From students to owners at New Milford’s award-winning dance studio

Elizabeth Frabizzio and Zoe Czerenda, once both students at FineLine, are now co-owners.
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Elizabeth Frabizzio and Zoe Czerenda, once both students at FineLine, are now co-owners.
For Elizabeth Frabizzio and Zoe Czerenda, the studios at FineLine Theatre Arts in New Milford, Connecticut hold a lifetime of memories. Both women grew up there, first as students, then as young teachers. Last September, they became the studio’s new owners.
The studio was founded in 2006 by Broadway veterans Elizabeth Parkinson and Scott Wise. Parkinson, a former principal with the Joffrey Ballet, and Wise, a Tony Award winner for “Jerome Robbins’ Broadway,” built the school on professional-level training paired with a strong sense of community. As they prepared to step back from running the school, they didn’t look far for successors. In September 2025, they handed the studio keys to two dancers who had come up through its ranks.
“It felt like the natural progression of my career,” Frabizzio said.
Frabizzio joined FineLine as one of its earliest students during her senior year of high school. Not long after graduating, the founders offered her a small class to teach.
“They gave me my first class as I was dabbling in the professional world and auditioning and performing,” she said.
Her career soon took her well beyond New Milford. She performed as an ensemble dancer in the Radio City Christmas Spectacular at Radio City Music Hall, with the modern dance company Momix, and appeared in Darren Aronofsky’s “Black Swan.”
Over time, teaching pulled her back toward the studio. About 10 years ago, after getting married, Frabizzio began gradually taking on administrative responsibilities and helping run the school behind the scenes.
Also a New Milford native, Czerenda began dancing at FineLine as a child and later joined the studio’s pre-professional repertory company, Artists in Motion. By age 15 she was assisting with classes.

Today, Czerenda and Frabizzio share the day-to-day work of running the studio. Their first school year as owners has come with a few surprises.
“It’s been kind of a wild ride,” Frabizzio said, laughing. She welcomed her second child last summer, just as the transition to ownership began.
“I’m so lucky that I have Zoe,” she said. “She’s an amazing partner. She kind of steered the ship and ran the show the first trimester of the year.”
While the leadership is new, the philosophy of the studio remains firmly rooted in what Parkinson and Wise built.
“I’m definitely preserving the technique and the passion that Elizabeth and Scott brought to FineLine,” Frabizzio said.
The founders’ Broadway backgrounds shaped the studio’s approach to training, emphasizing strong technical foundations for dancers of all levels.
“A solid technique is something that anybody would want, regardless of aspirations,” said Frabizzio. “If you want to be a professional or if you want to be a recreational dancer, it’s important to learn the right way.”
FineLine now serves more than 100 students ranging from age 3 through adults. Classes include ballet, tap, jazz, contemporary, lyrical, acrobatics and musical theatre, along with vocal performance and drama. The theatre program is led by Robin Frome, who also runs the Sherman Playhouse.

The studio recently received another sign of its local support, earning first place in Litchfield Magazine’s 2026 Readers’ Choice awards.
“We were really excited to come in first place,” Frabizzio said. “It’s so great for the area.”
At the same time, the new owners are mindful of how demanding dance culture can sometimes become.
“What I pulled from the professional world was how toxic it could be,” Frabizzio said. “I just want these kids to feel loved. I want them to feel empowered and to know that they are enough at any ability.”
For the past 15 years, Frabizzio has primarily taught children between the ages of 3 and 10 — often their first introduction to dance.
“I don’t take that role lightly, especially now that I’m a mom,” she said. “I know what those first impressions are and what they mean.”
Her goal is simple: “I want them to walk away with love and joy,” she said. “I want them to be excited to come to class.”
Accessibility is also part of the studio’s mission. This school year, FineLine awarded $23,000 in scholarships to students through an application process supported in part by community performances at the studio.
Looking ahead, FineLine will present its annual spring performance at the end of May, followed by its summer programs in July and August.
For Frabizzio and Czerenda, the studio’s next chapter is less about reinvention than stewardship.
“We’re really trying to preserve what they gave us,” Frabizzio said. “And that’s the love and the joy of dance.”
“Being an educator has been the greatest blessing of my life,” said Czerenda. “To be a safe space, a light of positivity or an outlet for these kids is what makes this experience so special. They teach me how to be a better educator and I like to think I help them become better humans as well as dancers and performers.”
Find out more and sign up for a class at finelinetheatrearts.com
Elena Spellman
Owners Asio and Angela Highsmith
Coffee means community, It’s a big part of the hospitality vision that my wife and I want to bring to the world.
— Asio Highsmith, Co-owner
Asio Highsmith, co-owner of the bright red espresso truck in Great Barrington, greets patrons with the kind of warmth and energy that can change the trajectory of a day. There is laughter, conversation and a genuine sense of connection. And the coffee is amazing. It’s clear that Best Damn Espresso’s popularity has as much to do with people as it does with espresso.
Despite becoming one of the Berkshires’ most recognizable small brands, its owners maintain a surprisingly low profile, focusing more on their craft than on self-promotion. “We didn’t move up here to be on Front Street,” said Highsmith. “We came because we love nature and wanted to start a new chapter of our lives.” That chapter began after years spent in New York City.
Asio’s wife Angela, a California native drawn to nature, had spent years bringing their children to the Berkshires. The family already owned property there, and the pandemic simply accelerated the move they were already considering. Their son summed up the family’s feelings best when he was 5 years old. “He said, ‘I want to be in a place where there’s more trees than people,’” Angela recalled.
The move wasn’t motivated by business ambitions. In fact, neither Asio nor Angela intended to become entrepreneurs again. “We came up here for the outdoors and for the beauty,” Angela said. The espresso truck emerged almost by accident. When old café equipment began taking over their basement, Angela suggested putting it on a truck.
“That’s exactly what happened,” Asio laughed. What began as a practical idea soon evolved into something much larger.

Asio brings decades of hospitality experience to the business. A lifelong bartender and mixologist, he approaches espresso the same way a master cocktail maker approaches a drink — with precision, intention and respect for the craft.
“Coffee means community,” he said. “It’s a big part of the hospitality vision that my wife and I want to bring to the world.” For Asio, every drink matters. “My motto is one drink at a time,” he said. “I focus on what’s in front of me.”
That philosophy extends beyond the espresso machine. Customers aren’t simply buying a beverage; they’re entering an experience shaped by two people who view hospitality as an act of service. “Food is magic. Coffee is magic,” Asio said. “It’s an exchange of great energy.”
Angela, who often works the front of the truck, describes the customer relationship in similar terms. “When someone comes to the truck, you’re hosting them,” she said. “You’re entertaining them. You’re giving them exactly what they want.”
Despite doing almost no traditional marketing, Best Damn Espresso has developed a devoted following throughout the region. Asio attributes that growth to consistency rather than promotion. “Advertising is overrated if your product is mid,” he said.
The name itself — Best Damn Espresso — is intentionally bold. Many businesses would hesitate to make such a claim. Asio sees it differently. “It’s actually me challenging myself,” he explained. “Every time I look at that truck, I see ‘Best Damn Espresso.’ The aspiration for being great at what we do happens every day.” That relentless pursuit of quality appears to resonate with customers.
Four years after launching, the company has expanded from a single truck to multiple units. Yet despite the growth, Asio and Angela remain focused on maintaining the same personal connection that defined the business from the beginning. They have also become unexpected pioneers in the local food-truck scene. “There wasn’t really a food truck presence in Great Barrington before we started,” Asio said. Today, several food trucks operate in the area, some inspired by their success. “The benefit is inspiring someone,” he said.
To receive daily updates on the truck’s location, customers can text “BDE” to 844-659-1203.
D.H. Callahan
On Saturday, July 18, Boondocks Film Society heads west to Catskill for its exclusive screening of the indie comedy darling “Maddie’s Secret.”
The group, which has been putting on one-night-only screening events throughout Litchfield, Dutchess and Berkshire counties for the past nine years, is crossing the Hudson yet again to take over its new home away from home, the Community Theatre. Last month, the society returned to the theater for its second screening there, bringing in Ira Glass, host and producer of NPR’s “This American Life,” to discuss comedian Mike Birbiglia’s “Sleepwalk With Me.” Glass, who produced the film, was joined on stage by his wife, writer and director Susanna Fogel. Connecticut-based indie-pop duo Mates of State also got in on the action, performing original songs, including “Now,” which was featured in the film.
Boondocks has earned a reputation for exactly this kind of enhanced screening. The society offers much more than just a movie. For each event, it works with local eateries to create custom food and cocktail menus inspired by the night’s film. There is usually film-themed music from local acts, though booking a band with a song featured in the film was a particularly fitting touch. But what Boondocks has become best known for is its conversations with actors, directors and other key figures behind the films. For “Maddie’s Secret,” the society is bringing in a quadruple threat: actor, director, writer and producer John Early.
Early has gained recognition for his roles in “Search Party,” “Eternity,” “Wet Hot American Summer: Ten Years Later” and “At Home With Amy Sedaris.” But beyond those larger titles are the projects he has developed himself, including the HBO stand-up special “Now More Than Ever,” an episode of the Netflix series “Characters,” and the web series “555,” which he created and starred in with his longtime comedic collaborator Kate Berlant.
All of those projects demonstrate an extraordinary commitment to a particular style of cringe comedy. Early often embodies deeply unlikeable characters, mining humor from their boundless self-interest. His character in “Search Party” falsely claimed to have had cancer as a child. In “555,” he stole from a wheelchair-bound fan. His characters in “Characters” revel in awkwardness and unabashed narcissism.
While Early is accustomed to writing his own characters, “Maddie’s Secret” marks his first time directing and producing a feature film. Supporting him is a standout ensemble that includes Vanessa Bayer, “3rd Rock From the Sun” star Kristen Johnston, Conner O’Malley and, of course, Kate Berlant. Festival audiences have embraced the film, which, after a modest initial release, is now receiving wider distribution as word of mouth continues to spread.
Natalia Zukerman
You might recognize Sarah LaDuke’s voice without ever knowing what she looks like. For years, it’s a voice that has arrived through kitchen and car speakers, introducing authors, moderating conversations and helping listeners make sense of the day’s events. Her voice has become a familiar companion throughout the region. Now, after nearly two decades at WAMC, LaDuke has stepped away from public radio news and into a role that brings her closer to what she says has always animated her most: music.
“I’ve been at WAMC for almost 20 years, and I love it,” LaDuke said. “But I felt like I was ready for something. I didn’t know what.”
The longtime radio host, producer and arts advocate has been named executive director of Folk Alley, the member-supported folk music streaming station and website operated by the FreshGrass Foundation. LaDuke now leads the nationally respected platform from her home office in Albany while helping shape its next chapter.
The opportunity arrived unexpectedly.
“I was just talking to a friend,” LaDuke recalled. “And she said, ‘The executive director of Folk Alley wants to retire.’ I was like, ‘What? No way.’”
What followed felt remarkably organic.
“The first interview wasn’t billed as a job interview,” she said. “The pressure and stress weren’t there. I was just having a great conversation about loving music and radio and broadcasting.”
The move marks a significant shift for LaDuke, whose voice became a fixture on WAMC’s airwaves through programs including “The Roundtable” and “The Book Show.”
While she loved the work at WAMC, producing shows like “The Roundtable” and “The Book Show,” the demands of daily news coverage felt heavy.
“I’m not a news guy,” she said with a laugh. “The music and arts part of it has always gotten me the most enthused.”
Hosting discussions about politics and current events often brought anxiety, she admitted.
“To fill in as host of ‘The Roundtable’ and get ready to talk about news live on the air for two hours — it generated a tremendous amount of anxiety,” she said. “I would read all the news I possibly could at 9 p.m. and then go in and talk about it at 9 a.m. It was getting hard to bear on the old soul and skeleton.”
At Folk Alley, LaDuke sees an opportunity to focus on the cultural conversations that have always energized her.
Founded in 2003, Folk Alley offers a curated stream of folk, Americana, roots and singer-songwriter music alongside artist interviews, articles and specialty programming. Now part of the FreshGrass Foundation, the nonprofit behind the FreshGrass festivals, No Depression and Folk Alley, the platform reaches listeners around the world through its website and mobile app.
LaDuke believes its greatest strength is its human touch.
“People who care about and know about folk music are choosing the songs,” she said. “No song is selected because of an algorithm or AI. It’s human-curated music.”
One of her primary goals is simple: help more people discover it.
“I think the people who know Folk Alley love it and value it,” she said. “I think more people need to know about Folk Alley.”
She hopes to expand the organization’s presence at festivals and concerts while connecting artists and listeners more directly.
“We have this 24/7 marvelous coming together of folk music,” she said. “We’ve got to make sure people know about it.”
The role itself is broad. In addition to overseeing programming, LaDuke will manage memberships, donor relations, budgets, contractors and technical operations.
“It’s very adult,” she joked.
Though she’s only beginning to learn the intricacies of the job, she already has ideas for the future. Among them is the possibility of creating a podcast network focused on music, culture and conversation.
“I would like to start a podcast network of good talkers talking about music and art and humanity,” she said. “To be able to find and present conversation — that’s been my steez for the last 20 years.”
For now, she’s focused on learning from outgoing executive director Linda Fahey, who will remain through the summer to help with the transition.
LaDuke also sees Folk Alley as part of a larger mission.
“Music is one of our great unifying forces,” she wrote in announcing the position. “Folk music has always shared and preserved the stories of its communities’ historical struggles, current concerns and desire for a better future.”
In a world that is feeling increasingly fractured, she believes that mission matters more than ever.
“Alongside the important cultural impacts of folk music,” she added, “is the undeniable truth that music is fun — and having some good times in a world gone mad might just get us through.”

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Patrick L. Sullivan
A cold mountain brook that enters one of the New York City reservoirs.
PHOENICIA, New York My annual week off in the Catskills in early June got off to a satisfactory start. The first week or so of June usually means a lot of different bugs hatching, which in turn means the angler can sling three or four patterns with a fair bit of confidence.
This time around the isonychia were dominant. This is a big reddish-brown mayfly, sometimes known as a Slate Drake and most frequently imitated on the Esopus Creek with a traditional winged wet fly, the Leadwing Coachman.
I remember as a callow youth of 12 being instructed by an impossibly ancient codger -- hell, he was probably 65 -- that a Leadwing Coachman wet fly, size 10-14, would produce on the Esopus when nothing else would. In the intervening half century I have put this proposition to the test and found it accurate.
What was different this year was the isos were flying around. Usually we see their casings on the rocks, but not the adult mayflies in the air.

The first night it was all browns in the 14-18 range. The second night it was all rainbows in the 10-14 range.
That was early in the trip. Three days in, things warmed up considerably, and without any mitigating rain.
So the range of options was limited, and the preferred time of day was just before dawn. Note I said “preferred.” The actual start time varied depending on how late my attorney, Thos., and I stayed up watching Fu Manchu movies.
I low-crawled up a mountain brook at dawn with a Tenkara rod and did okay with wild browns. On the scramble out I had a brief and alarming encounter with a descendant of the Hound of the Baskervilles, whose owner helpfully said “Don’t make any sudden moves.”
“Any chance of a leash here?” I said in what I hoped was a cheerful, non-threatening tone of voice.
So there’s that.
Gary Dodson alerted us that the Spot That Must Not Be Named was in play. This is a cold mountain brook that enters one of the New York City reservoirs and depending on how full the latter is, forms a channel of cold water that mixes in with the warmer reservoir water. If the timing is right, the angler can latch into some decent trout and whatever else has fins and an inquisitive nature.
So one morning, while the boys worked the big deep cold pool by the bridge, I made my way downstream, deploying the stream thermometer frequently to try and figure out the magic spot where trout would be comfortable enough to hang out and nosh.
I used a favorite tactic: a dry/dropper rig, with a Chubby Chernobyl as the top fly and de facto bobber, and a series of nymphs and wet flies on an 18-24 inch fluorocarbon tipper dropper, 4X or 5X, tied directly to the bend of the Chubby’s hook.
This worked immediately, with good browns in the 16-18 inch range hitting the nymphs and a Jerry Shillcock isonychia wet fly pattern.

In a nod to tradition, I used one of my late father’s Orvis Battenkill bamboo rods for the purpose. It is eight feet long in three sections and weighs about 100 pounds. At least that’s how it feels after using graphite rods.
On the last morning the cold to warm water ratio was getting less favorable at the Spot. It was now or never.
Thos. was chucking dries up the big pool.
I waved him down, rerigged him with the dry-dropper combo and gave highly technical instructions.
“Walk around the left of that clump of vegetation, slowly so you don’t make a huge wake, and when the waves die down heave this in there and let it sit, and count to 30. Then twitch it a bit.”
Lo and behold, it worked.
On the medical front, my new right hip didn’t give me any trouble. I didn’t push it either.
Natalia Zukerman
"This is phacelia,” Janna Siller said, as if introducing an old friend.
Pausing beside a patch of violet blossoms humming with the work of tiny insects, Siller, farm director at Adamah Farm in Falls Village, explained that it attracts some of the most beneficial insects on the farm because “they’re predators of the pests we don’t want.”
She continued, “If you spray and kill both the predators and the pests, the pests always come back faster. But if you create habitat for the good bugs, eventually the balance returns.”
At Adamah, where a vibrant Jewish life is cultivated in deep connection with the earth, farming goes beyond sustainability, which asks only how to keep things from getting worse. Here, they practice regenerative agriculture, which asks how to leave the land healthier than it was found.

Across the farm’s 20 acres, vegetables grow alongside perennial plantings, chestnut agroforestry, rotational grazing, compost systems and pollinator habitat. More than 100 pounds of food scraps from the Isabella Freedman Jewish Retreat Center, with which the farm shares the land, are composted every day, feeding both the soil and a flock of laying hens. Cover crops protect and enrich the earth. Trees pull carbon from the atmosphere. Native flowers welcome insects that do work no pesticide can replicate.
“Our goal is to leave the land even more prolific than it would have been without us,” Siller said.
That vision reaches back thousands of years.
Long before “regenerative agriculture” became part of the modern farming vocabulary, Jewish law contained agricultural teachings that assumed the land itself required care, rest and reciprocity.
“There’s so much wisdom in approaching farming from a perspective of partnership,” said Siller.
According to one ancient Jewish teaching, pe’ah, farmers should leave the corners of their fields unharvested to allow people experiencing hunger to gather food.
Now, instead of leaving literal corners untouched, the farm intentionally grows food destined for local emergency food providers. Through its Food Access Fund, produce is planned — not simply donated after harvest — to supply regional pantries with fresh, culturally appropriate vegetables. The farm provides food for The Corner Pantry in Lakeville, Tri-Corner FEED in Millerton and other community partners.
“The law is really asking how we make sure everyone eats,” Siller said. “We reinterpret that to meet today’s reality.”
Another ancient practice, shmita, instructs that farmland rest every seventh year.
For a farm committed to feeding hundreds of local families, abandoning production for an entire season would create another kind of scarcity. Instead, Adamah interprets the principle through ecology.
Roughly one-seventh of the farm remains in cover crops and wildflowers, restoring soil health while creating habitat for native pollinators.

Rather than treating Jewish law as a rigid historical artifact, Adamah treats it as a living conversation, one that asks not only what previous generations practiced but what those values require now.
That distinction feels especially meaningful in a moment when Jewish identity is often flattened into political shorthand.
“It’s like the opposite of the internet here,” said Siller. “Here, people are in community with each other, understanding each other as whole people.”
Each participant in the educational fellowship program run by the farm defines what being in Jewish community means to them. Some arrive hoping to reconnect with ancestral agricultural traditions. Others come because they want to farm in a pluralistic Jewish community.
Jewish programming is only one aspect of Adamah’s work. Beyond its religious affiliation, Adamah is a community farm with a wide reach in the local community. For many in the region who join the farm’s CSA, Adamah is a source of fresh, seasonal produce. For local composters bringing their scraps, it’s a place where they can transform their food waste into rich fertilizer. For attendees of the farm’s public programs and children’s activities, Adamah offers connection to local food, soil and the ecosystem.

This summer, Adamah educators are partnering with the David M. Hunt Library in Falls Village for four free, family-friendly workshops in the library’s community garden. On July 1, participants harvested basil to make pesto. On July 16, they’ll pickle cucumbers while learning the science of lacto-fermentation. On Aug. 4, they’ll press flowers and they’ll explore seed saving on Aug. 18.
“The library received a Sustainable and Resilient Communities Grant from the Association for Small and Rural Libraries,” Hunt Library executive director Meg Sher said. “That supported purchasing the seedings and compost for the garden from Adamah, as well as paying for the educational programming and supplies that go with it.”
The grant is also supporting a new Abundance Stand.
“The idea is for it to be a ‘leave what you want, take what you want’ stand,” said Sher. “When people have too many zucchinis, or kale, or flowers, they can drop them off at the Abundance Stand and other people can take what they want. It’s a way to share the abundance within our community.”

This spirit of sharing is one of Siller’s favorite parts of farming in this area. Knowledge itself is communal.
“Local farmers support each other,” Siller said. “We text each other all the time, like, ‘Are you seeing this bug? I’m seeing this bug. What are you doing about it?”
This openness is just another expression of a regenerative philosophy: Healthy ecosystems do not depend on sameness. They depend on diversity held in relationship.
The phacelia blooms for insects most visitors never notice. The compost nourishes organisms hidden beneath the soil. The corners of the field belong to someone the farmers may never meet.
And the work is rooted in trust that generosity, like healthy soil, becomes richer the more deeply it is cultivated.
Natalia Zukerman
The award-winning novelist, biographer and scholar Roxana Robinson, who has longstanding ties to Litchfield County through her family’s centuries-old roots in Cornwall, was recently invited to tell the story of her great-great-great-aunt, Harriet Beecher Stowe, the abolitionist author born in Litchfield in 1811.
The invitation came from historian Heather Cox Richardson, whose national storytelling initiative, “250 to 250,” is marking the nation’s semiquincentennial with a series of short videos highlighting 250 people, places and moments that helped shape American history.
“We designed the videos to emphasize the agency of Americans — mostly everyday Americans — to change the country,” wrote Richardson. “Each falls into a category that defines what it means to be an American, including community, democracy, innovation, mobility, civil rights, education, conservation and creativity.”
According to an article Robinson wrote for The New York Times, she grew up hearing her family refer to “Uncle Tom’s Cabin” simply as “The Book,” a work that was treated as both a literary achievement and a source of family pride.In telling Stowe’s story for 250 to 250, Robinson reflects on not just a family lineage but a moral one.
“I am very proud of Great-Aunt Harriet,” Robinson said. “In an act of extraordinary courage, she challenged the economic, political and ethical structures of the entire country.”
That courage can be difficult to appreciate from the vantage point of the 21st century, she said.
“The main thing that amazed me about ‘the book’ was HBS’s courage. From this vantage point, now, ‘the book’ seems a bit obvious and heavy-handed, melodramatic ladies’ fiction, but at the time it was a deadly serious critique of the entire United States of America.”
Published in 1852, “Uncle Tom’s Cabin” arrived at a moment when many Americans, particularly in the North, could afford to look away from slavery.
“Slavery was a linchpin in the American economy,” Robinson said. “It was something the North could allow itself to ignore, since northern agriculture did not depend on slavery as southern agriculture did. But HBS, with these intertwined narratives of pain and love, made it impossible for northerners to ignore the human costs of slavery.”
Stories do that. They collapse distance. They insist that someone else’s child is your child. Someone else’s grief is your grief. Someone else’s freedom is bound up with your own.
“All people,” Robinson said of Stowe’s theology, “meant all people.”
It sounds simple. It was revolutionary.
“She wrote the Black experience just as she wrote the white experience, and showed readers, in heart-wrenching terms, that these stories were family stories, and that what the readers had been ignoring was a human tragedy. She made that tragedy impossible to dismiss.”
“Her book started a shift in public response to slavery, a movement toward revulsion and condemnation,” Robinson said. “Stowe’s book, like those of her peer Charles Dickens, lit up the dark places within the republic, and cast upon them the light of moral clarity.”
After all, movements most often begin this way — not with certainty, but with imagination. With someone refusing the accepted story and offering another one. For Robinson, Stowe’s story is also inseparable from the landscape that shaped her.
“The Litchfield Hills have always been a place where people have stood up for their own beliefs, tended their fields and raised their children to be responsible.”
Her own family’s roots in Cornwall stretch back to before the American Revolution.
“My corner of it, Cornwall, where my family the Scovilles have been since before the Revolution, has been populated by farmers and ministers ... and in the last century or so, writers and artists.”
She describes people from this region who felt and feel a deep responsibility to this country.
“I’m very proud of our state, with its strong history of support for public education, public health, gun control, agriculture and culture in general.”
For Robinson, civic engagement begins close to home.
“Politics begin at the bottom of your driveway,” she said. “Our neighborhood is made up of smart, kind, generous, engaged people whom I trust and love. Our first selectman is also our local organic farmer and a member of the EMT. How much more American can you get?”
That local focus is precisely what attracted her to Richardson’s project.
“I love the HCR project, linking our national history to these stories of individuals,” Robinson said. “This kind of story — one person committed to something about which they feel passionately — is the story of our country.”
To learn more about “250 to 250” and to view the videos, visit250to250.substack.com

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