Sharon Playhouse Education Program Discovers and Grows Young Talent of all Ages

Young performers get to share their razzle dazzle thanks to Sharon Playhouse education programs. Photo Submitted

Professional summer theater productions at the Sharon Playhouse in Sharon, Conn., lure audiences to the area and have been doing so for years. The advantages to Northwest Corner towns are many.
Now sharing space with that professional theater is an upgraded and enhanced educational program that includes intensive training in the theater arts. For teens, it may be the Youth Theater program. The program’s classes and activities can also accommodate the very young whose artistic leanings are exuberantly unfettered, and the older kids refining their performing skills in acting, voice or movement. Teens continue their progression. There are additional offerings for adults who just plain enjoy a common interest in theater.
Regardless of level — beginning or advanced — each student of any age is discovering theater arts in the playhouse’s education program, buoyed by the instruction of Associate Artistic Director Michael Baldwin, teamed with the dance and acting classes of Education Associate and Company Manager Sarah Cuoco. Additional teachers from Broadway and beyond offer their credentials and talents in voice and acting.
“We’re incredibly proud,” both Baldwin and Cuoco agreed during an interview on Wednesday, June 22, as this summer’s program was getting underway.
The last week of June would bring teens to rehearse the Youth Theater stage production of Jane Austen’s enduring 1813 novel “Pride and Prejudice,” arranged for a modern stage production by Kate Hamill. With just two weeks of rehearsal, the show would open in July. The rehearsal atmosphere during a second visit on Wednesday, June 29, was appropriately intense and positive.
Shows are selected a year in advance.
“The key is to discover what the kids are talking about,” Baldwin said, as an aid to choosing shows. “Pride and Prejudice” promised a good fit.
The play’s message being conveyed by this cast to their 21st-century theater audience is one of timeless social commentary in which the characters deal with rigid personal and societal bias wrapped in a period-costumed story of romance. It’s about discovery and finding humanity waiting beyond the confines of ingrained bias.
“Having a director of education has made a huge difference,” Baldwin said, noting the rapid growth of the program. In light of the success, the theater’s Board of Directors is committed to investing in the program’s expansion. Included is the prospect of the educational program going year-round, adding fall and spring, Baldwin said.
The program has already expanded into offering theater arts education in local schools. Baldwin said that the arts education program is in its second year at Indian Mountain School in Salisbury, Conn., and as an arts residency at Housatonic Valley Regional High School in Falls Village, Conn. In the coming year, the youth arts program will be introduced at Sharon Center School.
“He’s a really good director,” cast member Rory Marquis of Millbrook, N.Y., said of Baldwin. “He’s good at giving instruction and he makes it fun.” Members of the cast who were not needed in a rehearsal scene were learning their lines outdoors in the sunshine, eager to speak of their experience in the program.
“It feels more like a camp in the summer,” said Olivia Brooks of Lakeville, Conn. “It also brings us close to the company.” Coming from throughout the region and from New York City, the teens spoke of the value of socializing and getting to know each other. And, that the audition experience had not been pressured.
“We are both of the community,” Baldwin said of himself and Cuoco. “We grew up in Lakeville.
“We have a vested interest in sustaining the opportunities we had as youth,” he added. “Growing up with the Sharon Playhouse was incredible.” At age 10 Baldwin first appeared on the Sharon Playhouse stage.
In his teens he began helping at the box office. From that vantage point, he foresaw expanding the education program to bring young people a deeper connection with the playhouse.
“We see change at every level,” Baldwin said of the instruction and its effectiveness as students display growing confidence. “It’s the most rewarding thing that we do,” he added.
Across all age groups taking the classes, Baldwin said, whether young people or adults, they leave the Sharon Playhouse a fuller version of themselves.
“They discover themselves,” Cuoco agreed.
“When I was 17,” Baldwin recalled, “I played Humpty Dumpty for a Sharon Youth Theater production. I was on the wall, then I was off the wall. The Sharon Playhouse was the safest, most inclusive place to discover and then to express my true self.”
Cuoco picked up the conversation. “Just being in this environment at the Sharon Playhouse,” she said, “I have met some of my favorite people.”
“Dancers are actors,” she explained, “just as much as actors are actors. You can teach someone a step, but they bring themselves to create a dance.”
Speaking of steps, admitting to stepping onto his imaginary soap box, Baldwin said, “There is no better way to teach collaboration or empathy. People have to work together as an ensemble, to step into someone else’s shoes and life experiences.”
What’s next?
This summer’s production schedule is packed with opportunities for young talent. Upcoming youth productions include “Winnie the Pooh Kids,” “Sharon Playhouse Stars” and “Shrek Jr.”
Future planning includes possible field trips, where groups could be bused to Sharon Playhouse to attend youth performances.
Baldwin also looks ahead to writing original shows for young people and having actors go on tour to area schools.
For more information about the education program and upcoming productions, and to acquire tickets that are going fast, go to: www.sharonplayhouse.org.

Sharon Playouse Associate Artistic Director Michael Baldwin gets young imaginations growling and growing. Photo Submitted

Young dancers don’t need to stand on ceremony with Education Associate and Company Manager Sarah Cuoco. Photo Submitted
Millerton News
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Millerton News

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Dee Salomon
Fireweed attracts the fabulous hummingbird sphinx moth.
You must figure that, as rough as the cold weather has been for us, it’s worse for wildlife. Here, by the banks of the Housatonic, flocks of dark-eyed juncos, song sparrows, tufted titmice and black-capped chickadees have taken up residence in the boxwood — presumably because of its proximity to the breakfast bar. I no longer have a bird feeder after bears destroyed two versions and simply throw chili-flavored birdseed onto the snow twice a day. The tiny creatures from the boxwood are joined by blue jays, cardinals and a solitary flicker.
These birds will soon enough be nesting, and their babies will require a nonstop diet of caterpillars. This source of soft-bodied protein makes up more than 90 percent of native bird chicks’ diets, with each clutch consuming between 6,000 and 9,000 caterpillars before they fledge. That means we need a lot of caterpillars if we want our bird population to survive.
So how do we ensure that there are sufficient caterpillars for them? That is the question, as caterpillars are very particular. Their butterfly or moth mothers cleverly attach their eggs to the very specific plants their tiny babies require. Once they hatch, the caterpillars eat the leaves of these plants until they are either picked off by birds to feed their young or create a chrysalis and turn into a moth or butterfly to repeat the cycle of life.
Some caterpillars are generalists and can survive on a variety of plants, but most — 90 percent, according to scientists — are specialists, relying on only one or two types of plants for survival. In their winged form, dietary restrictions ease as they source pollen more widely, but when it comes time to lay eggs, they use a keen sense of smell to find the specific plants that will help their young survive.
Research by Doug Tallamy shows that 90 percent of butterfly and moth species rely on just 14 percent of native plant species for food, which makes the planting of these “keystone” plants critical. Let’s review a few.
Goldenrod: Not all goldenrod is created equal. Old field goldenrod, (Solidago nemoralis), is a shorter and less aggressive alternative to the tall, aggressive goldenrod we are familiar with, as is wrinkleleaf goldenrod, (Solidago rugosa), a compact species that has arching sprays of bright yellow flowers supporting more than 100 species of insects. This species is deer-resistant with no serious pests or diseases. Last year, Mt. Cuba Center, a conservation center out of Delaware, focused its trials on goldenrod, and its research report, available online, is sortable not just by aesthetic attributes but also by the number of insects seen on each species.
Scarlet strawberry: (Fragaria virginiana), is one of the plants I have had great luck growing in the woodland. When there is a new sunny spot, which happens when a tree or large branch falls, I plant a few strawberries, which I dig out of a spot where they are thriving. These plants make a great groundcover and are especially nice used under trees for caterpillar “soft landings.”
Spotted Joe-Pye weed: We see this plant, (Eutrochium maculatum), on roadsides in late summer, but it looks as sharp as an ornamental in the hands of Michael Trapp, who, in the garden behind his shop in West Cornwall, encloses a bed of Joe-Pye weed with a short boxwood hedge, dignifying this plant that supports between 35 to 40 caterpillar species, including those that become the three-lined flower moth, Clymene moth, ruby tiger moth, Eupatorium borer moth and great spangled fritillary moth.
I am less familiar with fireweed, (Chamaenerion angustifolium), but will be adding it this year, as it may be the prettiest of the keystone plants in our region and attracts the fabulous hummingbird sphinx moth. I will let you know when I find a local nursery that stocks it and, when planted, how it fares here.
Also keep in mind this spring: smooth aster, (Symphyotrichum laeve); white yarrow, (Achillea millefolium); and the beautiful Canadian columbine, (Aquilegia canadensis), which is the first food for hummingbirds’ arrival in the Northwest Corner.
Dee Salomon ‘ungardens’ in Litchfield County.
Robin Roraback
Stephanie Haboush Plunkett
"The field of illustration is very close to my heart"
— Stephanie Plunkett
For more than three decades, Stephanie Haboush Plunkett has worked to elevate illustration as a serious art form. As chief curator and Rockwell Center director at the Norman Rockwell Museum in Stockbridge, Massachusetts, she has helped bring national and international attention to an art form long dismissed as merely commercial.
Her commitment to illustration is deeply personal. Plunkett grew up watching her father, Joseph Haboush, an illustrator and graphic designer, work late into the night in his home studio creating art and hand-lettered logos for package designs, toys and licensed-character products for the Walt Disney Co. and other clients.
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”

She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
Brian Gersten
Craig Davis, co-founder and board chair of East Mountain House, an end-of-life care facility in Lakeville, will sponsor a March 5 screening of the documentary “Come See Me in the Good Light” at The Moviehouse in Millerton, followed by a discussion with attendees.
The film, which is nominated for best documentary at this year’s Academy Awards, follows the poet Andrea Gibson and their partner Megan Falley as they are suddenly and unimaginably forced to navigate a terminal illness. The free screening invites audiences to gather not just for a film but for reflection on mortality, healing, connection and the ways communities support one another through difficult life transitions.
East Mountain House grew out of a realization that “there are so many issues with how we are taking care of our dying in our community,” said David. “We wanted to provide a solution for some people where they can die in a serene and calming home-like setting.” This compassionate approach at East Mountain House is carried out with the support of seven staff members and 42 volunteers who do everything from reading to residents, gardening, cooking, communicating with family members and assisting with therapeutic treatments. East Mountain House houses just two residents at a time, and staff and volunteers work around the clock to accommodate their needs.
In a culture where we are trained to panic when a loved one is dying, and where a clinical space like a hospital is the norm for many individuals at the end of their lives, Davis feels that East Mountain House is an alternative with a natural and organic approach to death. It’s a place where death can be celebrated and viewed as something that is simply a part of life. Davis’ vision for East Mountain House is more than a decade in the making, and he is eager to introduce his work and his perspective to locals at the upcoming community screening.
One of the reasons Davis was interested in sponsoring a screening of “Come See Me In The Good Light” was because the film gracefully explores themes of vulnerability, resilience and the search for meaning in the face of death. Through its deeply personal storytelling, the film highlights how people navigate loss, transformation and the desire to be seen for who they truly are. The documentary’s emphasis on compassion and human connection aligns closely with the mission of East Mountain House, making the post-film discussion a natural extension of the evening.
Davis hopes the event will serve as both a cultural offering and a community touchstone — an opportunity for neighbors to gather in a welcoming space, share ideas and reflect on the importance of end-of-life support systems. The screening is free and open to the public, though advance registration is recommended due to limited seating.
For registration, go to themoviehouse.net.

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