Metro North offers bus service on Wassaic-Southeast stretch

Metro North riders at Southeast on Aug. 7 line up to board Peter Pan buses to Wassaic and points in between.
Photo by John Coston

Metro North riders at Southeast on Aug. 7 line up to board Peter Pan buses to Wassaic and points in between.
WASSAIC — Until Sept. 3, Metro North will continue to run bus service in lieu of the train on the northern portion of the Harlem Line between Wassaic and Southeast.
The buses began running on July 27 to allow for necessary track maintenance to take place.
In addition to other routine maintenance and repairs, the Metropolitan Transportation Authority told The Millerton News that the project in part entailed replacing the ties, rail, and concrete grade crossing at an intersection with the road, in addition to improving drainage and redirecting water from the area. This portion of the project took place between Friday, Aug 9 and Monday, Aug 12, necessitating the closing of a small section of road where it intersects with the track.
The buses are operating earlier than regularly scheduled trains, and the MTA has advised passengers to allow for an extra hour of travel time.
Most scheduled trains have been replaced by both a local and an express bus, with the express option leaving Wassaic approximately a half hour later than the local so they reach Southeast around the same time. The northbound buses leave Southeast at the same time, with the express bus arriving earlier than the local bus.
Only local service is provided in the evening.
Artist and Standard Space founder Theo Coulombe and Eve Biddle, artist and co-executive director of The Wassaic Project, share a fascination with land, body and transformation. Their recent collaboration is culminating in “Fields of Snakes,” opening at Standard Space in Sharon on Nov. 8.
The exhibit features new large-format landscapes by Coulombe alongside a collaborative body of work: photographs of Biddle’s ceramic sculptures placed within the very landscapes Coulombe captures.
Collaboration is central to both artists’ creative lives. Coulombe opened Standard Space in 2017 after decades in Brooklyn’s photography scene and has built the gallery into a space known for its collaborative spirit and sharp curatorial eye. For Biddle, collaboration is practically a medium in itself.
“I love his work,” Biddle said of Coulombe. “It’s so fun to collaborate with someone who thinks about the same things — about land and our physical relationship with land, and our body and looking and appreciating our local beautiful landscape.”
For Coulombe, the process of working with his 8x10 Deardorff camera — a slow, meditative tool — shapes both the work and his relationship to his subjects.
“You become part of the camera,” he writes in his artist statement. “You use a dark cloth and look at the ground glass on the back of — not through — the camera. You become an interior of the eye. You’re upside down and backward… the composition and the groundlessness is the canvas.”
That attentiveness to the natural world complements Biddle’s sculptural practice, which often explores the body and transformation through form and myth.
“The snake is really a symbol of resiliency,” she explained, “our ability to let things go in our lives — to still be the same people but shed what we don’t need. It’s more a metaphor for death and our contemporary experience as humans in our landscape.”
To create the work in Fields of Snakes, Biddle handed her sculptures to Coulombe with complete trust.
“It was all Theo,” she said. “I lent him the pieces and was like, ‘go nuts.’ That’s one of the fun things about collaborating successfully — really leaning into the expertise and skill set of the people you’re collaborating with.”
This show marks Biddle’s first exhibition at Standard Space. “I’ve been a huge admirer of Theo’s program,” she says. “There’s been wonderful overlap between his program and the Wassaic Project. He’s been really open and kind about those connections.”
For both artists, collaboration is a natural extension of how they move through the art world. Biddle describes her practice — from co-founding the Wassaic Project to making ceramics, curating, and building community — as “a big radical collaboration.”
“I don’t love working alone,” she said. “It’s important as creatives to recognize what drains us and what feeds us.”
And because no opening at Standard Space is complete without a touch of community celebration, there will also be a dance party after the opening at Le Gamin.
“We’ll have some purchasable wares as well,” said Coulombe, “like t-shirts, ceramics, and jewelry.”
Coulombe was referring to Biddle’s new limited-edition merch release. T-shirts and sweatshirts will be available only at Standard Space on opening day. They will be available later at the Wassaic Project Winter Wonderland Market which takes place the first two weekends in December.
Fields of Snakes is the 58th exhibition at Standard Space, but in many ways it is a new chapter — a show about reciprocity, risk and the creative ecosystems that emerge when artists trust one another.
As Biddle put it: “I really believe in bringing my full self to whatever I’m doing… and this show feels like a natural extension of that.”
Rehearsal for ‘Pippin’ at Hotchkiss.
The Hotchkiss Drama Association is kicking off its 2025–26 season with “Pippin,” the Tony Award-winning musical by Stephen Schwartz. The show opens Nov. 7 in Walker Auditorium.
Director MK Lawson, who heads musical theater at Hotchkiss, said students on the Drama Association board chose Pippin after discussing this year’s theme, “Innocence. Lost.”
“The students were big fans of Pippin when they read it,” Lawson said. “It spoke to their desire to present shows that reflect some of the disillusionment they’re feeling as young people, while still having a lot of comedy and a wonderful score. I thought it was a great choice because it gives our bold actors the chance to play big, broad characters — and to show off our talented dancers.”
The musical follows a troupe of performers telling the story of Pippin, the first son of Charlemagne, in a playful “show within a show.”
“Pippin has this fascinating structure — a group of players performing Pippin: His Life and Times...,” Lawson said. “I hope audiences really follow that element and enjoy the broad theatricality of it. We’re also including a cool new tech element for the finale that’s sure to wow — no spoilers, though!”
The cast features Jack McCarthy ’26 as Pippin, Carla Oudin ’26 as the Leading Player, Tyler Rosenblum ’27 as King Charles (Charlemagne), Lily Siris ’26 as Fastrada, Ryan Lee ’28 as Lewis, Serena Nam ’26 as Berthe, Olivia Kwon ’26 as Catherine, and Hermione Wu ’27 as Theo.
Behind the scenes, Avery Hines-Mudry ’27 serves as production stage manager, and costumes are co-designed by Isabel Schlaack ’26. The set and run crew are entirely student-built and operated.
Lawson praised the cast’s professionalism and collaboration.
“This cast has been so prepared and thoughtful,” she said. “They’ve brought their own creative ideas to the table — some moments in the show are directly inspired by their input. It’s been amazing watching them bring the ‘players’ to life and build real relationships onstage.”
“Pippin” runs Nov. 7–9 in Walker Auditorium.
“Come see Pippin! It’s gonna be lit,” Lawson said.
Native Dogwood berries
The new fall cleanup
The almost two-month drought has made the exuberance of fall color all the more enchanting. How remarkable are the oaks this year, with their jewel-tone shades of deep red and reddish orange.You might not have been able to differentiate between oaks when all the leaves were all green, but now the swamp oak is distinct in color from the red, white or pin oak.
The pinkish purple of the almost translucent mapleleaf viburnum leaf makes up in color, if not quantity, what the gaudy burning bush used to accomplish on our property.I spotted a small volunteer Nyssa sylvatica by its shockingly brilliant red color, Pantone number 180, to be exact.Its seed may have traveled along with a mountain laurel we planted over a decade ago.
By now, you know to leave the leaves on the ground and not sweep them up. It might seem untidy, but these leaves are the winter home for caterpillars and other beneficial insects that will feed baby birds when they hatch in spring.Turn your attention instead to another kind of fall clean up.
With many of the leaves gone, you can now clearly see the lingering leaves and berries of the invasives that are causing harm to your soil and trees. It is peak burning bush season; their scarlet leaves signal you to them.The smaller ones — less than 2 feet high — are easily pulled out of the ground with roots intact.Same for the pale-yellow leaves of bittersweet vine running vertically on trees — pull them out and observe the orange roots.
Pulling after a rain is always easiest. After a hard frost, we will need to move on to other tasks, as plant roots might easily snap off from the stems, remain in the ground and regrow.Our next window for pulling will be the spring thaw.
If you feel ambitious, the bright red berries on bittersweet and burning bush — as well as those on barberry and multiflora rose — scream for your attention.These will require a gloved hand and secateurs or loppers. Add the berries to your fireplace or a winter bonfire so that they don’t have a chance to germinate.

The abundance of berries on our native shrubs and trees this year is quite the bird buffet. A few weeks ago, the migrating birds were stocking up on aronia berries while here, in a friend’s backyard, a hedge of gray dogwood was stripped of its white berries overnight.The rest they seem to spare for the over-wintering birds, who here at least will have dogwood, winterberry and the American holly that the robins will strip bare in early March.
All of these are native and most of them were planted by us.I have written in a previous Ungardener column of the science behind why native berries are critical sustenance for overwintering and migrating birds (“Birds in a Candy Store,” January 2024) and why the berries on the pervasive and invasive barberry, bittersweet, burning bush and multiflora rose do not provide our feathered friends with the fats and proteins they require to survive.
Leaving leaves, removing invasives and planting natives that grow food for birds — these are the new fall chores. Have a wondrous autumn season!
Dee Salomon ‘ungardens’ in Litchfield County.
Dancers at the Raleigh Hotel's teen club, 1950s-early 1960s.
Our trip to the Borscht Belt Museum at 90 Canal St., Ellenville, New York, was a delight.
The museum brings the Catskills’ golden age to life through many great displays — photos, articles, videos, items, and even entire rooms recreated to resemble those in the hotels and bungalows that once dotted the area.
We learned a great deal about the many resorts in Ulster and Sullivan counties that sprang up during the 20th century. The history is truly fascinating. In the 1920s, many Jewish New Yorkers sought to escape city life and found cheap land in Sullivan County. Eventually, about 1,200 families established farms there.

They raised dairy cows and meat animals — such as chickens, beef cattle, lambs and veal — but not pigs. They also grew vegetables. However, farming was difficult due to the area’s poor soil and the physical and financial challenges involved. Middlemen often cut into profits, so many farmers began renting out rooms and outbuildings, and feeding their guests.
These guests were treated like family and served wholesome food in generous portions, what they called “a full hand.” The farms had an abundance of meat, vegetables, milk and cream, and they made butter, sour cream and cheeses on-site. If a guest wanted another potato, they got one.
Soon, the farmers realized it was more profitable to grow hospitality than potatoes. The resorts emerged — organically, you might say. It was one of the earliest “farm-to-table” hospitality movements in the region.

Eventually, some resorts added entertainment like music, dancing, comedy acts and the famous Simon Says game. They even offered childcare using local teenage counselors. It all worked remarkably well.
These resorts became springboards for musicians and comedians who went on to build careers and perform in larger venues, including Las Vegas.

It’s all laid out wonderfully in a charming brick building for visitors to explore and enjoy. Plans are underway to open a restaurant there — tentatively named “Fort Lox” — featuring Jewish delicacies such as borscht, knishes, blintzes, and bagels with lox. Both indoor and outdoor seating will be available.
The addition of food will make the experience even more enriching, and we plan to return. But don’t wait — check it out now and relive the memories.