of ArizonaSchool of Dance, PO Box 210093, 1713 E. University Blvd., Ina Gittings Bldg., Rm 121, Tuscon, AZ, 85721-0093; Jory Hancock, interim dean and director, dance@email.arizona.edu; www.cfa.arizona.edu/dance; 520-621-4698; MFA in danceCALIFORNIACalifornia Institute of the ArtsSharon Disney Lund School of Dance, 24700 McBean Pkwy., Valencia, CA, 91355-2397; Stephan Koplowitz, dean; zwigfall@calarts.edu; www.calarts.edu; 661-255-1050; 800.545.2787 (ARTS); MFA in danceCalifornia State University, Long BeachDepartment of Dance, 1250 Bellfower Blvd., Long Beach, CA, 90840; Sylvia Rodriguez-Scholz, assistant to the chair, dance@csulb.edu; www.csulb.edu/dance; 562-985-4747; M.A. or MFA in danceUniversity of California, Los AngelesDepartment of World Arts and Cultures, Glorya Kaufman Hall, 120 Westwood Plaza, Ste. 150, Box 951608, Los Angeles, CA, 90095-1608; Angelia Leung, chair, wacinfo@arts.ucla.edu; www.wac.ucla.edu/; 310-825-3951 or 310-206-1342; MFA in danceUniversity of California, RiversideDepartment of Dance-109, Arts Building 121, 900 University Ave., Riverside, CA, 92521; Linda J. Tomko, chair, danceadvising@ucr.edu; dance.ucr.edu; 951-827-3944; MFA in experimental choreography, PhD in critical dance studiesUniversity of California, San DiegoDepartment of Theater and Dance, 9500 Gilman Dr. MC0344, La Jolla, CA, 92093-0344; Allyson Green, dance dept. chair; Kyle Donnelly, head of acting, meward@ucsd.edu; www.theatre.ucsd.edu; 858-534-1046; MFA in dance theaterCOLORADOUniversity of ColoradoDepartment of Theater and Dance, 261 UCB, Boulder, CO, 80309-0261; Michelle Ellsworth, co-director (dance); Nada Diachenko, co-director (dance), michelle.ellsworth@colorado.edu; nada.diachenko@colorado.edu; www.colorado.edu/theatredance; 303-492-7355; MFA in danceHAWAIIUniversity of Hawaii at ManoaKennedy Theater, Department of Theatre and Dance, 1770 East-West Rd., Honolulu, HI, 96822; Paul Mitri, chair, theatre@hawaii.edu; mitri@hawaii.edu; www.hawaii.edu/theatre; 808-956-7677; M.A. or MFA in danceILLINOISUniversity of Illinois at Urbana-ChampaignDepartment of Dance, 907 1/2 W. Nevada St., Urbana, IL, 61801; Jan Erkert, head, dance@illinois.edu; www.dance.uiuc.edu; 217-333-1010; MFA in danceMARYLANDUniversity of Maryland, College ParkSchool of Theatre, Dance, and Performance Studies, 2810 Clarice Smith Performing Arts Center, College Park, MD, 20742-1610; Daniel MacLean Wagner, professor and director, tdps@umd.edu; www.tdps.umd.edu; 301-405-6676; MFA in danceMASSACHUSETTSSmith CollegeDance Department, Mendenhall Center for Performing Arts, Northampton, MA, 01063; Susan Kay Waltner, director of MFA in dance, swaltner@smith.edu (ms. waltner); www.smith.edu; 413-585-3201; 413-585-3236 (director); MFA in danceMICHIGANUniversity of Michigan -Ann ArborDepartment of Dance, 3501 Dance Bldg., 1310 University Court, Ann Arbor, MI, 48109-2217; Samantha Strayer, administrator, sstrayer@umich.edu; www.music.umich.edu/departments/dance; 734-763-7558; MFA in danceMISSOURILindenwood UniversityFine & Performing Arts Division, 209 S. Kings Highway, St. Charles, MO, 63301; lquiggins@lindenwood.edu; www.lindenwood.edu; 636-949-4906NEW JERSEYMason Gross Schoolof the Arts at Rutgers33 Livingston Ave., New Brunswick, NJ, 08901; Mandy Feiler, admissions officer, mfeiler@masongross.rutgers.edu; www.masongross.rutgers.edu; 732-932-8497; Ed.M in dance educationNEW MEXICOUniversity of New MexicoDepartment of Theater and Dance, MSC04 2570, 1 University of New Mexico, Albuquerque, NM, 87131-0001; William Liotta, chair, theatre@unm.edu; dance@unm.edu; 505-277-3660 (dance); M.A. in dance history, MFA in danceNYPurchase CollegeConservatory of Dance, 735 Anderson Hill Rd., Purchase, NY, 10577; Wallie Wolfgruber, director, dance@purchase.edu; www.purchase.edu; 914-251-6830; MFA in choreography or performance/teachingSarah Lawrence CollegeTheater Program, 1 Mead Way, Bronxville, NY, 10708-5999; Dan Hurlin, director, dhurlin@sarahlawrence.edu; www.slc.edu; 914-395-2433; MFA in danceSUNY BrockportDepartment of Dance, 350 New Campus Dr., Brockport, NY, 14420; Jacqueline Davis, interim chair, dance@brockport.edu; www.brockport.edu/dance; 585-395-2153; M.A. or MFA in danceNORTH CAROLINAUniversity of North Carolina at GreensboroSchool of Music, Theatre, and Dance, PO Box 26170, Greensboro, NC, 27402-6170; Janet Lilly, head, dance@uncg.edu; performingarts.uncg.edu; 336-334-5789; MFA or M.A. in dance, M.A. in dance educationOHIOCase Western Reserve UniversityDepartment of Dance, Mather Dance Center, 10900 Euclid Ave., Cleveland, OH, 44106-7113; Karen Potter, chair; Lori Waugh, department assistant, lny@case.edu; klp13@case.edu; dance.case.edu; 216-368-1491; MFA and M.A. and in danceThe Ohio State UniversityDepartment of Dance, 1813 N. High St., Columbus, OH, 43210-1266; Susan Van Pelt Petry, chair, dance@osu.edu; dance.osu.edu; 614-292-7977; MFA or Ph.D. in danceOKLAHOMAOklahoma City University2501 N. Blackwelder Ave., Oklahoma City, OK, 73106-1493; Jo Rowan, chair; Jennifer Polvado, audition coordinator, jpolvado@okcu.edu; www.okcu.edu/dance_amgt; 405-208-5644; MFA in danceUniversity of OklahomaSchool of Dance, 560 Parrington Oval, Rm. 1000, Norman, OK, 73019-3021; Mary Margaret Holt, director, dance@ou.edu; www.ou.edu/finearts/dance; 405-325-4051; MFA in dancePENNSYLVANIATemple UniversityDepartment of Dance, 1700 N. Broad St., Ste. 309, Philadelphia, PA, 19122; Merian Soto, graduate program director, boyer@temple.edu; www.temple.edu; 215-204-5169; MFA and Ph.D. in danceTEXASSam Houston State UniversitySHSU Dance Program, Box 2269, Huntsville, TX, 77341-2269; Jennifer Pontius, coordinator (dance), dance@shsu.edu; www.shsu.edu/~dnc_www/; 936-294-1875; MFA in danceSouthern Methodist UniversityMeadows School of the Arts, Division of Theater/Division of Dance, PO Box 750356, Dallas, TX, 75275-0356; Stan Wojewodski Jr., chair; Kevin Paul Hofeditz, chair (dance), theatre@smu.edu; hguthrie@mail.smu.edu; www.smu.edu/meadows/areasofstudy/theatre.aspx; www.smu.edu/meadows/areasofstudy/dance.aspx; 214-768-2558; MFA in danceTexas Womans UniversityDepartment of Music and Drama, PO Box 425708, Denton, TX, 76204-5708; Dr. Penelope Hanstein, chair (dance), dance@twu.edu; www.twu.edu/dance; 940-898-2085; M.A., MFA or Ph.D.dance in danceUniversity of Texas at AustinDepartment of Theatre and Dance, College of Fine Arts, 1 University Station, D3900, Austin, TX, 78712-0362; inquiry@uts.cc.utexas.edu; www.finearts.utexas.edu/tad; 512-471-5793; MFA in danceUTAHUniversity of UtahDepartment of Modern Dance, 330 South 1500 East, Rm. 106, Salt Lake City, UT, 84112-0170; Stephen Koester, chair, stephen.koester@utah.edu; www.dance.utah.edu; 801-581-7327; MFA in danceWASHINGTONUniversity of WashingtonDance Program, Meany Hall, Box 351150, Seattle, WA, 98195-1150; Elizabeth Cooper, dance program director, uwdance@u.washington.edu; depts.washington.edu/uwdance; 206-543-9843; MFA in danceWISCONSINUniversity of Wisconsin - MilwaukeePeck School of the Arts, Department of Dance, PO Box 413, Milwaukee, WI, 53201; Ed Burgess, chair; Simone Ferro, graduate program director, danceinfo@uwm.edu; arts.uwm.edu/dance; 414-229-2571; MFA in performing arts: danceDance Studios Los Angeles 3rd Street Dance, 8558 W. Third St., Los Angeles, CA 90048, 310-275-4683, thirdstreetdance@aol.com; www.3rdstreetdance.com; Over 20 years in Los Angeles. Private lessons also available. Ballroom, Latin The Academy of Dance and Performing Arts, 5700 Corsa Ave., Ste. 106, Westlake Village, CA 91362, 818-889-1515, academyofdance@sbcglobal.net; www.academyofdance.us; Preschool to professional. Also has competition squad. 30 years in Los Angeles. Ballet, Jazz, Tap, Lyrical, Hip-Hop, Musical Theater Academy of Music and Dance, 72 W. Bellevue Dr., Pasadena, CA 91105, 626-768-2614, contact@pasadenadanceclasses.com; www.pasadenadanceclasses.com; Offers dance classes, music lessons, voice and theater for ages 1 1/2 through adult, emphasizing small class sizes. Features live video feed into all classes. Also mommy-and-me classes. Other location: 3858 E. Colorado Blvd., Ste. 200, Pasadena, CA 91107, 626-795-0055. Ballet, Jazz, Tap, Lyrical, Modern, Musical Theater Agoura Hills Dance and Performing Arts Center, 5015 Cornell Rd., Agoura Hills, CA 91301, 818-991-8883, agouradanc@aol.com; www.agouradance.com; Pre-dance to professional. All ages. Ballet, Jazz, Tap, Lyrical, Hip-Hop, Musical Theater Alohis Polynesian Dance Studio, 16129 Leffingwell Rd., Whittier, CA 90603, 562-902-1090, alohis@aol.com; www.alohis.com; Offers a variety of authentic island dances, consisting mainly of Tahitian and Hawaiian. Ages 3 and up as well as beginner classes for adults. Ongoing enrollment. Jazz, Polynesian Anaheim Ballet School, 280 E. Lincoln Ave., Anaheim, CA 92805, 714-520-0904, info@anaheimballet.org; www.anaheimballet.org; The resident ballet company and school of Anaheim. Beginner to professional. Offers Anaheim-based outreach program. Ballet, Jazz, Modern Anisas School of Dance, 14252 Ventura Blvd., Sherman Oaks, CA 91423, 818-908-8008, anisa@anisadance.com; www.anisadance.com; Wide variety of dance and fitness classes. All ages. Also a parent-and -me class. Ballet, Jazz, Tap, Latin, Modern, Hip-Hop, Belly Dance, HulaThe Arte Flamenco Dance Theatre & Dance School, 230 W. Main St., Alhambra, CA 91801, 626-458-1234, info@clarita-arteflamenco.com; www.clarita-arteflamenco.com; All dance forms from basic to professional. Specializes in Flamenco. Ages 3 to adult. Workshops taught by international performing artists, after-school programs, and professional performance opportunities are available. Ballet, Jazz, Tap, Latin, Hip-Hop, Polynesian Arthur Murray Dance Studios, 262 N. Beverly Dr., Beverly Hills, CA 90210, 310-274-8867, beverlyhills@dancestudios.com, www.arthurmurray.com; Private, class, and practice lessons. Other locations include: 231 1/2 N. Brand Blvd., Glendale, CA91203, 818-242-5672; 5199 E. Pacific Coast Hwy. Ste. 100B, Long Beach, CA90804, 562-986-4496; 4633 Van Nuys Blvd, Sherman Oaks, CA91403,818-783-2623. Ballroom, Latin Athletic Garage, 121 Waverly Ave., Pasadena, CA91105, 626-229-9769, athleticgarage@aol.com; www.athleticgarage.com; Dance and fitness classes, mostly for adults and teens, with hip-hop classes for kids. Ballet, Jazz, Tap, Latin, Modern, Contemporary, Hip-Hop, House, Afro-Latin Ballet Arts School of Dance, 31308 Via Colinas, Ste. 101, Westlake Village, CA 91362, 805-495-7940, robin@balletarts.org; www.balletarts.org; Founded in 1962. Emphasis on dance as a performing art. Formed the Conejo Civic Ballet Company. Ballet, Jazz, Tap, Modern, Hip-Hop Ballroom Dance Academy, 817 N. Highland Ave., Los Angeles, CA 90036, 323-467-0825, michael@ballroomdanceacademy.com; www.ballroomdanceacademy.com; Offers group classes as well as private dance lessons, choreography for wedding couples, dance parties, and entertainment for corporate events and private parties. Ballroom, Latin BeSpun, 5176 Santa Monica Blvd., Los Angeles, CA 90029, 323-665-5856, www.bespun.com; Offers the highest-quality pole dance training for fitness & performers. Group, private classes, pole parties, and workshops available. Pole Dance, FitnessCalifornia Dance Academy, 9759 Mason Ave., Chatsworth, CA 91311, 818-341-0525, info@californiadanceacademy.com; www.californiadanceacademy.com; Introductory through professional level. First class is always free. Ballet, Jazz, Tap, Ballroom, Modern, Hip-HopCalifornia Dance Arts & California Contemporary Ballet, 4490 Cornishon Ave., Ste. 6, La Canada, CA 91011, 818-790-7924, info@caldancearts.com; www.dancenowacademy.com; Specializing in classical and contemporary ballet, but also has adult, children, fitness, and elective classes. Also a summer program and a Career Preparatory Training Division for serious dancers. Ballet, Jazz, Contemporary, Modern, Lyrical, Hip-Hop City Ballet of Los Angeles School, 152 W. 11th St., Los Angeles, CA 90015, 323-292-1932, cblaschool@cityballetofla.org; www.cityballetofla.org/theschoolb.html; Mission is to sustain a dance institution that reflects the economic and racial diversity of L.A. Work is a mixture of classical and contemporary. Tours with an urban outreach program and has a full scholarship program. Ballet, Modern, Dance History, World Dance The Classical Ballet School, Studio 9, 5920 Shoup Ave., Woodland Hills, CA 91367, 818-610-1091, info@classicalballet.com; www.classicalballet.com; Trains dancers in own teaching method based on Cecchetti method. Private and targeted sessions available as well as group classes from child to adult. Ballet, Jazz, Tap, Latin, Modern, Hip-Hop, Musical Theater Conjuctive Points Dance Center, 3631 Hayden Ave., Culver City, CA 90232, 310-836-3962, cpdance@earthlink.net; www.culvercity.com/dance/index.html; Beginner to professional. Pre-dance to adult. Ballet, Jazz, Tap, Ballroom, Latin, Modern Creation Station, 10746 Jefferson Blvd., Culver City, CA 90230, 310-839-8999, culvercity1@creationstationdance.com; www.creationstationculvercity.com; Classes reflect commitment to promoting high self-esteem. Creative dance and movement program for toddlers to teens. Other CA location: 6490 Platt Ave., West Hills, CA, 91307, 818-883-8999, westhills3@creationstationdance.com; www.creationstationwesthills.com; Ballet, Jazz, Tap, Contemporary, Lyrical, Cheerleading, Musical Theater Crenshaw Yoga and Dance, 5426 Crenshaw Blvd., Los Angeles, CA 90043, 323-294-7148, crenshawyoga@gmail.com; www.crenshawyogaanddance.org; Yoga, dance, and nutrition education. Modern, African, Afro-Caribbean, Bikram Yoga, Hip-Hop, Zumba, Belly Dance, Samba, Capoeira de Angola Dance Alive, 865 Via de la Paz, Ste. 196, Pacific Palisades, CA 90272, 310-454-5335, office@dancealive.com; www.dancealive.com; New system that focuses on ultimate life fitness. Trains body, emotions, and mind to work as a healthy team. MovementDance Arts Academy, 731 S. La Brea Ave., Los Angeles, CA 90036, 323-932-6230, info@danceartsacademy.com; www.danceartsacademy.com; Professional training in all dance disciplines. Also offers workshops and master classes. Ballet, Jazz, Tap, Latin, Modern, West African, Movement, Irish StepDance Dimensions Performing Arts Center, Westfield Promenade, 6100 Topanga Canyon Blvd., Woodland Hills, CA 91367, 818-999-3262, www.mydancedimensions.com; Full-service studio offering classes for children, teens, and adults. Outreach program performs throughout the year. Two recitals a year. Summer and winter camps during school breaks. Ballet, Jazz, Tap, Latin, Contemporary, Hip-Hop, Broadway, African, Belly Dance, BollywoodThe Dance Doctor Studio, 1440 Fourth St., Santa Monica, CA 90401, 310-459-2264, johncassese@dancedoctor.com; www.dancedoctor.com; Specializes in wedding dance preparation. Jazz, Ballroom, Latin, Hip-Hop, Country, Belly DanceThe Dance Factory School of Performing Arts, 28901 S. Western Ave., Ste. 113, Rancho Palos Verdes, CA 90274, 310-519-3600, dancefctry@aol.com; www.dance-factory.net; Family-oriented, positive atmosphere. Classes for the beginner through the national champion company dancer, child through adult. Yearly recital and competitive dance team. Ballet, Jazz, Tap, Ballroom, Lyrical, Hip-Hop, Musical Theater, AcrobaticsThe Dance Family Studio, 25 N. Allen Ave., Pasadena, CA 91106, 800-363-0306, info@thedancefamily.com; www.thedancefamily.com; Founders, Francisco and Stacey Martinez, head the California Ballroom Teachers Academy. Classes, boot camps, teacher training, cruises. Ballroom, LatinDance Forever Studio, 1611 S. Catalina Ave., Ste. L30, Redondo Beach, CA 90277, 310-540-6285, info@danceforeverstudio.com; www.danceforeverstudio.com; Specializes in children, offers jazz and hip-hop to ages 3 and up. Ballet, Jazz, Tap, Contemporary, Lyrical, Hip-HopDance Garden LA, 3407 Glendale Blvd., Los Angeles, CA 90039, 323-660-4556, zahra@aol.com; www.dancegardenla.com; Diverse dance forms for a diverse group of people. Specializes in Middle Eastern Belly Dance. Classes for all level and ages. Latin, Belly Dance, Afro-Brazilian, Persian, BollywoodDance in Motion, 22776 Ventura Blvd., Ste. B, Woodland Hills, CA 91364, 818-222-2085, dim_dancestudio@yahoo.com; www.danceinmotion.net; Classes, summer camp, dance team, wedding dance prep. Two recitals a year. Ballet, Jazz, Tap, Ballroom, Latin, Hip-Hop, Belly Dance, FitnessDance of the Divine, 2611 Beach Ave., Venice, CA 90291, 310-781-0763, goddessrevival@gmail.com; www.danceofthedivine.org; Belly dancer Jacqui Lalita, known for her passion and playfulness, leads weekly classes to uplift and inspire. Belly DanceDance562, 216 The Promenade N, Ste. 310, Long Beach, CA 90802, 562-417-6112, amandabhanson@gmail.com; www.dance562.com; Partner dance instruction and wedding first dance instruction in Long Beach and surrounding communities. First lesson free. Ballroom, Latin Diamond Dance Academy, 24825 S. Western Ave., Lomita, CA 90717, 310-530-3400, diamonddanceinc@yahoo.com; www.diamonddanceacademy.com; Classes for ages 2 to 18. Ballet, Jazz, Lyrical, Hip-Hop, MovementElite Dance Studios, 29457 The Old Road, Castaic, CA 91384, 661-295-7774, info@elitedancestudios.net; www.elitedancestudios.net; Classes for all ages and levels. First class free. Professional performance team and competition team. Ballet, Jazz, Tap, Hip-HopEleve Ballet Academy, 10604 W. Pico Blvd., Los Angeles, CA 90064, 310-384-4921, info@pacificartsballet.com; www.pacificartsballet.com; Ballet and creative movement in the young childrens program. Ballet for students 5 years and up in the academy program. Uses the newly developed ABT curriculum. Flamenco also offered. Ballet, LatinEsencia Flamenca Dance Company and School, 324 Redondo Ave., Long Beach, CA 90814, 562-761-1618, www.1esencia.com; Nonprofit dance company focused on promoting the art of flamenco dance and music. LatinFusion Studios: Dance Art Music, 22236 Palos Verdes Blvd., Torrance, CA 90505, 310-540-6401, fusion_studios@yahoo.com; www.fsdam.com; Classes for adults and children. Has annual recital, choreographer showcase, glee club, art and music classes, and a dance team. Ballet, Jazz, Tap, Hip-Hop, Acrobatics, MovementGarri Dance Studio, 3715 W. Magnolia Blvd., Burbank, CA 91505, 818-846-4390, info@garridance.com; www.garridance.com; Established in 1958. Dance, acting, and music lessons. Ages 2 years to adult. Ballet, Jazz, Tap, Contemporary, Hip-Hop, Musical Theater, HulaGenie Nakano, 12627 Manor Dr., Hawthorne, CA 90250, 310-644-1186, genieyogini@yahoo.com; www.genieyogini.com; Genie Nakano teaches Middle Easternstyle dances and yoga. Belly Dance, BollywoodHalau Hula a Kawika lauao Leinani, 944 N. Diamond Bar Blvd., Diamond Bar, CA 91765, 909-396-4775, www.kawikaleinani.com; Professional, authentic Polynesian dance troupe that performs songs and dances from Hawaii, Tahiti, Samoa, New Zealand, Tonga. HulaHeartbeat House Dance Workout Studio, 3141 Glendale Blvd., Los Angeles, CA 90039, 323-669-2821, heartbeathouse@gmail.com; www.heartbeathouse.com; A dance workout studio offering an eclectic mix of ethnic, non-ethnic, traditional dance, fitness, yoga, martial arts, and kids classes. Ballet, Jazz, Latin, Hip-Hop, AfricanHermosa School of Dance & Music, 1151 Aviation Blvd., Hermosa Beach, CA 90254, 310-318-6260, www.schoolofdanceandmusic.com; Music and dance classes. Preschool to adult. Also a competition dance team. Other location: 633 N. Pacific Coast Highway, Redondo Beach, CA 90277. Ballet, Jazz, Tap, Ballroom, Latin, Hip-HopHollywood Dance Center, 817 N. Highland Ave., Los Angeles, CA 90038, 323-467-0825, www.hollywooddancecenter.com; Ages 4 and up. Ballet, Jazz, Tap, Ballroom, Latin, African, Belly Dance, Irish DanceHollywood Dance Company, 6755 Hollywood Blvd., 2nd Fl. Los Angeles, CA 90028, 323-463-8865, info@idahollywood.com; www.hollywooddancecompany.com; Rick Heiman teaches an advanced contemporary class, Limon/Horton-based, with an emphasis on flow, musicality and moving with power. Dancers for future performance projects may be recruited from classes. ContemporaryInternational Dance Academy of Hollywood, 6755 Hollywood Blvd., 2nd Fl., Los Angeles, CA 90028, 323-463-8865, info@idahollywood.com; www.idahollywood.com; Classes, workshops, and a summer intensive. Ballet, Jazz, Ballroom, Latin, Modern, Belly Dance, BollywoodIsabelles Dance Academy, 1334 Lincoln Blvd., Santa Monica, CA 90401, 310-392-3493, questionsforisabellesalsa@yahoo.com; www.isabellesalsa.com; Specializes in salsa, argentine tango, and fitness pole dancing classes. Latin, Pole DanceKatnap Dance Center, 12932 Venice Blvd., Los Angeles, CA 90066, 310-306-7069, info@katnapdance.com; www.katnapdance.com; Beginner through professional levels, special childrens program, exercise and fitness stretch. Ballet, Jazz, Tap, Latin, Modern, Hip-HopKumaras Center for the Arts & Etiquette, 1616 W. Magnolia Blvd., Burbank, CA 91506, 818-848-9333, kumarascenter@aol.com; www.kumarasarts.com; Dance, fitness, energy, kids classes, workshops, wedding and quinceanera prep, etiquette and summer camp classes. Ballet, Jazz, Latin, Hip-HopL.A. Dance Experience, 1941 Westwood Blvd., Los Angeles, CA 90025, 310-475-1878, ladanceexperience@verizon.net; www.ladanceexperience.com; All levels. Wedding dance prep. Parties and workshops. Ballroom, LatinLets Dance L.A., 17 S. First St., Alhambra, CA 91801, 626-227-2572, www.letsdancela.com; Flexible program, pay as you go, special events, Ballroom, LatinLong Beach Ballet Arts Center, 1122 E. Wardlow Road, Long Beach, CA 90807, 562-426-4112, admin@longbeachballet.com; www.longbeachballet.com; Comprehensive classical ballet program includes a childrens division, adult division, a professional academy, and a performing company. Ballet, ContemporaryLong Beach Dance Centre, 5107 E. Ocean Blvd., Long Beach, CA 90803, 562-438-1557, www.lbdance.com; Classes, parties, private lessons, wedding dance prep. Ballroom, Latin, HulaLos Altos Dance Center, 5531 E. Spring St., Long Beach, CA 90808, 562-429-7486, losaltosdance@aol.com; www.losaltosdance.com; Classes for ages 3 to adult. Recital. Ballet, Jazz, Tap, Hip-HopLos Angeles Ballet Academy, 18138 Sherman Way, Reseda, CA 91335, 818-780-6126, andreaparis@laballet.com; www.theatricsdance.com; Classes from preschool to adult. Strength building, flexibility, focus, creativity, and love of movement for boys and girls. Ballet, Jazz, Contemporary, Modern, Hip-HopLos Angeles Ballet School, 11755 Exposition Blvd., Los Angeles, CA 90064, 310-488-8890, info@losangelesballetschool.org; www.losangelesballetschool.com; Beginner, intermediate, and advanced students, ages 7 to 19. Also classes in variations, repertoire, Pilates, and mens technique. Ballet, JazzLos Angeles Steppers Connection, 159 N. Market St., Inglewood, CA 90301, 310-895-5712, terance@mylasc.com; www.mylasc.com; Chicago-style stepping. Classes taught by experienced, patient instructors who have fun while teaching the class. Students learn at their own pace. Ballroom, Latin, SteppingLumina Academy of Pasadena, 1054 N. Allen Ave., Pasadena, CA 91104, 626-296-2812, luminaacademy@earthlink.net; www.luminaacademy.com; Teaches cultural dances from all over the world taught by instructors from different countries who want to share their native culture. Ballet, Latin, Belly Dance, Country Line DanceMarat Daukayev School of Ballet, 731 S. La Brea Ave., Los Angeles, CA 90036, 323-965-0333, pamela@maratdaukayev.com; www.maratdaukayev.com; Serious ballet training for girls and boys in the St. Petersburg style. Ballet, MovementMedia City Ballet, 237 E. Palm Ave., Burbank, CA 91502, 818-972-9692, jogeegirl@yahoo.com; www.mediadancecentre.net; Carries the traditions of classical Russian ballet for three generations. Rooted in a 75-year legacy of Ballet Russe de Monte Carlo and Pacific Ballet Theatre. Ballet, Jazz, Tap, Latin, Modern, Hip-HopMillennium Dance Complex, 5113 Lankershim Blvd., North Hollywood, CA 91601, 818-753-5081, mdcdance@gmail.com; millenniumdancecomplex.com; Professional dance center catering to the artistic community of the greater L.A. area. All levels, children to adult. Weekly master classes. Ballet, Jazz, Tap, Contemporary, Hip-HopMNR Dance Factory, 11606 San Vicente Blvd., Los Angeles, CA 90049, 310-826-4554, mnrdance@me.com; www.mnrdancefactory.com; A place for dancers and their families to grow up. Also a dance team, mommy-and-me classes, and a summer intensive. Ballet, Jazz, Tap, Modern, Hip-Hop, Musical TheaterOgraphy Dance Studio, 6767 W. Sunset Blvd., Ste. 15, Los Angeles, CA 90028, 323-957-1515, studio@ographydance.com; Open classes for beginners to advanced students. Hip-HopPacific Studio for Dance, 1123 N. Pacific Ave., Glendale, CA 91202, 818-240-2393, info@pacificstudiodance.com; www.pacificstudiodance.com; All levels, preschool through adult. Also offers workshops and classes in guy-tech. Performance in annual concerts, National Dance Week celebrations. Ballet, Jazz, Tap, Hip-HopPalos Verdes Ballet, 26 A Peninsula Center, Rolling Hills Estates, CA 90274, 310-377-6663, pauaja@aol.com; www.palosverdesballet.org; All levels. Company opportunities. Adult division. Also offers pas de deux classes. Instruction by guest and master teachers as well as regular staff. BalletPeninsula School of Performing Arts, 2325 Palos Verdes Dr. West, Palos Verdes, CA 90274, 310-375-1398, info@pspadance.com; www.pspadance.com; Classes and workshops for adults and children. Other location: 700 Silver Spur Rd., Rolling Hills Estates, CA 90274. Ballet, Jazz, Tap, Latin, AcrobaticsPenny Lane Dance Academy, La Reina Place, 14622 Ventura Blvd., Ste. 204, Sherman Oaks, CA 91403, 818-981-1414, pennylanedance@sbcglobal.net; www.pennylanedance.com; Variety of class formats for different ages. Also offers mommy-and-me classes, pop idol classes, Pilates, adult classes, and classes for boys. Ballet, Jazz, Tap, Hip-Hop, Musical TheaterPole Position Fitness, 3100 E. Willow St., Long Beach, CA 90755, 526-930-1223, polepositionfitness@yahoo.com; Pole and chair dance lessons on a weekly basis. Classes are extremely flexible. Pole DancePrivate Ballet Los Angeles, 323-839-5631, micornell@gmail.com; www.privateballetla.com; Weekly group classes and private coaching available at various studio spaces in West Hollywood with director/choreographer Michael Cornell. Ballet, ContemporaryREID OLSON, 731 S. La Brea Ave., Los Angeles, CA 90036, 323-932-6230, info@danceartsacademy.com; www.danceartsacademy.com; Yoga, Advanced BalletRosalba Belly Dancer, 9854 National Blvd., Ste. 347, Los Angeles, CA 90034, 310-993-0250, dancersmart@yahoo.com; www.rosalbabellydance.com; Rosalba teaches and performs at various concerts, weddings, and corporate events. Belly DanceSanta Monica Hip-Hop Dance, 2901 Ocean Park Blvd., Ste. 103 Santa Monica, CA 90405, 310-396-7479, hiphoplisa@yahoo.com; www.hiphopdancer.com; Classes with Lisa Kellogg combine hip-hop with pop and street dance. Hip-HopA Step in Time School of Dance, 4505 Las Virgenes Road, Ste. 102, Calabasas, CA 91302, 818-880-8152, info@astepintimedance.com; www.astepintimedance.com; Well-rounded education for all ages in the American Ballet Theatre curriculum. Ballet, Jazz, Tap, Hip-Hop, AcrobaticsTango Academy of Pasadena, 57 Palmetto Dr., Pasadena, CA 91105, 626-584-0774, tangoacademy@gmail.com; www.tangoacademypasadena.com; Authentic Argentine Tango instruction taught exclusively by Argentine instructors. LatinTap Academy Dance Classes & Studio Rentals, 1334 Lincoln Blvd., Santa Monica, CA 90401, 310-828-4904, chanbw@netzero.com; www.tapacademy.bizland.com; Committed to teaching the original American art form of tap. Tap, Latin, Belly DanceTime 4 Class, 9713 Lurline Ave., Chatsworth, CA 91311, 818-700-1756, frontdesk@t4cstudio.com; www.t4cstudio.com; Dance and fitness studio that offers dance classes for ages 3 to adult and fitness classes for teens and adults. Ballet, Jazz, Tap, Hip-Hop, Musical TheaterWest Adams Studios, 1879 W. Adams Blvd., Los Angeles, CA 90018, 888-636-7456, westadamsstudios@yahoo.com; www.westadamsstudios.com; Dance, fitness, and music classes. Ballet, Jazz, Ballroom, Latin, Modern, Hip-Hop, Belly Dance, BurlesqueWestside School of Ballet, 1709 Stewart St., Santa Monica, CA 90404, 310-828-2018, westsideballet@verizon.net; www.westsideballet.com; Training in classical ballet for all ages and levels of dancers. BalletNY Alvin Ailey American Dance Theatre, Joan Weill Center for Dance, 405 W. 55th St., NY, NY 10019, 212-405-9000, www.alvinailey.org; Founded in 1958 by Alvin Ailey and a group of young African-American modern dancers. Today, led by Artistic Director Judith Jamison, the company is one of the most acclaimed international ambassadors of American culture, promoting the uniqueness of the African-American cultural experience and the preservation and enrichment of American modern dance. Private and group classes available. Ballet, Jazz, Tap, Latin, Modern, Hip-Hop, Horton, West African, Afro-CaribbeanAmerican Ballet Theatre, 890 Broadway, NY, NY 10003, 212-477-3030, www.abt.org; One of the worlds most revered and innovative dance companies. Training combines scientific principles with elements from the classic French, Italian, and Russian schools. BalletBallet Hispanico School of Dance, 167 W. 89th St., NY, NY 10024-1901, 212-362-6710, info@ballethispanico.org; www.ballethispanico.org; Classes for ages 2 through adult. Focused on exploring, preserving, and expanding the passion and joyous theatricality of Latino dance through the work in its three core divisions: the Company, the School of Dance, and Primeros Pasos. Ballet, Jazz, Ballroom, Latin, Hip-Hop, Afro-Caribbean, SpanishBroadway Dance Center, 322 W. 45th St., 3rd Fl. NY, NY 10019, 212-582-9304, info@bwydance.com; www.bwydance.com; Over 200 different classes weekly in a 23,000-square-foot state-of-the art facility, more than 80 members of the faculty. Classes, programs, and workshops for all ages. Ballet, Jazz, Tap, Hip-Hop, Theater, African, Belly DanceCapoeira Angola Center of Mestre Joao Grande, 104 W. 14th St., 3rd Fl. NY, NY 10011, 212-989-6975, info@joaogrande.org; www.joaogrande.org; Classes and workshops in an ancient African martial art and dance. Capoeira AngolaCorvino Ballet, 451 W. 50th St., NY, NY 10019, 212-247-2564, ecdoesit3@att.net; www.corvinoballet.org; Classes, workshops, and a company. BalletDance Center of New Amsterdam, 280 Broadway, 2nd Fl., NY, NY 10007, 212-625-8369, info@dnadance.org; www.dnadance.org; Open, ongoing classes, beginner through professional levels. Ballet, Jazz, Contemporary, Modern, Hip-HopDance Manhattan, 39 W. 19th St., 5th Fl., NY, NY 10011, 212-807-0802, info@dancemanhattan.com; www.dancemanhattan.com; Private lessons, group classes, one-day crash courses and workshops, wedding lessons. Ballroom, LatinDance Theatre of Harlem, 466 W. 152nd St., NY, NY 10031-1814, 212-690-2800, www.dancetheatreofharlem.org; A cultural, social, and educational institution committed to providing young people of diverse backgrounds with an opportunity to receive training in classical ballet and the allied arts. Company, ensemble, school program, adult program, education and outreach program. Ballet, Jazz, Tap, Latin, Modern, African, Irish StepDanceSport-Paul Pellicoro, 22 W. 34th St., NY, NY 10001, 212-307-1111, help@dancesport.com; www.dancesport.com; NYs largest Latin and Ballroom studio. Private lessons, group classes, nightly practice dance parties. All levels, all ages. Ballroom, LatinFred Astaire Dance Studio, 201 E. 34th Street, 2nd Fl., NY, NY 10016, 212-595-3200, www.fredastaireny.com; Other locations in Manhattan: 303 E. 43rd St., 212-697-6535 and 328 E. 61st St., 212-209-2410. Dance socially, dance for your wedding, dance competitively. Ballroom, LatinHaila Strauss Dance, 212-388-7967, www.danceforactorsandsingers.com; Special dance workshop for actors and singers, audition preparation, private instruction, basic dance for teens. Ballet, Jazz, Musical TheaterHarkness Dance Center, 92nd Street Y, 1395 Lexington Ave., NY, NY 10128, 212-415-5500, www.92y.org/harkness; A historic home of modern dance celebrating its 75th year. Classes for all ages and levels, dance therapy, a dance education laboratory, social dance parties, and a dance festival. Ballet, Jazz, Tap, Ballroom, Latin, Modern, Hip-Hop, Belly Dance, Afro-Caribbean, Middle Eastern Isadora Duncan Dance Foundation, 141 W. 26th St., 3rd Fl. NY, NY 10001, 212-691-5040, info@isadoraduncan.org; www.isadoraduncan.org; Company performs Isadora Duncans repertoire. Offers certification programs, teacher training, classes, and workshops for children through professional levels. ModernJoffrey Ballet School, 434 Avenue of the Americas, 5th Fl., NY, NY 10011, 212-254-8520, joffrey@joffreyballetschool.com; www.joffreyballetschool.com; Founded in 1953 to develop and train professional dancers. Only school in NYC that includes serious training in both classical and contemporary ballet. Also has child and adult programs. Ballet, Contemporary, ModernJose Limon Institute, 307 W. 38th St., Ste. 1105, NY, NY 10018, 212-777-3353, info@limon.org; www.limon.org; Rich in movement dynamics, expression, and musicality, studying the legacy of Doris Humphrey and Jose Limon. Professional studies, summer programs, workshops. Ballet, Contemporary, ModernManhattan Movement and Arts Center, 248 W. 60th St., NY, NY 10023, 212-787-1178, info@manhattanmovement.com; www.manhattanmovement.com; Adult open classes in all dance disciplines as well as fitness; a childrens program of dance, movement and rhythm, fitness, music, art and martial arts for ages 6 weeks to 16 years; dance workshops and performances. Has a 160-seat theater and is the home of the Manhattan Youth Ballet. Ballet, Jazz, Tap, Contemporary, Hip-Hop, Musical Theater, EgyptianMartha Graham Center of Contemporary Dance, 316 E. 63rd St., NY, NY 10065, 212-838-5886, info@marthagraham.org; www.marthagraham.org/center; Longest continuously operating school of dance in America. Classes taught by faculty who worked with Martha Graham and who are or have been members of the Martha Graham Dance Company. Professional training, independent program, open classes for pros and non-professionals, summer and winter intensive, and a teacher-training program are offered, as well as Pilates and childrens classes. BalletMary Anthony Dance Theater, 736 Broadway, 7th Fl., NY, NY 10003, 212-674-8191, http://maryanthonydance.tripod.com/index.htm; Variety of classes for all levels to help you get the true education of what dance is about. Ballet, Jazz, TapMerce Cunningham Dance Company, 55 Bethune St., NY, NY 10014, 212-255-8240, info@merce.org; www.merce.org; Dancers are trained in the Cunningham dance technique. Open program, professional training program, or international program. Summer intensives and an educational outreach available. Also offers classes for teenagers 13-17 who have some prior dance training. ModernThe Paul Taylor School, 551 Grand St., NY, NY 10002, 212-431-5562, ao@ptdc.org; www.ptdc.org; Classes and intensives focused on the Taylor style. ModernPeridance Capezio Center, 126 E. 13th Street, NY 10003, 212-505-0886, info@peridance.com; www.peridance.com; Classes and workshops for all levels and all ages. Ballet, Jazz, Theater, Contemporary, Modern, Hip-Hop, House, Funk, Tap, African, Salsa, Flamenco, Martial Arts, Body ConditioningRazz MTazz Dance Company, P.O. Box 1042, NY, NY 10009, 212-615-6475, info@razzmtazz.com; www.razzmtazz.com; Workshops and classes for all levels. LatinRebecca Kelly Ballet, Appleby Foundation, Inc. 579 Broadway, Ste. 4B, NY, NY 10012, 212-431-8489, RKBallet1@verizon.net; www.rebeccakellyballet.com; Besides the contemporary ensemble, there are classes for teens, intensives and workshops, youth performance program. Ballet, Contemporary Roy Arias Dance Studios, 300 W. 43rd St., 3rd Fl., NY, NY 10036, 212-957-8139, info@royariasstudios.com; www.ariasdancenyc.com; Open classes for all levels. Also a junior dance program. Ballet, Jazz, Tap, Ballroom, Latin, Modern, Hip-Hop, Break Dance, Theater DanceSandra Cameron Dance Center, 440 Lafayette St., 3rd Fl., NY, NY 10003, 212-431-1825, dance@sandracameron.com; www.sandracameron.com; Over 80 classes a week in social dancing from basic to advanced level. Also has master classes and workshops. Ballroom, Latin School of American Ballet, 70 Lincoln Center Plaza, NY, NY 10023-6592, 212-769-6600, www.sab.org; Official training academy of the NY City Ballet, established in 1934 by George Ballanchine and Lincoln Kirstein. The premier ballet academy in the U.S. Admission by audition only. BalletShall We Dance, 137 Duane St., Ste. 5A, NY, NY 10013, 212-608-1255, info@shall-we-dance.com; www.shall-we-dance.com; Workshops for all levels. Ballroom, LatinSteps on Broadway, 2121 Broadway, NY, NY 10023, 212-874-2410, info@stepsnyc.com; www.stepsnyc.com; The School at Steps offers a training program for ages 2-18, while the studio offers open classes for beginners through professionals. Ballet, Jazz, Tap, Ballroom, Latin, Contemporary, Hip-Hop, Theater Dance Stepping Out Studios, 37 W. 26th St., 9th Fl. NY, NY 10010, 646-742-9400, info@steppingoutstudios.com; www.steppingoutstudios.com; All Latin and Ballroom styles, all levels. Open classes, workshops, once-a-month free dance parties, wedding dance instruction, an LGBT dance program, college and high school programs, competetion, and teacher training. Ballroom, Latin