ENCHANTE

enchanté Inside Spring

Theater Season

MAY 2010

SPRING HAS SPRUNG REFRESH YOUR CLOSET

The Lagerfeld Legend CHASING BROADWAY

DREAMSHOLLYWOOD

STARS AND FASHION STARLETS

SPRING TO SUMMER WISHLST!

CHARITY IN THE CITY

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Editor’s Letter While in the process of producing this edition, I had the opportunity to reflect on what really matters in life and what really matters for this magazine. It’s true that fashion may seem super-ficial but to many it is a form of art and expression. Everyone somehow is touched by fashion. The theater industry is also one that touches people and lets the audience realize things about life and the world around them, as well as reflect on their own lives. Charities also strive to impact other people’s lives. This is what Enchante is truly about. There is a deeper meaning behind fashion, theater and charities. Yes, it may all seem very glamorous and exclusive, but it’s more than just what’s on the surface. Just like each and every one of us. Enchante strives to always bring the deeper truths to you.

If you take the opportunity to reflect on this, I think you could also find out about what is really behind your life as well. We shouldn’t just be living on the surface. We should be

fully engaged in our lives. It is a gift to have such an impact on the world.

Enchante!

Cristina

enchanté

Editor-in-ChiefCristina Bermudez

Creative DirectorCristina Bermudez

Art DirectorCristina Bermudez

Fashion Director Entertainment Editor Cristina Bermudez Cristina Bermudez

Contributing Writers Gordon Cox Charles Isherwood

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The Enchente girl ‘s Guide

Where to shop our featured looks Top Shop House of Tiaras, Inc. Anthopologie Diane von Furstenberg Chanel Balenciaga Dolce & Gabanna Tory Burch Cover Girl Brooks Brothers Sacks Fifth Ave. Barneys Proenza Schouler Bergdorf Goodman Luella Donna Karan

What is an Enchante girl? She is poised, cultured and refined, or she aspires

to be.

She has an eye for the arts and fashion.

She enjoys volunteering at charity events and helping the community.

An Enchante girl is worldy and wants to see these passions come together.

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On the Cover

Chasing Broadway Dreams page 12Spring into Summer page 24

Rising Stars page 26Lagerfeld’s 2010 Collection page 27

In the Charity scene page 35

Jordin Sparks joins the cast of In The Heights as Nina Rosario beginning Aug. 19- Nov. 14, 2010.

Bleu stays in the ‘Heights’‘High School Musical’ star extends run

By GORDON COX

“High School Musical” star Corbin Bleu has extended his run in Broadway tuner “In the Heights” by three months, with his stint now running through much of the summer.

New end date could potentially aid the show in drawing increased crowds from the an-nual school-vacation influx of family tourists, who could be swayed by Bleu’s profile with teen auds.

Weekly sales for “Heights” swelled to the million-dollar range in the wake of the tuner’s 2008 Tony win for top tuner, but momentum has since slowed somewhat.

The January addition of Bleu to the cast didn’t cause an instant sales spike (as did, for instance, Rialto stints for Fantasia Barrino and Clay Aiken in other shows). But in recent weeks the production, like many others on the Main Stem, has seen sales rise during the individual frames when tourists returned to Gotham during their winter or spring breaks.

Bleu will now topline “Heights” through July 25.

THEATER NEWS

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Arts & entertainment

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Although it is rendered with exacting, gritty verisimilitude by the set designer Anna Louizos (right down to the flashing red lights atop the George Washington Bridge in the background), this sun-drenched block of Washington Heights could almost be mistaken for Main Street at Disneyland, or “Sesame Street” without the pup-pets. Stretches of Midtown would inspire greater anxiety. Mr. Mi-randa and Ms. Hudes’s panorama of barrio life is untagged by any graffiti suggesting authentic despair, serious hardship or violence.

In this rosy image of the urban underclass, the most pressing ques-tion animating local conversation is whether the girl who made good will choose to return to that fancy university.

Not surprisingly this subplot doesn’t accrue much emotional ten-sion or dramatic momentum. Nor do any of the others, as the ker-nels of conflict troubling the block are resolved with sentimental simplicity in the musical’s flimsy second act.

Still, the emotional heart of the show is the ambivalence most of the characters feel about their neighborhood — and their lives — and this uncertainty is given powerful expres-sion in Mr. Miranda’s songs. Almost all these people are exiles from a history of greater economic want somewhere else — Cuba, the Dominican Republic, Puerto Rico — but their affection for the community they’ve forged in a rundown neighborhood is shadowed by

a desire to escape once again, to a life of surer promise. Unfor-tunately, with gentrification oozing inexorably up the West Side Highway, they are more likely to be forced across the bridges into more precarious neighborhoods; Daniela has already signed a lease in Queens.

A clever shout-out to Cole Porter in the opening song attests to Mr. Miranda’s scholarly affection for musical theater. (In many ways “In the Heights” suggests an uptown “Rent,” plus some salsa fresca and without the sex, drugs and disease.) Some of the more earnest anthems, effective as they are, run in grooves de-rived equally from Broadway formulas and the new power-pop idioms employed with such exhausting frequency on “American Idol.” But even the weaker songs are sung with heart, urgency and solid showmanship. The sweet Ms. Gonzalez, the saucy Ms. Burns and the fierce Karen Olivo, who plays Usnavi’s love interest, have particularly rich, powerful voices.

Coffee, light and sweet, is the fuel that keeps a busy world in motion in the new musical “In the Heights,” a singing mural of Latin-American life that often has the inspiriting flavor of a morning pick-me-up on a warm summer day. Light and sweet are actually just the words to describe this amiable show, which boasts an infectious, bouncy Latin-pop score by a gifted young composer, Lin-Manuel Miranda, an unfortunately underspiced book by Quiara Alegría Hudes, and a stage full of energized, en-ergetic performers you can’t take your eyes off and won’t want to.

The engaging Mr. Miranda himself is front and center for much of “In the Heights,” which opened last night at 37 Arts. He plays the central role of Usnavi, who dispenses all that café con leche at the local bodega, the regular pit stop for a neighborhood full of outspoken characters.

In the terrific title number that opens the show, Mr. Miranda raps a cityscape into vibrant life over the rumbling rhythm of a bass line. Shredding the air with his arms, rhymes percolating on his tongue, he introduces us to the men and women whose daily troubles — overdue bills, overheated romances and overtaxed hearts — will form the episodic story that provides a slender spine for Mr. Miranda’s musical valentine to the barrio.

Abuela Claudia (Olga Merediz) is Usnavi’s surrogate grand-mother, whose purchase of her daily lottery ticket on this hot summer morning just before the Fourth of July will have signifi-cant consequences for almost everyone in the ’hood. Camila and Kevin Rosario (Priscilla Lopez and John Herrera) run the gypsy cab company next door to Claudia’s home — incongruously still called O’Hanrahans, but who could afford a new sign?

Benny (Christopher Jackson), their prized employee, harbors a secret (and forbidden) crush on their daughter, Nina (Mandy Gonzalez), who has just returned from her freshman year at Stanford with a conscience troubled by the economic stress the family is enduring to keep her there. Down the block Nina’s ar-rival adds a welcome new strand to the dense fabric of gossip woven daily by the women working in the hair salon owned by the tart-tongued Daniela (Andréa Burns), who is happy to fabri-cate artificial news to go with the fake nails, if necessary.

From the Corner Bodega, the Music of Everyday Life

written by: CHARLES ISHERWOOD

PACIENCIA Y

FE

In the up-tempo numbers and the rapping solos and duets, Mr. Miranda’s musical voice shines forth most pleasingly. The hip-swaying rhythms of Latin music have not gained much traction in theater, so it is a pleasure to hear an unfamiliar sound finding fresh expression onstage. The director, Thomas Kail, keeps the stage humming with activity, as characters dance, prance or merely walk in time to the ecstatic bursts of brass and the insistent beats of Mr. Miranda’s rap.

Mr. Kail is aided in this mission for motion by Andy Blanken-buehler’s joyous choreography, which synthesizes street styles and Broadway athleticism, showcasing the fabulously elastic bodies of the ensemble. A particular standout is Seth Stewart, playing a sweet-hearted graffiti artist, who seems to have little springboards in his sneakers.

An uncalculated exuberance touches almost all of the performanc-es at one time or another. (I delighted throughout in the comic flair of Robin de Jesús, a young charmer, as Usnavi’s would-be lothario cousin.) And when the collective dance numbers catch fire, heat fills the stage and starts flowing outward. On a chilly winter eve-ning, scruples about the show’s not inconsiderable flaws start to evaporate quickly, like water from a hydrant turning to steam as it hits the asphalt on a July day.*

IN THE HEIGHTS

Above: Original Cast of In The HeightsMusic and lyrics by Lin-Manuel Miranda; book by Quiara Alegría Hudes; conceived by Mr. Miranda; directed by Thomas Kail; choreography by Andy Blankenbuehler; music director, Alex Lacamoire; sets by Anna Louizos; costumes by Paul Tazewell; lighting by Jason Lyons; sound by Acme Sound Partners; arrange-ments and orchestrations by Mr. Lacamoire and Bill Sherman; music coordinator, Michael Keller; production stage manager, J. Philip Bassett; general manager, R. Erin Craig; technical super-visor, Randall Etheredge. Presented by Kevin McCollum, Jef-frey Seller and Jill Furman. At the 37 Arts Theater, 450 West 37th Street; (212) 307-4100. Running time: 2 hours, 10 minutes.

WITH: Lin-Manuel Miranda (Usnavi), Andréa Burns (Daniela), Janet Dacal (Carla), Robin de Jesús (Sonny), Mandy Gonzalez (Nina), John Herrera (Kevin), Christopher Jackson (Benny), Pris-cilla Lopez (Camila), Olga Merediz (Abuela Claudia), Karen Oli-vo (Vanessa) and Seth Stewart (Graffiti Pete).

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Arts & Entertainment

Meet the Cast Arts & entertainment

Lin-Manuel Miranda“Usnavi”/Playwright/

Songwriter

Priscilla Lopez “Camila”

Andrea Burns“Daniela”

Jordin Sparks “Nina” beginning November

12, 2010

Olga Meride“Abuela Clau-

dia”

Kevin

Sonny

Corbin Bleu “Usnavi”

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AUGUST WILSON THEATRE

Based on the story of Frankie Vallie and the Four Seasons245 West 52nd Street

New York, NY

JERSEY BOYS

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NEXT TO

NORMAL

No show on Broadway right now makes as direct a grab for the heart — or wrings it as thoroughly — as “Next to Normal” does. This brave, breathtaking musical, which opened Wednesday night at the Booth Theater, focuses squarely on the pain that cripples the members of a sub-urban family, and never for a minute does it let you escape the anguish at the core of their lives.

“Next to Normal” does not, in other words, qualify as your standard feel-good musical. In-stead this portrait of a manic-depressive moth-er and the people she loves and damages is something much more: a feel-everything mu-sical, which asks you, with operatic force, to discover the liberation in knowing where it hurts.

Such emotional rigor is a point of honor for “Next to Normal,” sen-sitively directed by Michael Greif and fea-turing a surging tidal score by Tom Kitt, with a book and lyrics by Brian Yorkey. With an astounding central performance from Alice Ripley as Diana Goodman, a housewife with bipolar disorder, this production assesses the losses that occur when wounded people are anesthetized — and not just by the battery of pharmaceutical and medical treatments to which Diana is subjected, but by recreational drugs, alcohol and that good old American virtue, denial with a smile.

That theme was also at the center of the production that opened Off Broadway last year (at the Second Stage Theater) under the same title and with most of the same cast, technical team and music. Yet the differ-ences between “Next to Normal” then and now are substantial enough to inspire hope for all imbalanced shows in need of rehabilitation.

The earlier version had the same convictions but had yet to find the courage of them. A self-protective archness kept diluting its intensity, as though the darkness might go down more easily if the show were perceived as social satire, a riff on the nasty shadows cast behind white picket fences.

One bizarrely chipper sequence found Diana having a consumerist break

down in a Costco store. Fantasies involving her husband and doctors ex-uded an exaggerated flippancy. And the electric-shock therapy sequence that ended the first act had the crowd-courting campiness of a vintage shock-rock band playing a big arena. Even Ms. Ripley, fine as she was, sometimes seemed to be performing with a bright, conspiratorial wink.

It was as if the creative team felt that its audiences wouldn’t stay with it un-less they were allowed to take an irony break from time to time.

But the comic exaggera-tions and distortions had the opposite effect. Pull back from “Next to Nor-mal,” and you start to see that its plot isn’t so dif-ferent from those of dys-functional-family movies of the week about healing and forgiveness. As for the what-lurks-within-the-rec-room aspect, there has been a surfeit of such exposés — in film, televi-sion and literature — since “American Beauty” took the Oscar a decade ago.

But the creators of “Next to Normal” realized they had something of authentic and original value beneath the formulaic flourishes. For the re-tooled version, first seen at the Arena Stage in Washington in November, they made the decision to toughen up and to cast off the last traces of cuteness. This meant never releasing the audience from the captivity of its characters’ minds. That decision has transformed a small, stumbling musical curiosity into a work of muscular grace and power.

The plot is exactly the same. And I’m reluctant to describe it in detail, since the show staggers its revelations about what triggered Diana’s ill-ness and its impact on the other members of her family: her husband, Dan (J. Robert Spencer, in the role originated by Brian d’Arcy James) and her children, Natalie (Jennifer Damiano) and Gabe (Aaron Tveit). Besides, simply to describe what occurs — which is mostly reflection and recrimination with a few visits to doctors — doesn’t do justice to the excitement this show generates. And I’m sure medical and psychiatric experts would take issue with some of the details of Diana’s condition.

But as one of her two doctors (both suavely played Louis Hobson) says, there is no neat description or explanation for what she suffers from. And “Next to Normal” gives full weight to the confusion and ambiva-lence that afflict not only Diana but also everyone around her, including 20


Natalie’s new boyfriend, a sweet stoner named Henry (Adam Chanler-Berat, who is both credible and eminently likable).

Mr. Yorkey’s lyrics are more likely to take the form of ques-tions than answers. Mr. Kitt’s score — while sustaining the electric momentum of a rock opera — keeps shifting shapes, from dainty music-box lyricism to twanging country-west-ern heartbreak, suggesting a restless, questing spectrum of moods. (The songs are propelled by the same rock ’n’ roll jaggedness and vitality that animated Duncan Sheik’s score for “Spring Awakening,” another musical about love and pain.)

Even the outsize, fractured projections of a house and (later) a face — bringing to mind the comic-strip pointillism of Roy Lichtenstein — on Mark Wendland’s tiered industrial set feel newly appropriate. (Kevin Adams is the lighting designer.) This show is less about connecting the dots than about life as a state of fragmentation.

None of this would count for much, though, if the cast members didn’t convey this disconnectedness with the fluidity and intensity that they achieve here. That Mr. Spencer presents Dan as a weaker soul than Mr. James did doesn’t mean he’s giving a weaker performance. The character’s cheerful neutrality, which pervades even Mr. Spencer’s clear tenor, summons the evaporating spirit of a man who is slowly erasing himself.

As the teenage son who is both angel and demon to his mother, Mr. Tveit is contrastingly (and necessarily) as charismatic and ineffable as a figure in a dream, the kind who seems to have the solution to everything until you wake up.

The notion that personality is fragile, always on the edge of decomposition, is exquisitely reflected in Ms. Damiano’s astringent, poignant Natalie, a girl who lives in fear both of being invisible to her mother and turning into her. As for the Mom that everyone loves and loathes, Ms. Ripley is giving what promises to be the musical performance of the season. Her achingly exposed-seeming face and sweet, rawness-tinged voice capture every glimmer in Diana’s kaleidoscope of feelings. Anger, yearning, sorrow, guilt and the memory of what must have been love seem to coexist in every note she sings.

None of these are particularly comfortable emotions. In combination they’re a dangerous cocktail. But to experience them vicariously through Ms. Ripley is to tingle with the gratitude of being able to feel them all. Diana is right when she sings that “you don’t have to be happy at all to be happy you’re alive.” Nor do musicals have to bubble with cheer to transport an audience as this one does.

NEXT TO NORMAL

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FASHION & Style

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F ashion F LASHBACK

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If the name Dakota Fanning conjures up images of a wide-eyed child star with blond braids and Mary Janes, it’s time to think again. After years of children’s fare, 16-year old Fanning recently starred as punk rocker Cherie Currie in The Runaways, a biopic of rock star-proportions with cover girl Kristen Stewart playing Joan Jett. Fan-ning has channeled her new mature role on the red carpet with lots of black, like this stunning Valentino lace mini (paired with soaring burgundy heels) and the chic black blazer-and-skinny pants combo she wore at Sundance. Savvy style is matched by smart career moves: Fanning’s next film is none other than the next film in the Twilight series, Eclipse.

RISING TALENT

From small-screen roles in Veronica Mars and Big Love to her big-screen debut in Mean Girls and singing her heart out in Mamma Mia!, this porcelain skinned beauty has acted her way to the top, literally: her latest movie, Dear John, knocked heavyweight Avatar out of the #1 spot at the box office. Now Seyfried’s a bona fide movie star, showcasing versatile style in jewel-tone cocktail dresses and sweeping pastel gowns, like this Armani Privé con-fection she wore to the 2010 Oscars. There’s even more in store in 2010; Seyfried heads for another box-office win with the upcoming romance Letters to Juliet. For a former Mean Girl, this star is doing quite nicely.

HOLLYWOOD STARS AND FASHION STARLETS

Amanda Seyfried

Dakota Fanning

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BEHIND THE ICONIC KARL LAGERFELD 2010 COLLECTION

Karl Lagerfeld sprang a series of surprises in a sumptuous confection of a collection for Chanel, at the Paris spring/summer 2010 Haute Couture season. There was not a Little Black Dress to be seen – and this from the house founded by “Coco” Chanel who invented the LBD, nearly 100 years ago. The traditional Chanel suit, too, was redesigned, the slim, A-line skirt being replaced by little shorts, or culottes, trimmed with tulle.There was not a gilt chain or hint of gold to be seen.The candy-coloured and “twinkle” tweeds had lost their classic braid trimmings and were sprinkled and edged with molten silver, to match the silver leather half-gloves – in the style of M. Lagerfeld – and the silver shoe-boots with carved heels and pearl trimmed soles.

Lagerfeld called the collection “neon-baroque”, a reference to the acid yellow, candy-pink and fluorescent lime hues which appeared like icing, amid a delicate tableau of frosted pastels, champagne and cream; and one hint of black, in the form of a large “kipper tie”,

embellished with a crystal brooch, which punctuated the front of classic, white silk, column-gown.

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The collection paraded like a master class in the fragile delicacy of the handwork which can be achieved by the artisans in the Chanel atelier. Silver lame was sculpted into lavish collars and bodices atop gowns of liquid-sat-in in palest rose or eau de nil. Thousands of handmade silk roses cascaded as a cape over a silver-jewelled shift. Metres of silk tulle were caressed into ruffled clouds to form the train of a bridal gown with jewelled bodice and sleeves.

The TV presenter, Alexa Chung, sat front-row, in a Chanel cream linen suit, which she accessorised with grey, woolly tights and six-inch clogs. Other celebrities in-cluded Claudia Schiffer; the rapper, Kanye West and his girlfriend, Amber Rose, who was wearing a gold lamé, hooded catsuit; the Bond Girl, Olga Kurylenko; and the 13-year-old fashion blogger, Tavi Gevinson, who wore a Salvation Army sweater over a Hussein Chalayan dress.*

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Spring/Summer 2010 Collection

F ashion F orward

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Must Haves- 7 Easy PiecesStriped Magnus Jacket $325.00

White blouse $250.00

Straw Ballet Flat $235.00

Roscoe Skirt $225.00

Anders Skirt $595.00

Stoned Clutch $225.00

Heart Cuff $150.00

Trends to Look out For

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F ashion F orward

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Indulge yourself in nude basics and pair it up with an accessory with a pop of color!

Mix it up with these trendy prints thsis summer

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F ashion tRends

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Spring into Summer taupes

Not your granny’s florals

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S ocial s cene-Charity

Turnaround For Children, a new charitable organization, held its first benefit dinner this past Tuesday night at the Plaza. They honored Merryl Tisch, Perri Peltz and Joel Klein, Chancellor of New York City Schools.

Turnaround’s charter is simple. Their teams “partner with the most challenged, lowest performing public schools to transform them into centers of teaching, learning and achievement.” Their aim is to work with schools struggling to teach children in cha-otic and under-resourced learning environments.

The program currently is serving 26 schools, the majority of which are in the Bronx. The approach is to help leadership and staff improve the school environment and address the multiple behavioral and emotional challenges that many students face.

Mayor Bloomberg made an appearance. In his speech to the guests he said: “it’s not the kids that are failing in our schools, it’s the schools that are failing our kids.”

Among those attending were Tory Burch, Uma Thurman, Shoshanna Gruss, Chris Cuomo, Heather Mnuchin, Jill Kargman, Barbara Bush, Bronson Van Wyck, Fiona Rudin, Greg Kelly, Lauren DuPont, Caryn Zucker, Josh Bernstein, Eleanor Ylvisaker, Linda Wells, Emily Mortimer and Alessandro Nivola, and Turnaround Founder, Pamela Cantor.The evening’s host committee was Simone Levinson, Cristina Greeven Cuomo, Alison Brod, Kelly Posner Gerstenhaber and Rebekah McCabe. Actress Kelli O’Hara performed. They raised $1.1 million.

New Charity in TownTurnaround for children

(NEW YORK - APRIL 13: Turnaround for Children Co-Chair Kelly Gerstenhaber, Turnaround for Children Founder Pamela Cantor, Simone Levinson, New York City Schools Chancellor Joel Klein, actress Uma Thurman,

Cristina Greeven Cuomo and Rebekah McCabe attend the 2010 Turnaround For Children benefit dinner at The Plaza Hotel on April 13, 2010 in New York City. (Photo by Jemal Countess/Getty Images))

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S ocial s cene-Charity Spotlight

Mayor Michael Bloomberg made a cameo appearance at Turnaround for Children’s first-ever fundraising benefit last night at the Plaza, providing moms like Tory Burch, Uma Thurman, and Emily Mortimer with a couple of different talking points during the speech he gave while appetizers were being served: He’s an avid sports fan, and he’s extremely dedicated to New York City’s public schools. While the Boston-born New Yorker was cagey about his favorite hometown baseball team (“I’m a Celtics fan,” he teased), he wasn’t playing around when it came to education. “It’s not the kids that are failing in our schools,” Bloomberg stated. “It’s the schools that are failing our kids.”

Turnaround’s tagline is “Transforming the Most Challenged Public Schools,” and the guests of honor—Merryl Tisch, Perri Peltz, and New York City Schools Chancellor Joel Klein—were all recognized for their contributions to the cause. Klein, who grew up in public housing in Queens, made this analogy: “It’s been said we’re not going to fix educa-tion until we fix poverty, but I say we’re not going to fix poverty until we fix the educa-tional system.” Hopefully, last night’s dinner and live auction, which raised $1.1 million, is a step in the right direction.— Derek Blasberg


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Ladybugs are a European symbol of good luck. They received their name centuries ago in Europe when farmers found aphids invading their grapevines. Prayers to the Virgin Mary for help were answered when thousands of little red beetles appeared and ate the aphids. The farmers named the helpful beetles in honor of Mary, also known as “Our Lady”.

The Ladybug Fund at St. Joseph’s Children’s Hospital is a new initiative to provide an important resource to seriously ill pediatric patients and their families as they face lengthy treatment regimens.

On a highly personal, one-on-one basis, members of Project Ladybug, in conjunction with clinical, social workers and child life staff at St. Joseph’s Children’s Hospital, will identify patients with acute needs in order to improve their physical and mental well being. The Fund will also strive to help families face the financial and emotional hardships during their child’s treatment.

Project Ladybug will provide assistance to the patient and his/her family that is rarely given by other local and national organizations.

The Fund will give preference to seriously ill young children who are being treated for cancer or other life-threatening childhood diseases. By providing ancillary services and support to the most needy patients at St. Joseph’s Children’s Hospital, the Ladybug Fund will help to meet the needs of seriously ill and less fortunate patients in our region.

Through improving quality of life for these children and their families during treatment, Project Ladybug hopes to improve outcomes for these patients.

A component of the St. Joseph’s Healthcare System, Inc., St. Joseph’s Children’s Hospital (SJCH) is a State-designated full service chil-dren’s hospital located on the System’s main campus in Paterson, New Jersey. Renowned for its leading edge technology and compassion-ate “patients first” approach to service excellence, the children’s hospital provides advanced health care services designed especially for children from birth to 21-years-of-age. As a tertiary care academic medical facility, St. Joseph’s readily accepts referrals of routine and extremely complex cases.

One of the first pediatric hospitals designated by the State of New Jersey in 1994, St. Joseph’s Children’s Hospital offers a complete spectrum of specialty and Sub-specialty services including the largest Neonatal Intensive Care Unit in the State, Pediatric Intensive Care, Step-down and Pediatric Care Units, and a dedicated Pediatric Emergency Room. In addition, SJCH is also renowned for such programs as pediatric cardiology, pediatric oncology, pediatric neurosurgery, the Child Life Program, Regional Craniofacial Center, Pediatric Center for Feeding and Swallowing Disorders, Child Development Center, and Regional Cystic Fibrosis.


The Enchente girl- Reader’s Spotlight

Zoe Kravitz, 23, New York, NY. njoys writing, playing tennis and designing. Favorite Enchante moment: “Meeting Stella McCartney at a charity event was the highlight of my life. She’s doing great things with her career and with designing environmental friendly clothing.”

Briana Stone, 25, Westport, CT. Graduate of The New School for Drama . Loves to act, sing, dance and do yoga. Briana writes songs on her spare time and hopes to be featured in Enchante magazine one day when she stars on Broadway. Favorite Enchante moment: “I met the cast of Spring Awakening last year. They are so inspirational.”

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