
Located on Church Street (Route 199) next to Peck’s Market, many customers will be sad to say goodbye to one of their favorite community hubs, the Pine Plains Platter, when it shuts down on Sunday, Sept. 26.
Photo by Kaitlin Lyle
PINE PLAINS — For many local residents as well as visitors to Pine Plains, the thought of driving into town one day and seeing the Pine Plains Platter permanently closed seems unimaginable, given how the cafe has flourished these last few years as a hub for the community, not to mention a place to get some great home cooking. Yet to the disappointment of practically everyone — The Platter’s owners/landlords, its manager and staff and its clientele, that thought will soon become a reality as the business is going to shutdown for good come Sunday, Sept. 26.
Established at 2987 Church St. (Route 199), next to Peck’s Market, The Platter is housed on the street level of a building owned by Jack and Irene Banning, who purchased it in 2012. While the pair owns The Platter, it’s been run for the past few years by the very competent Christina Smith-Hedges, who had hopes of taking over the business.
“Our aim always was to provide a platform for some entrepreneur who would come in and manage the restaurant for us and become in a position to purchase the business then take over the lease and that’s what we hoped would happen,” Jack Banning said.
Over time, The Platter gained a following from the local and weekend communities. When the COVID-19 pandemic hit, Smith-Hedges said she and her staff did everything they possibly could to adapt, following all the safety rules and even picking up catering orders.
However, after spending the last several months trying to figure out how to keep operations moving forward, Banning realized they reached a point where it wasn’t going to work out anymore and they had to pull the plug.
“This was obviously a tough decision all around: terribly disappointing for Cris, terribly disappointing for us and terribly disappointing for all of our customers,” Banning said. “The story from our perspective is that this is something we felt we had to do at this time.”
The business decision was especially difficult for Smith-Hedges, who had planned to purchase the building from the Bannings this fall. She said she’d gone into a meeting with Jack thinking it would be to talk about her purchasing the building. Instead, she said he rescinded the offer, saying The Platter was barely sustaining itself through the pandemic and that he didn’t see things getting any better.
Banning explained he and Irene had conversations with Smith-Hedges and thought they might be able to structure an arrangement to save the cafe.
Attributing their decision to a combination of factors, he said they looked at the finances, what options were available to Smith-Hedges and what her skill sets were and determined there was no viable way to make the business succeed. Though the Bannings suggested The Platter close the week of Friday, Oct. 1, Smith-Hedges decided the Platter would close on Sunday, Sept. 26.
Notifying The Platter’s employees of the closure, Banning said they provided everyone with five weeks’ notice with the expectation that they’d provide generous compensation.
Smith-Hedges said it’s now a guessing game, knowing how short-staffed she currently is. So far, The Platter’s hours of operation have been reduced and the menu is limited.
Catching on to the news of The Platter’s imminent closing, customers have said they are heartbroken at the thought of their favorite local cafe shutting down. Many have posted on social media their disappointment, others have contacted this newspaper.
“This is heartbreaking for the employees, a tremendous loss for the town and a special blow to weekenders who have only this one place to eat on Sundays,” said Pine Plains resident Matt Finley.
“In this ever-changing world with much pain and uncertainty… we want to thank you, Cris, and your incredible team for creating this magical place in our community and in my life,” said Santina Tirone, another loyal customer. “Your open arms, warmth and not to mention the incredible fresh local menu with be tragically missed.”
Come Sunday, Sept. 26, at 10 a.m., Smith-Hedges said The Platter will hold a Peace Out Platter Party. As a token of her seven years at The Platter, she said she bought a book to compile all of the pictures under the table and the sticky notes customers have left there.
“Basically, the love I put into this place, I’m taking with me when I leave,” Smith-Hedges said, “so the last day is going to be a hard day… honestly, I’m still upset … but I’ve made peace with the decision.”
Yet this might not be the end for the cafe as Banning said he and Irene want something to continue in that space that’s “viable and provides the kind of environment that we think is right for this space. The Platter will survive in some incarnation. We’re hopeful. We’re sad obviously, but we’re hopeful.”
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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