
Paul Stefanopoulos, left, and John Stefanopoulos on the second floor in the cocktail lounge of House of Stefas in Millbrook.
Photo by Aly Morrissey
Paul Stefanopoulos, left, and John Stefanopoulos on the second floor in the cocktail lounge of House of Stefas in Millbrook.
MILLBROOK — John and Paul Stefanopoulos are scheduled to open the doors to their latest culinary venture on Wednesday, June 4, in downtown Millbrook. House of Stefas, a Greek-inspired restaurant, blends secret family recipes with bold interior design layered with nods to their heritage and culture.
But don’t call it a restaurant. “It’s more of a sanctuary for what we call philoxenia,” says John, referencing the ancient Greek value of hospitality and generosity toward strangers. “Everyone here is loved and taken care of in the ancient Greek way.”
The interior features distinct zoned identities and styles. Photo by Aly Morrissey
The brothers say the spirit of the business was born during college, when they hosted dinner parties under the name 97 Garden, where as many as 50 people — often from vastly different social circles — would gather for the now-storied meals.
“The food was good, but it was more about the community,” says John. “Before we had the name and concept, we knew we wanted to build something that lifts people up, that makes people feel better, that makes them feel like aristocrats and gods.”
As the youngest generation of the Four Brothers Pizza Inn dynasty, hospitality is in their blood — and now they’re proudly putting a fresh spin on it with a space of their own. What they describe as a labor of love has been in the works for more than a year, though you could argue they’ve been preparing for this their entire lives.
“It’s a multidimensional space that’s actually characteristic of our personalities,” John explains. “There’s a side of us that’s artsy, a side that’s straight business, and a side that’s really fun. We wanted that to come through — so people could experience different parts of our heritage and our lives, broken up into pieces.”
The space is divided into distinct zones, each with its own identity and style — but always rooted in Greek mythology, symbolism and the occasional inside joke that may never reveal itself to the public.
In the Verand Room, guests can enjoy espresso, cappuccino, cocktails, and small bites. Then there’s the cocktail lounge, a rooftop patio, raw bar, main dining room, multiple bars and private rooms.
No matter what you’re in search of, House of Stefas invites guests into an immersive, evolving narrative.
Of course, at the heart of every restaurant lies one essential question: How’s the food?
To lead the kitchen, the brothers brought in executive chef Roel Alcudia — an industry veteran with experience at top establishments in Miami, Berlin, Istanbul and Barcelona. When asked about the menu, Alcudia gently corrects any suggestion that the cuisine is broadly Mediterranean.
The restaurant's interior decor is divided into distinct zones — the Verand room, a cocktail lounge, a rooftop patio, raw bar, a main dining room, multiple bars and private rooms — each with a unique identity.Photo by Aly Morrissey
“It’s Greek. Freestyle Greek,” he says with a smile. “There’s a very clear vision here, and I just have to match their intensity, their personalities, and their character,” he says, nodding toward the brothers.
“Chef Roel understands the culture and the philosophy,” says Paul. “He’s a multidimensional person who can realize the potential of this place. It’s one thing to cook — it’s another to know how and why you’re doing it.” John adds, “It’s not about the recipe. It’s about how and why things are being done.”
“We’re honoring the traditional Greek style because it’s who we are as people,” Paul says. “But we’re also looking toward the future. We’re well-traveled, we have a deep appreciation for food and culture and we wanted that worldly influence to be reflected.”
With what they describe as a “feminine approach” to their culinary philosophy, John and Paul credit their mother, Katina, as a major force behind their vision.
“Our parents came from a small village in Greece. Our mom has always been cooking, taking care of the family — that’s how she expresses herself,” says John. Many of her recipes will appear on the menu.
“We couldn’t have done this without her — or our father, William,” he adds.
There simply isn’t another place like House of Stefas. It is the very specific brainchild of John and Paul Stefanopoulos: their taste, their travels, their history and their unapologetically bold aesthetic and sense of humor. It’s a one-of-a-kind concept that feels destined to draw people from far beyond Millbrook.
The result is something distinctly Greek — but also cosmopolitan, forward-looking and deeply personal. In a small town in upstate New York, the Stefanopoulos brothers have managed to build something that feels both ancient and new — rooted and exploratory. And never boring.
SHARON — Angela Derrick Carabine, 74, died May 17, 2025, at Vasser Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
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
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