Getting the upper hand on mighty phragmites

Phragmites australis australis in North Canaan.
John Coston
Phragmites australis australis in North Canaan.
Finally rain. For weeks, the only place there had been moisture was in the marsh and even there, areas that usually catch my boots in the mud were dry. I could not see the footprints of the bear (or is it deer?) that have been digging up and eating the underground skunk cabbage flowers. Not that I could do anything to stop it. A layer of snow that actually sticks around for a while seems like wishful thinking these days.
Masses of skunk cabbage, Symplocarpus foetidus, appeared one spring, like magic, after we hired a team to remove the barberry from about an acre of the marsh adjacent to the driveway. Of course, it had been there all along, waiting patiently underground or hiding in the barberry’s thorny shrub-cages, but we had not seen it. That was about eight years ago; after the barberry’s removal there have been successive infestations of invasives but also, as with the skunk cabbage, some welcome new sightings of native plants.
I wrote in this column last year about Japanese stiltgrass, Microstegium vimineum, and the success in using the weed torch on a large patch of it in the marsh. It remained largely free of this annual invasive grass this year but we switched to hand weeding the area as, given the dry weather, we could not use the torch even in the marsh. Over the course of three weeks, we pulled out what amounted to 6 trash bins stuffed solid with the hairlike strands. As many of them have seedheads we will burn them once the ban is lifted. I should have paid attention to the stiltgrass infestation earlier in the season but walking near Route 7 is not the most peaceful thing to do so I tend to avoid it.
Twice a year I make my way into the marsh as far as I can go until halted by barberry and multiflora rose to hold at bay another grass, this one a giant compared to stiltgrass. Phragmites australis is a tall reed with a pouf of a seed head that is abundant in moist and wet areas everywhere in the US. It is so aggressive in wetlands that it quickly becomes a monoculture- a sea of swaying beige. It not only crowds out other plants but changes the pH of the surrounding soil and water so nothing native can grow in it. It is a real habitat killer. Drive on route 41 toward Sharon from Hotchkiss school and you will see a large field of phragmites on the left-hand side of the road. Once identified you cannot unsee how it has hijacked our landscape.
Thanks to my gardener’s help cutting down barberry, multiflora rose and honeysuckle in the marsh last winter, this year my access was greatly improved to a stand of phragmites-about a third of an acre of it. With each visit I cut down as much of it as I could to eliminate the possibility for it to grow a seed head. Though loathe to use an herbicide, last year I experimented on a small area, dabbing the cut ends with a wetlands ‘safe’ herbicide. (No herbicide is really safe for the environment but often the chemicals that are added to the herbicide to help it penetrate the leaves are especially damaging.) That application seemed to work so I may repeat it next year on another area.
With all invasives, getting rid of them when you see a first few pop up will pay off. That is what is happening on Cream Hill Road in Cornwall where a small stand of phragmites was recently cut under the water line, a natural technique that attempts to ‘drown’ the plant. The next step will be to cover with a black tarp any remaining phragmites that come back from this first effort. According to Heidi Cunnick, who chairs the Cornwall Conservation Commission, their new policy prioritizes the invasive plants for removal so that small infestations can be eliminated early. Cunnick reminds me that there is a biological control for phragmites that remains under review by a US government department but the future possibility of such an eradication method is not stopping activities to reduce populations- now - in Cornwall.
Another example of successful eradication comes from the Twin Lakes area; a couple who moved to a property that came with a quarter-acre of phragmites colonizing in and around their pond. They valiantly did the work themselves as they could not find anyone who would do it for them. A cut and tarp method was used here for the on-land plants; the ones underwater were cut a foot below the water surface over several years. While most is gone, the battle continues with stragglers; these are tackled with aquatic use herbicide using a dabber on the cut end of a stem or sprayed on a glove that is rubbed over the green stem.
It is hard to stay positive; the work can be hard and tiresome. And it is always a gamble that the area you are working on will grow in with native plants rather than with more invasives. Sometimes you clear a patch of barberry and it gets filled with stiltgrass; you try again. Sometimes you get a patch of goldenrod- nice to have but you don’t want it crowding out the other native plants. And sometimes you get a big reward- the discovery of natives so new to you that you can’t identify them without an app on your phone. In the marsh, where I worked as the weather turned cooler, I noticed quite a few new grasses popping out of the damp soil, especially where the weed torch had been used the prior year. So far, I have identified: Carex albursina, White bear sedge; Carex pedunculata, Longstalk sedge; Carex obnupta, Slough sedge; Carex pennsyvanica, Pennsylvania sedge; Carex frankii, Frank’s sedge; Carex blanda, Eastern woodland sedge; Carex eburnean, Bristleleaf sedge; Danthonia spicata, Poverty oatgrass; Deschampsia cespitosa, Tufted hairgrass; Glyceria striata, Fowl mannagrass and Leersia virginica, Whitegrass. The deer have already helped themselves to a few of these but I am hopeful to see most of them again.
Dee Salomon ‘ungardens’ in Litchfield County.
Sheffield resident, singer Wanda Houston will play Mumbet in "1781" on June 19 at 7 p.m. at The Center on Main, Falls Village.
In August of 1781, after spending thirty years as an enslaved woman in the household of Colonel John Ashley in Sheffield, Massachusetts, Elizabeth Freeman, also known as Mumbet, was the first enslaved person to sue for her freedom in court. At the time of her trial there were 5,000 enslaved people in the state. MumBet’s legal victory set a precedent for the abolition of slavery in Massachusetts in 1790, the first in the nation. She took the name Elizabeth Freeman.
Local playwrights Lonnie Carter and Linda Rossi will tell her story in a staged reading of “1781” to celebrate Juneteenth, ay 7 p.m. at The Center on Main in Falls Village, Connecticut.Singer Wanda Houston will play MumBet, joined by actors Chantell McCulloch, Tarik Shah, Kim Canning, Sherie Berk, Howard Platt, Gloria Parker and Ruby Cameron Miller. Musical composer Donald Sosin added, “MumBet is an American hero whose story deserves to be known much more widely.”
Houston has shared the stage with stars ranging from Barbra Streisand to Motown great Mary Wells. “I have had the honor of portraying Elizabeth Freeman for three years in “Meet Elizabeth Freeman” by Teresa Miller. Our first reading of “1781” is in celebration of Juneteenth, which is wonderfully symbolic and poignant.” Juneteenth celebrates the end of slavery. Two years after President Lincoln issued the Emancipation Proclamation in 1863, word of their freedom finally reached slaves in Texas on June 19, 1865.
Tombstone of Elizabeth Freeman in the “Sedgewick Pie” family burial ground in Stockbridge, Massachusetts. Lonnie carter
MumBet, born in 1742 to African enslaved parents, was purchased at age six months by Colonel John Ashley of Sheffield, Massachusetts, for whom she worked until her thirties. Ashley helped write the 1773 Sheffield Declaration which stated, “Mankind in a state of nature are equal, free, and independent of each other, and have a right to the undisturbed enjoyment of their lives, their liberty and property.” Rumor has it that MumBet overheard a reading of the document. After a traumatic household experience, MumBet left the Ashley home in Bartholomew’s Cobble, walked four miles to Sheffield, and asked attorney and abolitionist Theodore Sedgwick to help her gain her freedom.
Houston shared, “I live in Sheffield near where she was enslaved, in a house she would have passed on her walk from Ashley Falls to Sheffield. I am humbled by the fortitude and inner strength it must have taken for this woman to defy norms and take a stand for her own freedom.We Americans must still stand and fight for our rights to live free.”
Elizabeth Freeman spent her years as a free woman working for wages in the Sedgewick household, saving money to buy her own home in Stockbridge, where she was a midwife and healer. She died in 1829 and is buried in “Sedgewick Pie,” the family burial plot in Stockbridge. One of her great-grandchildren, W.E.B. DuBois, born in Great Barrington, was the first African American to earn a Ph.D. from Harvard. DuBois founded the NAACP.
Her tombstone reads: “She was born a slave and remained a slave for nearly thirty years. She could neither read nor write yet in her own sphere she had no superior or equal. She neither wasted time nor property. She never violated a trust nor failed to perform a duty. In every situation of domestic trial, she was the most efficient helper, and the tenderest friend. Good mother, farewell.”
The performance of “1781” will take place Thursday, June 19 at 7 p.m. at The Center on Main (103 Main St., Falls Village).Admission is free, donations gratefully accepted.
The new mural painted by students at Saint John Paul The Great Academy in Torrington, Connecticut.
Thanks to a unique collaboration between The Nutmeg Fudge Company, local artist Gerald Incandela, and Saint John Paul The Great Academy in Torrington, Connecticut a mural — designed and painted entirely by students — now graces the interior of the fudge company.
The Nutmeg Fudge Company owner Kristy Barto was looking to brighten her party space with a mural that celebrated both old and new Torrington. She worked with school board member Susan Cook and Incandela to reach out to the Academy’s art teacher, Rachael Martinelli.
“When Susan and Gerald brought this to me, I immediately saw it as a chance for my students to make something meaningful and lasting,” said Martinelli. “It wasn’t just about painting a wall, it was about teaching kids to serve their community through their art.”
Martinelli introduced the project as an after-school club for grades four through eight. “I wanted students who were truly committed,” she explained. Interest was so high that she had to divide participants into rotating grade-level groups, with occasional full-team days for collaboration. The mural became a long-term endeavor, stretching across a school year and a half.
The painting was created on canvas, a nearly 4’ x 27’ roll, donated by Incandela. The paint came courtesy of school principal Ed Goad. With materials secured, the students dove into research, studying maps, landmarks, and city history to inform their designs. “They worked to capture the spirit of Torrington,” Martinelli said. “But also, to match the whimsy of a candy shop.”
The result is a mural that features a playful “candyland” version of the city, where important buildings and landmarks are sized according to their importance to both the client and the community. “They created this hierarchy of bubbles and buildings, this joyful visual story,” Martinelli said. “It’s full of life.”
Beyond art skills, Martinelli witnessed her students develop qualities often harder to teach: teamwork, communication, resilience. “They learned to scale up sketches, mix large batches of paint for consistency, and adapt their work when it overlapped with someone else’s. They really respected each other’s contributions.”
The project also reflected the Academy’s Catholic STREAM (Science, Technology, Religion, Engineering, Arts, and Math) approach to education. “This was STREAM in action,” Martinelli explained. “They used technology to scale and transfer designs, applied math for proportions and spacing, and worked collaboratively to problem-solve. But they also lived their faith — through service, solidarity, and joy.”
Martinelli believes the mural speaks as much to the process as it does to the final product. “Some of the kids who worked on it have already graduated, but they’re coming back for the unveiling. That says something.”
The unveiling of the mural will take place at The Nutmeg Fudge Company on June 11, from 5:00 to 7:00 p.m., where families, friends, and community members are invited to celebrate the students’ achievement.
Asked what stood out most from the experience, Martinelli said, “For me, the most rewarding part was watching a diverse group of kids work together — different grades, different friend groups — all collaborating with respect, flexibility, and positivity. They created something beautiful, together.”
Curator Henry Klimowicz, left, with artists Brigitta Varadi and Amy Podmore at The Re Institute
For anyone who wants a deeper glimpse into how art comes about, an on-site artist talk is a rich experience worth the trip.On Saturday, June 14, Henry Klimowicz’s cavernous Re Institute — a vast, converted 1960’s barn north of Millerton — hosted Amy Podmore and Brigitta Varadi, who elucidated their process to a small but engaged crowd amid the installation of sculptures and two remarkable videos.
Though they were all there at different times, a common thread among Klimowicz, Podmore and Varadi is their experience of New Hampshire’s famed MacDowell Colony. The silence, the safety of being able to walk in the woods at night, and the camaraderie of other working artists are precious goads to hardworking creativity. For his part, for fifteen years, Klimowicz has promoted community among thousands of participating artists, in the hope that the pairs or groups he shows together will always be linked. “To be an artist,” he stressed, “is to be among other artists.”
Curator and owner Klimowicz and both artists spoke of the physicality of making art, revealing an abounding intimacy with their materials. Podmore recounted seeking the perfect bare branches to use in her “Fall,” the piece that dominates the center of the space.She would find those that most suggested figures slipping into a fall, and mimic them herself, as animators do for accuracy, before admitting them into the crew now lying on the floor.Each isunique, but all are united by their red-socked feet, which, though tiny, are touchingly rendered in adult proportions. For art professor Podmore, they signal how “failing in public” is a phenomenon today’s students must learn to navigate.
For Varadi, whose background is Rusyn-Carpathian, the main medium is Karakul sheep’s wool, a particularly robust variety used in Persian carpets. Her process of felting the fiber involves extremely hard labor; she wryly expressed hope that technology would ease the burden of this long-term project, best seen in her huge wall piece, “With Their Backs to the Mountains.” The title refers to the staunch resilience of her ancestors — stateless but proud, subject to historical violence.
In Varadi’s video “Hunia-Permission to Be,” the color red amid the chiaroscuro of snowy winter forests offers a mesmerizing counterpart to Podmore’s floorpiece.Wearing the traditional, oversized red felted coat called the Hunia, the artist silently plods through the lovely scene, suggesting cycles of effort, disappearing and reappearing.
Podmore’s video adds the aural element, with the creaking of trees rubbing against each other at various tilts.The title “Fifteen Degrees” indicates a tree’s maximum safe angle from vertical. Reflecting this, two silhouetted jointed figures lean against each other — by turns intimate and aggressive — a shockingly apt metaphor for current society.
“As a younger artist,” Podmore observed, “I was very serious about the human condition; now I see that it is just bizarre.”
Another of Podmore’s works, “Audience” — now on view at Mass MoCA — gives a nod and a wink to our strange time.Hundreds of unique plaster-cast baskets mounted along an 85-foot wall, some fitted with single mechanical eyes, offer viewers the experience of being viewed, to the quiet cacophony of eyes popping open.A must-see through Nov. 30.
The Re Institute exhibition can be seen through July 5, with hours Saturdays 1 to 4 p.m. and by appointment.More information at the reinstitute.com.