SOAR presents Matilda Jr.

Lola Francoline, Elsie Carr, Eloise Vaughn, Sawyer Rose Turner and Alex Philipp face the first day of school at Crunchem Hall in SOARâs production of âMatilda Jr.â
Aly Morrissey

Lola Francoline, Elsie Carr, Eloise Vaughn, Sawyer Rose Turner and Alex Philipp face the first day of school at Crunchem Hall in SOARâs production of âMatilda Jr.â
The Black Box Theater at The Hotchkiss School is a small venue by any measurement, with only around 100 seats. It feels like some sort of miracle when 39 elementary school students manage to not only occupy the living-room sized stage, but execute both choreography and harmony.
The cast and crew of SOARâs production of âMatilda Jr.â pulled off such a miracle not once but four times between Nov. 22 and 24. They weathered missing costume pieces, unruly hair, and even the brief illness of the lead actor to deliver an uplifting and fun story of a little girl in an abusive situation who not only finds the strength â and telekinetic powers â to stand up for herself, but also inspires her classmates and teacher to do the same.
SOAR is an independent nonprofit organization dedicated to providing enrichment programs to the students of Salisbury Central School. Founded in 2000 by Zena Block, SOAR offers after-school classes, in-school programs, community events and teacher grants. âMatilda Jr.â is the third full-scale musical production put on by SOAR, following âFiddler on the Roof Jr.â in 2023 and âAnnie Jr.â in 2022.

Each year, the number of students signing up for the musical has grown, presenting some logistical challenges. Previous productions included third through eighth graders, but this year the minimum age was raised to fourth grade due to overwhelming interest.
âIâm just thrilled that 39 kids want to do musical theater,â said Darcy Boynton, one of the directors of the play and Program Liaison of the Board of Directors. âThey donât all fit on the [Salisbury Central School ] cafeteria stage, but we squish them in.
Boyntonâs co-director is Stephanie Hahn, a member of SOARâs Program & Event Committee. The two have worked together on all three productions.
âWe didnât even know each other,â Hahn said. âBut we both said 'yes'.â
Boynton and Hahn are volunteers who have dedicated too many hours to count. They both praised Lauren Brown, SOARâs Executive Director and only paid employee, for her support and dedication. And when asked why they said "yes" to such a venture, their answers were similar.
âIâve always been a theater person, I love it so much,â said Hahn. âTo be able to give these kids this experience is just so rewarding.â
âI believe so strongly in theater education,â Boynton added. âTheater is an essential part of education but itâs thought of as extracurricular. It helps with physical skills, emotional skills, and it creates empathetic people. Itâs a team sport without the competition.â

On the subject of teamwork, itâs worth mentioning the sheer number of adult and teenage volunteers who jumped in to help. More than 20 individuals are listed in the program, along with a half dozen sponsors and organizations. The families of the performers also committed to a robust rehearsal schedule.
Choosing a play with a large ensemble is key to the programâs success.
âMatildaâ allowed some of the younger actors to be highlighted as the title characterâs rebellious classmates. Maris Jenter, a sixth grader, led the way as Matilda, capturing both the humor and the pathos of the role. Jackson Magyar, another sixth grader, stole every scene he was in as the terrifying Agatha Trunchbull. And Mollie Sosin, an eighth grade veteran of all three productions, shined as Miss Honey, using her quite grown up voice to captivate the audience.
âThis is a wonderful group of kids who are so supportive of each other,â Boynton said. âTheir enthusiasm is what pulled it together. They really cared about it.â
SOAR is a 501(c)(3) nonprofit organization. Learn more about how
to support them at soarkids.org.
D.H. Callahan
Contemporary chamber musicians, HUB, performing at The Clark.
Northwestern Massachusetts may sometimes feel remote, but last weekend it felt like the center of the contemporary art world.
Within 15 miles of each other, MASS MoCA in North Adams and the Clark Art Institute in Williamstown showcased not only their renowned historic collections, but an impressive range of living artists pushing boundaries in technology, identity and sound.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCAâs âTechnologies of Relationâ exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevanâs hand-drawn QR codes and Taeyoon Choiâs large-scale weavings of binary code.
Opening the same night was Zora J. Murffâs âRACE/HUSTLE.â Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece â whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities â carries razor-sharp visual commentary designed to unsettle.

On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled âTypescript,â features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pinoâs âPassacaglia,â the quartetâs command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohlâs âMirage,â a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekendâs larger theme: old tools made new again.
Like della Olgaâs typewriter, Vasudevanâs QR codes or Murffâs charged imagery, the performances demonstrated that contemporary art often grows from familiar materials â reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
Aly Morrissey
Francesca Donner, founder and editor of The Persistent. Subscribe at thepersistent.com.
Francesca Donner pours a cup of tea in the cozy library of Troutbeckâs Manor House in Amenia, likely a habit she picked up during her formative years in the United Kingdom. Flanked by old books and a roaring fire, Donner feels at home in the quiet room, where she spends much of her time working as founder, editor and CEO of The Persistent, a journalism platform created to amplify womenâs voices.
Although her parents are American and she spent her earliest years in New York City and Litchfield County â even attending Washington Montessori School as a preschooler â Donner moved to England at around five years old and completed most of her education there. Her accent still bears the imprint of what she describes as a traditional English schooling.
Today, she and her family call Sharon, Connecticut, home. While she still travels frequently to Manhattan, she embraces the contrast between city and countryside.
âFor me, itâs all about the contrast,â she said, adding that she is friendly and curious about people here in a way that doesnât feel natural in the city. âI want to know who you are, what you do, and why youâre here. You end up meeting these really interesting people.â
As a longtime editor in newsrooms like The Wall Street Journal, The New York Times and Forbes, Donner said she began to notice something unsettling about how stories were framed, and whose voices were missing.
âItâs just the way news is done,â she said. âItâs the DNA of what we deem newsworthy and important in mainstream media.â
The problem, she explained, isnât that women arenât covered at all. Itâs that when women are covered, itâs often in a stereotyped way. Women are frequently framed through familiar narratives â the gender pay gap, unpaid labor, caregiving â important issues that persist, she said, but are often treated as repetitive or secondary. Meanwhile, the stories deemed front-page worthy tend to revolve around power, economics, war and politics â and men.
âIf we donât make a deliberate effort to cover women, women wonât be covered,â Donner said.
The issue isnât unique to any outlet, she stressed. âItâs just the way news is done.â
But that DNA â who gets quoted and whose experiences are centered â has consequences.
And for Donner, that realization demanded a response.
Enter The Persistent.
Founded in 2024, The Persistent was built around what Donner calls a simple but deliberate premise.
âWomen donât get covered in the same way men get covered,â she said.
The goal isnât to exclude men or create a siloed âwomenâs section.â Instead, Donner said, itâs about correcting an imbalance by putting women at the center of the story.
Describing the approach as a reframe, this means expanding who is quoted as an expert. It means spotlighting women in business, politics, culture and global affairs. It also means examining major news stories through a lens that mainstream outlets often overlook.
âWhat we can add,â she said of The Persistent, âis perspective.â
Now approaching its second year â a milestone that will be celebrated next month â the publication operates with an all-women team of writers, editors and illustrators based across the world. The team meets regularly over Google Meet.
âTheyâre awesome,â Donner said of the editorial meetings. Some of her staff are mothers, some are not. All bring lived experiences to the table. Donner has intentionally created a newsroom culture that balances rigor with support.
âIf your writing doesnât measure up, Iâm going to tell you,â she said plainly. âBut itâs not a battle. Itâs a partnership.â
Beyond publishing stories that matter, Donner wants contributors to be seen.
âI donât just want people to read the story and forget who wrote it,â she said. âWe can do a lot better if we amplify each other.â
As a woman, Donner rejects the idea that success is finite. She wants everyone to have a slice of the pie.
âJust make the pie bigger,â she said. âBring more seats to the table. Make it richer.â
Donner credits her âmumâ for articulating what would become her professional identity.
âYou are what you canât help doing,â her mother used to say.
Today, without hesitation, Donner said she canât help being an editor.âMy identity as an editor is very strong,â she said. Editing, she explained, is less about correcting typos and more about building and shaping ideas.
âSometimes I imagine this physical movement of cracking something open,â she gestured.
That instinct traces back to childhood. She recalls sitting in a classroom around age 10, listening to a classmate read a short story aloud. For Donner, that moment crystallized something fundamental.
âSomeone elseâs words made me just sit up straight in my chair and think, wow, that is so good.â
Today, whether sheâs in a historic manor house in Amenia or on a Google Meet with her team across the globe, that instinct remains the same: crack the story open, elevate the unheard voice and reframe the narrative.

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Natalia Zukerman
On March 7, Berkshire Opera Festival will bring âWinterreiseâ to Studio E at Tanglewoodâs Linde Center for Music and Learning, with baritone Jarrett Porter and BOF Artistic Director and pianist Brian Garman performing Franz Schubertâs haunting 24-song setting of poems by Wilhelm MĂźller.
A rejected lover. A frozen landscape. A mind unraveling in real time. Nearly 200 years after its premiere, âWinterreiseâ remains unnervingly current in its psychological portrait of isolation, heartbreak and existential drift.
Porter, praised by Opera News for his âimposing baritoneâ and âmanifest honesty,â has built his career on major European opera stages, including Oper Frankfurt. But recital work, he says, is closest to his heart.
âI love to recital. If I were to pick my career, I would be doing some opera and mostly recital,â he said. âI think there can be difficulty with grabbing an audience in a recital, but this is one of the greatest pieces to do so because it is so psychological, so powerful, so universally moving.â
Unlike opera, there are no sets in a recital, no costumes or lighting cues to lean on. âThe singer with no sets or costumes is left to create a kind of one-man show,â Porter said. His solution is internal. âThe way that I process learning something like this and having the responsibility to hold an audience without set or costumes or lights or props is to stage it in my mind. Each song has an identity.â
Schubertâs writing, Porter insists, needs no adornment. âSchubert does an amazing job at setting the scene, and for me, you donât need anything else. I feel like anything added to it would be almost subtracting. Iâd rather just see the singer and the pianist the way that Schubert intended it to be.â
At the center of âWinterreiseâ is the wanderer, an unnamed figure moving through snow and memory after a failed love affair. For Porter, the character is both specific and universal. âThereâs so much ambiguity in the piece,â he said. âWe donât know all of the answers in the first song. We donât really know who this person is. There are tidbits of information dropped throughout each song. And I think the tendency is to put a narrative on that and to try to connect the dots rather than embracing what it is. The ambiguity is actually where the beauty is.â
That ambiguity extends to the cycleâs ending and the encounter with the eerie hurdy-gurdy player in âDer Leiermann.â Does the protagonist die? âI think one could make that argument,â Porter said. But he resists a neat conclusion. âDeath is right in front of him. Death is actually the most peaceful answer to his problem and itâs not given to him. Thereâs something more, a deeper level.â
Rather than a literal death scene, Porter sees a reckoning. âFor me, heâs not granted the easy way out. He has to sort of come to terms with being nothing and having no real skill as a songster or a poet or a wanderer.â The winter landscape, he suggests, mirrors the psyche: âThe winter is sort of the mirror of his heart.â
In shaping the emotional arc across all 24 songs, Porter leans into uncertainty rather than resolution. âWhat I relate to in this piece is that in life, you donât know whatâs going to happen. And you donât know the next day. Even in tragedyâespecially in tragedyâthereâs so much question.â
Porter performed Gounodâs âFaustâ at BOF in 2024 with Garman conducting but this will be the first time the two will be collaborating with Garman at his instrument. âI love making music with Brian,â said Porter. âIâm a huge fan of his musicianship. I think weâre sort of bitten by the same bug that Schubert is, and so I was super honored that he asked me to do this with him.â
For tickets, visit berkshireoperafestival.org
Sally Haver
Christine Gevert, artistic director, brings together international and local musicians for a season of rare works.
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, will close its 22nd season with a slate of spring concerts featuring international performers, local musicians and works by pioneering composers from the Baroque era to the 20th century.
Christine Gevert, the organizationâs artistic director, has gathered international vocal and instrumental talent, blending it with local voices to provide Berkshire audiences with rare musical treats.
âThe biggest event of this part of our season is our April 25 and 26 concerts, with the US premiere of âA Jewish Cantataâ and the iconic âMisa a Buenos Aires,ââ said Gevert. âThe composer, an internationally renowned musician, will come and share the podium with me.â
Among the other season highlights are concerts showcasing the works of two trailblazing female musical innovators, Francesca Caccini, the early Baroque composer, poet and singer; and Wanda Landowska, the 20th-century virtuoso who single-handedly brought the harpsichord back from obscurity. Also not to be missed is the May 30 concert, Bachâs Motets in Concert, featuring all six of Johann Sebastian Bachâs surviving motets, sung by four eight-part double choruses and accompanied by period instruments, widely considered the pinnacle of Baroque choral music.
For a schedule of concerts and tickets, visit crescendomusic.org
Aly Morrissey
Ash Baldwin, senior administrative assistant at the North East Community Center, launched the weekly Craft Collective in July 2025.
MILLERTON â A new low-key crafting group at the North East Community Center (NECC) is giving locals a reason to finally finish those half-started projects, providing a space for craft lovers to work in community and exchange tips and tricks.
The weekly âCraft Collective,â â launched in July 2025 by staff member Ash Baldwin â invites community members to bring their own crafts and work alongside others in a casual, social setting. The free program is part of NECCâs broader effort to offer accessible, community-building programming.
âIâm the type of person who struggles to stay focused on projects,â said Ash Baldwin, NECCâs senior administrative assistant, who came up with the idea last summer. âI realized I work better when Iâm with other people and when I have a dedicated time and space.â
The idea took shape after Baldwin found herself racing to finish a crocheted baby blanket for her sisterâs baby shower.
Participants have already brought a range of projects to the group, from sewing and mending to creative repurposing â including one crafter who transformed an old shower curtain into kitchen valence curtains.
âThe goal is really community and connection,â Baldwin said. âPeople can meet other crafters, swap tips, give feedback on projects â maybe even make a friend.â

Crafting, Baldwin said, offers a kind of mental reset. âItâs peaceful,â she said. âIt quiets my mind and lets me focus on one thing at a time.â
Like many crafters, Baldwin admits to having yarn and unfinished projects scattered around her home, and says she tends to make gifts for others more than items for herself.
Though Baldwin has been crocheting since 2022, creativity has always been part of her life. Her mother sews, her grandmother crocheted, and she grew up surrounded by creative projects. Baldwin joked that her grandmother once âfully kidnappedâ her American Girl doll to make custom clothes for it. She also describes herself as a longtime âband kid,â saying creative arts were woven into her childhood.
When sheâs not organizing the Craft Collective, Baldwin works behind the scenes at NECC, handling administrative and fiscal operations, including service tracking for programs such as the food pantry.
The Craft Collective is held every Tuesday at 6 p.m. at 51 S Center St., Millerton. There is no cost to participate. For questions or to donate crafting supplies, contact Ash Baldwin at ash@neccmillerton.org or (518) 789-4259 ext. 132.

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