Here - Lakeville Journal

Your Guide to Tri-State Events
Art , Movies, Theater, Dining, Music, Dance, Recreation
June 5 - 11, 2014
Nicholas Gordon and Polo at Music Mountain; Photo by Marsden Epworth
Movies: ‘Maleficent’
Special effects and hodgepodge, page 9
The Theater Scene
“The Other Place”
at Barrington Stage, page 5
“Noises Off” at Rhinebeck’s
Performing Arts Center, page 4
The Art Scene
Mexico InPrint, page 3
A Faire
The Robin Hood kind, page 8
Calendar,
Auditions, crafts, dancing,
theater, food, page 10
(and online)
&
Nicholas Gordon looks back
at many triumphs, crises,
even a little espionage,
and introduces Music Mountain’s
85th season of chamber music
in Falls Village, page 6
Supplement to THE LAKEVILLE JOURNAL, THE MILLERTON NEWS and THE WINSTED JOURNAL
2
Compass, Thursday, June 5, 2014
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COMPASS, Thursday, June 5, 2014
3
The Art Scene: Debra Losada & Avery Danziger
Mexico InPrint at the White Gallery
Art, Probing and Witty
“The Owner of the Dog,” Martin Vinaver
Arts & Entertainment
T
hese prints at the White Gallery in Lakeville,
CT, sing with vibrant color and energy, with anger, humor, wit, sarcasm and irreverence.
A young Mexican girl is covered in abstract blotches
of purple, yellow, blue and green — almost as if she’d
been erratically spray-painted. At first look, the color
is so captivating that the meaning is slow to penetrate:
the colors of bruises in various stages of healing? She
has a square choker around her neck, it seems like a
piece of silver jewelry, but on it is embossed the sign
of 1 peso. Her lips are parted and she stares out — innocence bought and sold, a commodity trafficked like
drugs. It is so compelling that it is hard to disengage.
A colograph of deconstructed sneakers in black and
yellow is amusingly like a dance gone awry, or a grid of
colorfully expressive men’s underwear on a turquoise
Please turn to page 10
Join Us!
Saturday, June 7th, 1-7pm
Live Music - Artists - Vintage Poster Show – Refreshments
In conjunction with Spring for Sound
4
Compass, Thursday, June 5, 2014
Theater: ‘Noises Off’
Leon Graham
W
hen Michael
Frayn watched
his farce, “The
Two of Us,” from the
wings in 1970, he thought
it was much funnier than
from the front of the
theater. So 12 years later
his “Noises Off,” brilliantly made and bursting
with every type of comedy
imaginable, swept theater
awards in London, then
more in New York. More
than 30 years later, in an
Up in One production
at Rhinebeck’s Center
for the Performing Arts,
it is still as fresh as the
. . . But Hilarity On
sardines that appear and
disappear in each of its
three acts.
The play is about a touring company of secondrate actors presenting an
awful bedroom farce. In
each of Frayn’s three acts,
the first act of that play —
called “Nothing On” — is
performed in different
phases of the tour. Act I
is the technical and dress
rehearsal seen from the
front; Act II takes place
mid-tour from behind the
set with the actors, who
argue and rage, mostly in
pantomime, while try-
ing to make entrances;
Act III occurs late in the
tour, again from the front,
when everything goes
wrong.
Financed by Dotty Otley
(Susan Gies), an already
faded, older near-star, and
directed by the blustering,
self-important, not-quiteLondon-material director
Lloyd Dallas (a baritonal
Thom Webb), “Nothing On” is chock-full of
every cliché in English
farce: double-entendres,
smirks and winks, doors
that won’t open or open
when they shouldn’t, lost
Arts & Entertainment
clothes, speedy entrances
and exits and all sorts of
silly but crucial props:
baskets, a bottle of whiskey, unopened mail from
the inland revenue, those
pesky sardines, even an
ax.
But these are actors who
not only know one another, but who know each
other’s history and quirks;
they are involved in convoluted romantic relationships, secret tax evasion,
rivalries that keep spinning out of control. And
Frayn, the prize-winning
author of serious dramas
such as “Copenhagen”
and “Democracy,” quickly
establishes each character
and all the relationships
that we will see tangle
and untangle before us in
sparkling, machine gunquick language.
At Rhinebeck, Director Diana di Grandi has
a splendid cast. Besides
Gies and Webb, Kevin
Archambault, with his
blond, Oxbridge good
looks, is a wonderful
Frederick Fellowes, whose
nose bleeds at the slightest mention of blood. Tom
Bunker’s Garry Lejeune,
Dotty’s much-younger
lover, is a Beatle-maned
innocent, and Amber
McCarthy, whose Brooke
Ashton (in reality an
Inland Revenue agent!)
spends most of the play in
her underwear, is delightful. Best by a whisker is
Lou Trapani as Selsdon
Mowbray, a whiskey-besotted, over-the-hill actor,
who remembers neither
lines nor entrances, but
has the play’s last words.
Eric Oloffson’s set —
front and back — and
Donna Letteri’s costumes
are spot on. Scott Tunkel’s
lighting is just right. The
props design by Barbara
Melzer is superlative.
“Noises Off” plays at
The Center for Performing Arts in Rhinebeck, NY,
through June 15. For tickets
or information call 845876-3080 or go to www.
centerforperformingarts.org.
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Compass, Thursday, June 5, 2014
Theater: ‘The Other Place’
Macey Levin
Losing Family, Work and a Place
S
harr White’s “The
Other Place” at
Barrington Stage
is a play that operates on
several levels, leaving
the audience pondering
the life and mind of its
central character, Juliana
Smithton (Marg Helgenberger.) The work is a
blend of medical mystery,
suspense story and family
drama. Also, as a good
play should, it offers the
audience an opportunity
for introspection and an
examination of their own
experiences.
Juliana is a highly respected medical research
scientist whose life has
gone through profound
upheaval. Her teenage
daughter, Laurel, disappeared years ago; her
husband, Ian, is about to
file for divorce; and she
is succumbing to dementia. These events, especially the latter, bring the
audience into Juliana’s
mind as she narrates the
moments that brought
turmoil to her life. The
episodes are framed by a
speech she is delivering
to a convention of other
scientists regarding a protein-folding product she is
developing. Through the
speech her attention is
focused on a girl wearing a
yellow bikini in the audience. Who is she?
The other place often
referred to throughout the
play is a home on Cape
Cod that Juliana’s greatgrandfather built. It holds
both warm and tragic
memories for her. It is her
refuge. Though the house
has been sold, when she
needs comfort she returns
there in her imagination.
In a flashback, she relives
the evening when her
daughter vanished. In the
penultimate scene she
actually revisits the house.
Much of what she remembers may or may not have
occurred as we accompany
her on her slide into mental illness.
White’s depiction and
Helgenberger’s portrayal
of Juliana’s deterioration is
subtle at first but becomes
more intense and disturbing as she slowly slips
away from her husband,
Ian (Brent Langdon), and
her grasp on sanity. The
audience experiences the
jumble of her hallucinations and realities and we
wonder about the truth.
The script is taut,
though one of the more
important and emotionally-driven scenes falls
into melodrama. This,
however, may have been
the approach of director
Christopher Innvar, one
of Barrington Stage’s stalwart actors and directors.
Despite this single scene,
his work is precise, skillful
and affecting.
Helgenberger, an
Emmy Award winner and
Golden Globe nominee,
delivers a wrenching
performance. Her progression from the driven,
arrogant scientist to her
descent into a personal
hell is a dynamic example
of characterization and
actor’s control. Her performance is complemented by Langdon’s as her
frightened and confused
husband. Katya Campbell
as Juliana’s therapist, Dr.
Teller, the daughter, Lau-
rel, and the woman who
is now living in the other
place, displays a diverse
range of attitudes. Adam
Donshik performs his
three roles well.The spare
set by Brian Prather and
the atmospheric lighting
by Scott Pinkney serve to
keep the focus on the plot
and Juliana’s deteriorating
condition.
There are intentionally unanswered questions
throughout the play, and
the very last moment is
revealing and touching.
You will take Juliana’s
story home with you.
“The Other Place” runs
at Barrington Stage Company’s St. Germain Stage
in Pittsfield, MA, through
June 14.
For tickets and information:
413-236-8888.
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6
Compass, Thursday, June 5, 2014
The Music Scene: Marsden Epworth
After Surviving War,
A Depression
And Human Nature,
ing, fixtures, planks, pipes,
screws, tiles, doors, floors,
walls, bolts and shingles)
for four Honor-Bilt
homes and for Gordon
Hall, a music room built,
as Jacques Gordon prescribed, basically like the
interior of a violin. Workicholas Gorers needed nothing more
concert violinist Joshua
performances at Music
don is a story
than the foundations and
Bell bought it for $3 milMountain made it onto
teller. Yes, he
the instructions to piece it
lion. Not knowing of the
radio. As a youngster,
is the presiviolin’s earlier adventure
Gordon recalls a huge he- all together.
dent of Music Mountain’s with Jacques Gordon,
Today these Sears buildlium balloon hanging over
Board, and he is the
Bell was persuaded by a
the mountain, dropping a ings still accommodate
festival’s musical direcWashington Post writer
microphone into Gordon performers and students at
tor, too — more on that
the airy, green mountainto head one day for the
Hall that picked up the
shortly — but above all,
top.
D.C. subway system and
concerts for transmission
this man knows how to
But as Nicholas Gordon
play Bach’s glorious “Cha- to radio station WNYC
spin a tale, such as one
conne,” among other
in New York. The balloon says, “I’m amazed Music
about his father, Jacques
Mountain is still here
classic works, during a
is long gone, of course,
Gordon: violinist, child
after 85 years.”
morning rush hour. The
but the concerts are still
prodigy, teacher, soloist,
effort resulted in extensive broadcast, now by 125
concert master of the Chi- newsprint devoted to this stations around the nation
The first blow was the
cago Symphony Orchestra violinist’s skill, virility and and to listeners in more
Depression, Gordon said
by age 21 and founder and showmanship, and even
in interviews at home
than 35 countries.
first violinist of the Gorin Sharon. It hit Music
more about the nature of
Nick Gordon has more
don String Quartet.
Mountain’s backers hard.
art and its value to 1,097
serious stories, too, about
Once, on a dare in
“They vanished. We lost
pressed commuters.
the history of Music
1930, the elder Gordon,
(Only one of the travel- Mountain, how it started, the property.”
dressed as a street musiConstruction and land
lers stopped to listen to
its goals, its crises — arcian, took his Stradivarius Bell, and that was because tistic and financial — its
had been financed with
violin, the Tom Taylor
a mortgage. But in 1932,
she figured out who the
near collapse and how
of 1732, out for a little
“The guarantors reneged
player was. She dropped
it was once rescued by a
concert in front of Chiand Sears foreclosed on
a $20 in his open violin
determined woman who
cago’s Orchestra Hall.
case.)
told a band of Midwestern the mortgage, renting the
The undertaking netted
Like all of the younger
businessmen what’s what. property back to Music
him a small audience on
Mountain.”
Gordon’s stories, this
the windy street, some
The only way out was to
one is told with élan, as
Jacques Gordon founded
pocket change, perhaps
raise a lot of money to pay
though for the first time,
Music Mountain in 1930
in his open violin case,
off the mortgage. Underand always from the view as a home for his quartet,
and a story in the Chicago of a life in art.
standably, fundraising was
a place to teach chamber
Evening Post.
Certainly there are
music and to summer with rough. And slow.
The instrument changed hundreds more, such as
This was “a most unhis family. Sears delivered
hands and, decades later,
satisfactory situation,”
how the weekly summer
the fixings (all the wir-
N
declared Emma May Foot,
president of the Gordon
Musical Association, Inc.,
one she set out to remedy.
“She did not look imposing, but she had a will
of iron,” Gordon said.
“She was devoted to
Music Mountain and to
my parents and to music
and culture. And she was
one tough girl.”
Foot planned to go
to the Sears people in
Chicago, “people with
no particular humanity,”
Gordon said in the interview. “Nothing mattered
to them but survival.”
She went to them with
the money raised to date,
an undisclosed amount,
and a very simple message, Gordon says. “Music
Mountain is not a hall
and houses, but an idea,
a place for the study and
perfection of classical music for string quartets.”
This was December,
1936. Europe was in
economic and political
shambles. Foot went to
Chicago and told the
Sears men that the future
of Western civilization
ultimately rested on development in the United
States. That meant preserving the arts. Here.
Evidently, they bought it.
By January 28, 1937, she
later told a Music Mountain audience, “We owned
Music Mountain.”
COMPASS, Thursday, June 5, 2014
7
. . . Music Mountain Thrives
So the music continued
and in 1940, in Gordon’s
words, “the world’s greatest xylophone player”
came to the United
States. His name was Yoichi Hiroka. He was Japanese. And he worked at
NBC. On Sept. 24, 1941,
he performed at Music
Mountain playing his own
transcription of Mozart’s
“Eine Kleine Nachtmusik”
for string quartet and
xylophone.
“I remember the concert. He was a brilliant
musician,” Gordon said.
He was also a spy.
He slipped out of the
country right before Dec.
7, 1941, the date the
Japanese attacked Pearl
Harbor.
Now the war improved
the economy, Gordon
recalls, but it pinched
gas supplies and interrupted train service. Lots
of people who had always
traveled to reach Music
Mountain simply could
not anymore. So in 1941,
Music Mountain was
re-created in Hartford,
giving concerts at the
Bushnell and various spots
around New England, but
teaching continued at
“the mountain,” as Estelle,
Gordon’s wife, calls it.
The situation was temporary, of course. “We
kept the audience warm,”
Gordon recalled, until
1945. When the war
ended, the quartet moved
back to Gordon Hall.
“It all seemed golden.
The boys came back from
the war. We had overcome the Depression, and
then in 1946 my father
had a stroke. He died in
1948, leaving us totally
rudderless.”
The Gordon Quartet, renamed, now, the
Berkshire Quartet, with a
new fourth member and a
bad attitude, returned to
Music Mountain. But they
did not want to teach,
part of Music Mountain’s
mission; and they did not
want to play more than 10
concerts a summer.
Also, “The playing was
not up to snuff,” Gordon
recalls (incidentally, the
quartet’s cellist had been
Nicholas’s teacher. The
effort failed. The younger
Gordon, it turned out, displayed no particular talent
for string playing). Further, the cellist snuffled so
fiercely on big down-bows
that for recordings he was
obliged to hold a pencil between his teeth to
muffle the sound.
Funding waned and so
did radio air time. “It was
either change or close the
doors, and I had promised
my father I would not let
that happen.”
With Gordon as presi-
dent of Music Mountain, the board fired the
Berkshire Quartet, which
threatened, but failed, to
sue, and Music Mountain’s 52nd season opened
with the young and accomplished Manhattan
String Quartet.
This group set a new
tone. They were young,
approachable and interested in teaching and in
performing 20th-century
chamber works, such as
Samuel Barber’s String
Quartet, Op. 11 (its lean
second movement was
eventually fattened up to
become the famed “Adagio for Strings”). They
gave this work a spectacular performance.
But ambitions and
discord among members
broke up the quartet,
setting Music Mountain
on a new course, one the
venerable festival follows
to this day: A different,
established quartet was
booked every week, sometimes with guest artists,
such as the Shanghai
String Quartet, which
returns year after year,
the Orion, the Juilliard.
And this year, the festival
opens June 7 with one of
the most venerated and
inspiring quartets performing today, the Emerson String Quartet. They
play, often without music,
and standing, except for
the cellist, who is seated
on a platform to maintain
eye contact with his fellows.
Among the familiar
names returning this year
is the St. Petersburg Quartet. And Peter Askim
will return for a second
year at Music Mountain
with The Next Festival
of Emerging Artists, an
orchestral workshop for
young adults.
In this way, Gordon
says, Music Mountain fulfills its mission of educating players and audiences
and covering, expertly,
the wide repertory of
chamber music, not possible by taking on a single
group for the entire summer.
As for Gordon, this
is his last year as musical director, but he will
continue as president of
Music Mountain’s Board
of Managers, charged with
raising the festival’s annual budget of less than
$500,000.
“I still love it all,” Gordon said at the end of one
interview.
“I still regard walking
into Gordon Hall for a
concert an enormous
privilege.”
For a season schedule and tickets, go to
musicmountain.org or call 860-824-7126.
8
Compass, Thursday, June 5, 2014
Summertime: Darryl Gangloff
Faires,
Not Fairs,
The
Robin Hood
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CT License #565587
OR
OR
I
have been attending Renaissance faires for more than a decade, and I
was thrilled to discover one in Connecticut running right now.
My wife, Kayla, and I visited the Robin Hood Springtime Festival in
Guilford for the first time last weekend, and I was thoroughly impressed.
As I walked through the gates, I was immediately transported back in time to
Nottingham and Sherwood Forest.
Robin Hood himself brazenly walked by his wanted posters to welcome us
to his festival. He even posed for photos with youngsters who were wearing
his familiar green hat and carrying a bow. In fact, all of the citizens of the
shire were incredibly friendly.
The size of the fairgrounds is perfect — not too big, not too small. After
our first lap, we quickly learned the lay of the land and could enjoy the event
without opening our map every few minutes.
Our first stop was the Garden of Eatin’ food tents. The classic turkey leg
was on the menu, but I couldn’t pass up a bowl of macaroni and cheese with
bacon and pulled pork. It was delicious. We also purchased a glass root beer
bottle that not only acted as a great souvenir, but allowed us to receive free
and discounted refills.
I was pleased to see so much ample seating under tents, helping attendees
to get out of the sun, enjoy their meal and watch people walk by in wonderful
costumes (you can rent an outfit if you’d like). The Thunderhouse Tavern always has talented musicians performing on a stage — in fact, bands of all sizes
keep the music going constantly at various locations throughout the faire.
Next we decided to browse the tents with vendors selling their wares, such
as garden statues, flowers, clothes, leather goods, armor and swords (both real
and fake), incense, herbs, jewelry, art and more.
The festival offers ample entertainment opportunities. You can ride a donkey, get a psychic reading or pose for a photo. You can get your hair braided
or your face painted or choose some henna body art. You can also try your
hand at archery or darts, or throw daggers and javelins.
There are all sorts of shows to watch, which are held on various stages
throughout the day. Luckily, the stages are very close to each other, so you
can move between them quickly. Acts include a juggler, a sword-swallower, a
freak show (both bizarre and entertaining) and armored combat. My favorite
show was Gail Mirabella and her Dynamo Dogs; the animals seem to defy
gravity as they soar through hoops.
The faire is a family-friendly event — both children and adults can find
something to enjoy. We went on “Once Upon a Time” day, and the fairground was filled with youngsters dressed as princesses and fairies.
June 7 and 8 is the final weekend for the festival. I highly suggest making
a day trip to meet Robin Hood and his Merry Men before they pack up the
tents. Also, be sure to mark your calendar for the Connecticut Renaissance
Faire, which will be held in Norwich on weekends and Columbus Day from
Sept. 27 to Oct. 26.
The Robin Hood Springtime Festival will be held in Guilford on June 7 and 8
from 11 a.m. to 7 p.m. Tickets cost $16 for ages 16 and up; $10 for ages 7 to 15;
and free for ages 6 and under. For information, go to www.robinhoodsfaire.com or
call 860-478-5954.
COMPASS, Thursday, June 5, 2014
Movies: ‘Maleficent’
PATRICK L. SULLIVAN
Special Effects and Hodgepodge
W
ell, here we go
again with a
movie full of
— you guessed it, special
effects!
And it’s in 3D!
With cool glasses!
Wow!
Robert Stromberg’s update of the Disney “Snow
White” story is told from
the point of view of the
evil Maleficent (Angelina
Jolie), who has a serious
beef with Stefan, the king
(Sharlto Copley) on account of he slipped her a
Mickey Finn and cut off
her wings.
And they were pretty
spectacular wings, too.
Stromberg and the boys in
the computer lab certainly
spent enough time and
energy on them.
Dining
Stagecoach
In the real world this
scenario — a man drugs
a woman and then does
something awful to her —
is known as rape.
So Maleficent curses
Stefan’s daughter, Aurora,
and he sends her off to
live with three nitwit fairies where, presumably, she
will be safe.
Oh, and there’s a big
battle in here somewhere,
between the king’s soldiers
and mythic beasts, like
griffins.
Jolie does her best with
this disjointed material,
and comes close to some
genuine evil (pronounced
“ee-ville”) during the
christening scene.
This is the high point of
the flick. It’s completely
creepy, and made me
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remember why “Snow
White” was a hit.
It’s a steady downhill
slog after that, unfortunately. And after a while I
just stopped caring about
why, exactly, Maleficent is
keeping an eye on Aurora
(Elle Fanning).
Amidst all the computer-generated crap and the
dopey fairies, I also started
to wonder why anybody
thinks this is a children’s
movie. If you want to
bore your kids, fine, by all
means bring them to see
this turkey.
And then there’s that
date rape thing.
So — decent start, overwhelmed by cutsey-pie
stuff and a plot that seems
to have been assembled at
random. Jolie looks great
Angelina Jolie and wings
in her wings and horns.
The CGI stuff is fine if
you like that sort of thing.
But “Maleficent” never
follows up on the dark
side of the story — or any
side of any story, frankly.
It winds up a hodgepodge
of half-baked ideas, and
all the super-duper special
effects in the world can’t
save it.
At The Movies
Mercifully, the Moviehouse in Millerton, NY, is
showing both 3D and normal versions, so if 3D gives
you a headache, you have
options. It’s playing widely.
Rated “F” for “Feh.”
Now Showing
6/6, 7, 8, 10, 11, 12
LOCATED IN THE MAIN AUDITORIUM
“AMILLION WAYS TO DIE IN THE WEST” R 7PM
LOCATED IN THE UPSTAIRS THEATER
“CHEF” R 7PM
CLOSED MONDAYS
354 Main St., Winsted
354 Main St. Winsted Ct 06098
1-860-379-5108 • www.gilsoncafecinema.com
Doors open at 6 p.m. • 21 Years & Older
9
10
COMPASS, Thursday, June 5, 2014
Listing deadline is Thursday at
noon for the next week’s publication. Address your entry to
Calendar by fax at 860-4354802, by mail to PO Box 1688,
Lakeville, CT, 06039, or email at
[email protected].
Continued from
. . . Colorful,
And Witty
page 3
background titled
“What’s Inside.”
There is a beautifully
colored and patterned,
intricately detailed
woodblock print of
what looks like an
irreverent take on a
Mayan god or goddess.
Each print is so different and expressive and
all layered with unexpected meaning and
content.
Works in the show
are by the co-founders
of La Ceiba Grafica,
Per Anderson and
Martin Vinaver, and
several other artists
who have come to
La Ceiba to produce
editions. Vinaver was
recently in our area
to teach a workshop
in Moku Hanga, a
traditional Japanese
woodblock printing
technique (he plans to
return later this year
to teach another).
Several of Vinaver’s
prints are solely moku
hanga, sometimes
using 12 woodblocks
to achieve the detail,
as in “El Dueño del
Perro,” The Owner of
the Dog.
Through June 15.
Information: 860-4351029
TRI-CORNER
CALENDAR
THE LAKEVILLE JOURNAL/MILLERTON NEWS/WINSTED JOURNAL
Auditions
Litchfield County Choral Union, 860868-0739, www.lccu-us.org Seeking
new singers for July program:
The Civil War Remembered.
Anyone with a love of singing
is invited to join. Rehearsals are
on Tuesday nights from 7:30-10
pm in the Battell Recital Hall,
Norfolk, CT. Call or go online
for information.
Dance
Bard College, Fisher Center for
Performing Arts, Red Hook, NY,
845-758-7900, www.bard.edu
Trisha Brown Dance Company:
“Proscenium Works: 1979-2011,”
June 27-28.
Jacob’s Pillow, 358 George Carter
Rd, Becket, MA, 413-243-9919,
www.jacobspillow.org Ted Shawn
Theatre: The Hong Kong Ballet,
June 18-22; Trey McIntyre
Project, June 25-29; Hubbard
Street Dance Chicago, July 2-16;
Doris Duke Theater: Carmen De
Lavallade, “As I Remember It,”
June 20-22.
Kaatsbaan International Dance
Center, 120 Broadway, Tivoli, NY, 845757-5106 x 2 or 10, www.kaatsbaan.
org BalletNext, June 7-8; New
York Theatre Ballet: June 21, 7:30
pm, June 22, 2:30 pm; Extreme
Ballet Showcases: July 12, Aug 2,
Aug 23, all at noon.
Galleries
Argazzi Art, 22 Millerton Rd, Rte 44,
Lakeville, CT, 860-435-8222, www.
argazziart.com Sandrine Kern
through June 15. Gallery hours:
Fri-Sun, 11 am-5 pm.
Eckert Fine Art, 34 Main St,
Millerton, NY, 518-592-1330, www.
eckertfineart.com Meet Michael
Kalish, artist and sculptor, at
Eckert’s on June 7, 4-7 pm.
Call gallery or go to website for
information. Gallery hours:
Mon, Thurs-Sat, 10 am-5 pm,
Sun, noon-5 pm, Tues, Wed by
appointment.
Gallery Arts Guild,52 Main St.,
Millerton, NY, 860-596-4298, www.
galleryartsguild.com Current
exhibition: 4 of a Kind, works
by Erika Larskaya, Richard
Heys, Karen Culbreth and Mark
Leibergall. Gallery hours: ThursSun,11 am-4 pm.
Gregory James Gallery, 93 Park Lane
Rd, Rte 202, New Milford, CT, 860-3543436, www.gregoryjamesgallery.com
A New Season: Works by Thomas
Adkins, Christopher Magadini, Bill
Rice, Christine Debrowski, Robert
Ferrucci, James Coe and Meg
Lindsay. The show runs through
June 7. Gallery hours: Mon, Wed,
Fri, 10 am-6 pm, Tues, Thurs, Sat,
10 am-5 pm, Sun, 11 am-4 pm.
Morrison Gallery, 8 Old Barn Rd,
Kent, CT, 860-927-4501, www.
themorrisongallery.com New works
and collaborations, Peter Woytuk
and Gilberto Romero through
June 8. Gallery hours: Wed-Sat,
10:30 am-5:30 pm, Sun, 1-4 pm.
Ober Gallery, 6 North St, Kent, Ct,
860-927-5030, www.obergallery.
com Russian artist Victor Skersis,
through June 15. Gallery hours:
Thurs 1-4 pm, Fri-Sat, noon-5 pm,
Sun, 1-4 pm.
The White Gallery, 344 Main St,
Lakeville, CT, 860-435-1029, www.
thewhitegalleryart.com Works by
Michael Quadland and Emma
Kindall, Memory, Emotion and
Expression, through July 13.
Gallery hours: Fri-Sun, 11 am4 pm or by appointment.
Movies
Bank Street Theater, 46 Bank St, New
Milford, CT, 860-354-2122, www.
bankstreettheater.com
Bantam Cinema, 115 Lake Rd, Rte
209, Bantam, CT, 860-567-0006,
www.bantamcinema.com Week of
June 6-12: “Ida” and “Chef.”
Compass, Thursday, June 5, 2014
Digiplex Torrington, 89 Farley
Place, Torrington, CT, 860-4894111, www.cinerom.com
Music Circle Concerts, Olin
Hall, Concert 1: June 7, 7 pm;
Concert 2: June 14, 7 pm.
Gilson Cafe Cinema, 354 Main
St, Winsted, CT, 860-379-5108,
www.gilsoncafecinema.com See
Compass movie page.
Berkshire Choral Festival, 245 North
Undermountain Rd, Sheffield, MA,
413-229-8526, boxoffice, 413-2291999, [email protected]
Brahms: “Requiem,” July 19;
Bach: “St John Passion,” July 26.
All concerts are at 7:30 pm.
Mahaiwe Theatre, 14 Castle St,
Great Barrington, MA, 413-5280100, www.mahaiwe.org
The Moviehouse, 48 Main St,
Millerton, NY, 518-789-3408,
www.themoviehouse.net The
Salisbury Forum and The
Civic Life Project present,
Drugs, Guns, Redemption
and Edward Snowden, June 8,
11:30 am. A series of five, 8minute documentary films.
Triplex, 70 Railroad St, Great
Barrington, MA, 413-528-8885,
www.thetriplex.com
Music
Bard College, Fisher Center for
Performing Arts, Red Hook, NY,
845-758-7900, www.bard.edu
Hudson Valley Chamber
Cornwall Presbyterian Church, 222
Hudson St, Cornwall, NY 15th Annual
Hudson Valley BachFest, Young
Performers’ Concert, South,
June 14, 2 pm, free admission;
Chamber Concert: June 15, 3:30
pm, students and youth free.
Mahaiwe Theatre, 14 Castle St, Great
Barrington, MA, 413-528-0100, www.
mahaiwe.org Music ensemble,
Ethel, performs, Grace; June 21,
8 pm.
Music Mountain, 225 Music
Mountain Rd, Falls Village, CT, 860824-7126, www.musicmountain.
org Emerson String Quartet,
June 7, 6:30 pm; The Amplified
String Quartet with Orchestra,
June 12, 7:30 pm.
Tanglewood Music Center,Seiji Ozawa
Hall & Koussevitzky Music Shed, 297
West St, Rte 183, Lenox, MA, 413637-1600 Close Encounters with
Music: Antonin Dvorak, June 15,
2 pm.
Warner Theatre, 68 Main St, Nancy
Marine Studio, Torrington, CT, 860-4897180, www.warnertheatre.org Albert
Rivera Organ Trio, June 6, 8 pm;
Arti Dixson Group, July 18, 8 pm.
Theater
Barrington Stage Co, Mainstage,
30 Union St, Pittsfield, MA,
boxoffice, 413-236-8888, www.
barringtonstageco.org “Kiss Me,
Kate,” June 11-July 12.
Barrington Stage Co, Sydelle and
Lee Blatt Performing Arts Center,
36 Linden St, Pittsfield, MA,
boxoffice, 413-236-8888, www.
barringtonstageco.org “Benny
Rides Again: An Evening of
Benny Goodman’s Swingin’
Hits,” June 8-9, 8 pm; “The
Other Place,” through June 15;
“Songwriters Cabaret #1,” June
22-23, 8 pm.
Chester Theatre Company, 15
Middlefield Rd, Chester, MA, 413354-7771, www.chestertheatre.org
“Madagascar,” June 25-July 6.
Ghent Playhouse, Rte 66, Ghent, NY,
518-392-6264, www.ghentplayhouse.
org “The Grapes of Wrath,”
through June 8.
Mac-Haydn Theatre, 1925 Rte 203,
Chatham, NY, 518-392-9292, www.
machaydntheatre.org “The Music
Man,” through June 15; “Fiddler
on the Roof,” June 19-29.
Mahaiwe Theatre, 14 Castle St, Great
Barrington, MA, 413-528-0100, www.
mahaiwe.org London National
Theatre in HD: “A Small Family
Business,” June 12, 7 pm; “The
Curious Incident of the Dog in
the Night-Time,”encore, June 14,
7 pm.
The Moviehouse, 48 Main St,
Millerton, NY, 518-789-3408, www.
themoviehouse.net Melbourne,
Australia, Comedy Theatre Live:
“Driving Miss Daisy,” June 8,
4 pm, June 9, 7 pm; London
National Theatre in HD: “A
Small Family Business,” June 12,
7 pm, encore, June 22, 1 pm.
11
Shakespeare & Company, 70 Kemble
St., Lenox, MA, 413-637-3353,
www.shakespeare.org Elayne P.
Bernstein Theatre: “Shakespeare’s
Will,” through Aug 24; “Julius
Caesar,” June 27-Aug 30.
Sherman Playhouse, 5 Rte 39 N,
Sherman, CT, 860-354-3622, www.
shermanplayers.org “Marlene,”
through June 8.
TheatreWorks, 5 Brookside Ave,
New Milford, CT, 860-350-6863,
www.theatreworks.us “Bonnie
and Clyde,” July 11-Aug 2;
Page2Stage, free staged readings:
“Lifeboat,” July 24, 8 pm.
TriArts’ Sharon Playhouse, 49 Amenia
Rd, Sharon, CT, 860-364-7469, www.
triarts.net “Les Misérables,” June
18-29; “Tuesdays with Morrie,”
July 3-6; “Falsettos,” July 11-20.
Warner Theatre, 68 Main St, Nancy
Marine Studio, Torrington, CT, 860-4897180, www.warnertheatre.org “Peter
Pan,” July 26-Aug 3.
For access to our free calendar,
go to our website at www.
tricornernews.com
12
Compass, Thursday, June 5, 2014
Proudly sponsored by
39 South St., Pittsfield, MA 413.443.7171
Photo by Howard Hoople
Berkshiremuseum.org