
Aimee Davis and Brian Crouse in their shared office space at 65 Main St. in Millerton.
Natalia Zukerman
Aimee Davis and Brian Crouse in their shared office space at 65 Main St. in Millerton.
‘We need to be touched, we need to be tended to, and we need to remember who we are and how we are actually doing,” said massage therapist Aimee Davis, her words echoing softly in the warmly lit loft of the space she shares with naturopathic doctor and acupuncturist Brian Crouse in Millerton. In a world that keeps us increasingly disconnected from our bodies, the healing practices of Davis and Crouse offer a sanctuary of care that integrates both physical and energetic restoration. They share a space and a mission of healing, one that embraces the complexity of the body, mind, and spirit.
Davis and Crouse both come from backgrounds rich with both experience and personal transformation. Their paths intersected in Millerton, where they now work alongside each other in a healing space that is as inviting and serene as their practices. At an early age, Davis was inspired by her parents’ work in science and medicine and at 18, she worked in a home for the mentally challenged, most of whom were chair-bound. “I realized then the obvious way that you can connect to another human even if they’re incapable of talking,” said Davis. A licensed massage therapist and intuitive healer, Davis has spent over two decades honing her craft in bodywork, energy healing, and coaching. Her work spans from deep tissue massage to Reiki, chakra balancing, and 4-dimensional healing. Yet, it’s the unique blending of these modalities that makes her approach so effective. “I prefer the mixed pot of whatever a person is, as opposed to just a sports massage or just an energy session,” said Davis, describing her belief in customizing healing practices to meet the distinct needs of every individual.
Brian Crouse’s path to healing also had its own meandering route. “When I was a kid, I just always had this thought I was going to be some kind of doctor/healer and also own a restaurant and also be a bass player,” Crouse recalls with a smile. He has managed to do all of that and more. After leaving chiropractic school, he owned a restaurant on Long Island for many years, but the call to medicine never left him. When he returned to his studies, he shifted focus a bit, eventually studying both naturopathic medicine and acupuncture. “I saw what food did to people over time,” he said, explaining the pivot that led him to a more holistic approach.
Today, Crouse blends his expertise in naturopathic medicine, acupuncture, and nutritional counseling to address the root causes of health issues. His practice is centered on supporting the body’s innate ability to heal. “As a naturopath, I use natural therapies rather than pharmaceutical drugs,” Crouse explained, emphasizing his belief in the body’s capacity for self-regulation. If there are any fears around acupuncture, Crouse assured, “It doesn’t hurt, and it’s a very relaxing and healing modality.”
Whether it’s Davis’s bodywork or Crouse’s naturopathic treatments that brings you into their office, both practitioners see patients as unique individuals, deserving tailored care. “It doesn’t have to be all one way or another,” said Crouse. “You don’t have to have a massage every two weeks, but you can combine things that work for you,” added Davis, emphasizing the importance of finding what resonates best for each person. For Crouse, it’s all about offering choices. “I try to guide people to the healing wisdom that’s inside them and reignite it,” he explained, ensuring that his patients are not just passive recipients of treatment, but active participants in their own healing journey.
While their professional lives are grounded in wellness, their personal passions also fuel their work. Brian, an avid musician, still finds time to play bass, even occasionally practicing in the shared office space. His passion for music is just one of the many ways he nurtures his own well-being and creativity, which he said, “helps me balance the demands of my practice.” Davis, too, finds time to engage in her own self-care and personal growth, and along with her bodywork practice, she also offers women’s circles and relationship coaching. “Everybody needs help,” she acknowledged, understanding that healing, both physical and emotional, is a lifelong journey.
“It’s not a luxury to take care of yourself,” said Davis. “It’s maintenance so you can live longer and feel better.”
“And as a society we’re losing touch with ourselves and our bodies, and this is a way to reconnect,” Crouse added. “Yea,” said Davis. “It’s stressful out there, and we need to come home to the body and each other.”
For more information or to book an appointment with Brian Crouse, call 518-592-1033 or visit www.drbriancrouse.com. For more information or to book an appointment with Aimee Davis, visit connectandbalance.amtamembers.com or call 860-248-5452
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino
The marquee at Goshen Players for “A Goodnight Kiss.”
"A Goodnight Kiss,” premiering June 6 at Goshen Players Playhouse, is a dramatization of real Civil War-era love letters. Written by award-winning playwright Cinzi Lavin and directed by regional theater veteran Kathleen Kelly — both Litchfield County residents — it serves to reminds us that while wars are waged by nations, it is the people who live through them, their lives forever changed.
At the center of “A Goodnight Kiss” is the relationship between Sarah Jane “Jennie” Wadhams, a college student in New Britain, and Sergeant Major Frederick Lucas, a young soldier stationed in Alexandria. Lavin discovered the story of the letters by the couple in a 2002 book by Ernest B. Barker called “Fred and Jennie: A Civil War Story.” Lavin, who holds a certificate in applied history from the University of London and has performed at the White House, read all 90 letters the couple exchanged between 1863 and 1867. “It was like falling into another time,” she recalled. “You hear the dialect, the moral concerns, the humor. Jennie once said someone ‘must think she’s some pumpkins.’ I had to keep that.”
Cinzi LavinAnna Zuckerman-Vdovenko
While staying true to the historical narrative, Lavin and Kelly took pains to adapt with sensitivity, editing outdated language, softening harsh racial terms, and trimming some of the religious fervor of the original texts for modern ears. “We didn’t want to rewrite history,” said Lavin, “but we did need to present some things so that it translated.”
The result is a story of two young people navigating distance, war, and the slowness of the mail. It’s also about community, duty, and the Connecticut town of Goshen itself where Fred and Jennie lived, wrote, and now lay interned. It’s fitting, then, that the Goshen Players opened their doors to this production.
“They’ve been wonderful,” said Kelly. “It’s a story from Goshen, and now it’s being told in Goshen. I think audiences will really appreciate that. It’ll be so interesting to see their reactions as ancestors.”
Kelly’s direction brings a collaborative, actor-driven energy to the stage. “I always say the only good playwright is a dead one,” she laughed. “But Cinzi? Thank God she’s not. She’s a dream.” Lavin, in turn, credits her theatrical background for that flexibility. “Both of our background as actors really helped us connect and then the cast came in with ideas and heart and it became something so much bigger.”
Kathleen KellyProvided
Starring David Macharelli and Olivia Wadsworth as Fred and Jennie, with a supporting cast including Robert Kwalick as Narrator, John Fabiani as Jennie’s father, Joel Osborne as Fred’s fellow solider, Harmony Tanguay and Roni Gelrmino as a gossiping villagers, the play layers historical narration with humor, heartbreak, and a surprising amount of warmth. “There’s a lot of humanity here,” Kelly said. “And a little gossip. The Goshen women definitely bring that.”
Adding texture is a curated selection of Stephen Foster songs arranged by Lavin which the U.S. Library of Congress included in its national “Song of America” archive. And for history buffs, Sunday’s 3 p.m. performance will include a talkback with historians Peter Vermilyea, Carolyn Ivanoff, Kevin Johnson, and Natalie Belanger, whose insights will ground the drama in even deeper context.
“Theater is the one place, even more than television and film, where you can really deal with difficult topics,” said Kelly. “You go into a theater, and you are changed.”
“A Goodnight Kiss” will be performed at Goshen Players Playhouse, 2 North St., Goshen, June 6 to 8. For tickets and more info, visit: goshenplayer.booktix.com
Village Trustees hear call to adopt law to limit local cooperation with ICE