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Doug Tallamy’s work in progress: saving the planet one backyard at a time
Natalia Zukerman
Sep 30, 2026
Windacre, a 25-acre property in Millerton will be the site of “Work in Progress,” an afternoon with acclaimed entomologist, New York Times bestselling author and Homegrown National Park co-founder Doug Tallamy.
Provided
For nearly three decades, Doug Tallamy, a professor at the University of Delaware and co-founder of Homegrown National Park, has studied the intricate relationships between native plants, insects, birds and the ecosystems that sustain them. His books, including “Bringing Nature Home” and “Nature’s Best Hope,” have helped shift the conversation about conservation from something that happens primarily in parks and preserves to something ordinary people can practice on the land around them.
On Sunday, Oct. 4, Tallamy will bring that conversation to Windacre in Millerton for “Work in Progress: Toward Native Fields,” an outdoor gathering exploring both the possibilities and the complications of restoring private land for biodiversity.
Over the past several years, Windacre owners Amy Chase Gulden and Randy Ramusack have been restoring their 25-acre property on Silver Mountain, confronting many of the questions familiar to anyone who has tried to turn good ecological intentions into reality: What should stay? What should go? Where should a meadow be? How much can one realistically manage? And how perfect does any of it need to be?
“We’re not gonna talk about perfection,” he said in a recent interview. “We do want the majority of the plant biomass on your property to be native. We want them to be the correct species of native.”
By “correct,” Tallamy means plants that are doing ecological work — particularly the “keystone” species that support disproportionate numbers of insects, pollinators and other wildlife.
“I could build a hundred percent native landscape that’s very unproductive just because not all species are productive,” he said. “You wanna favor the ones that are supporting the food web the best, supporting the pollinators the best.”
And then? “Observe,” he said.
“It’s very dynamic. It’s this constant dance,” Tallamy said.
Tallamy knows something about the long game. He and his wife, Cindy, have spent 26 years restoring ecological function to their own 10-acre property in Oxford, Pennsylvania. When they arrived, the land had been mowed for hay and was heavily invaded by nonnative plants.
Today, he can look out his window and see something very different. But he is quick to dispel the idea that restoration eventually reaches a state of completion.
“Our challenge to maintain the ecological productivity that we now have is constant management,” he said. “If we were to go away for five years and come back, it would not look like this.”
That reality is particularly relevant at Windacre, where Tallamy expects invasive plants to be part of the conversation. Bittersweet, for example, might grow among milkweed on a property, creating the kind of dilemma that makes ecological restoration more complicated than simply pulling everything unwanted.
“Timing of the management is really important,” Tallamy said. Milkweed dies back in winter while bittersweet remains, creating an opportunity to target the invasive vine with less risk to the native plants growing alongside it.
Tallamy will be seeing Windacre for the first time at the event, and that, too, is part of the point. Rather than presenting a finished landscape as a model to reproduce, “Work in Progress” offers the property as a living question.
“How much is mowed? I don’t know,” Tallamy said. “Everybody wants to maintain their viewscape. They don’t wanna block anything. But there are ways to do that. You know, where should a meadow be? Where should the forest be?”
He will also look for some of the ecological clues already present: milkweed, fall asters, goldenrods and, especially, oaks.
“Oaks are the most productive woody plant that we have,” he said.
For migrating birds, even one well-chosen tree can matter.
“Even if you have one tree in your yard, migrating birds will stop there if it’s the right tree,” Tallamy said. “It’s the diner. It’s where they stop to eat when they’re migrating.”
That image gets to the heart of Homegrown National Park. The organization asks people to imagine millions of privately controlled pieces of land not as isolated yards, gardens and properties, but as potential pieces of a connected ecological network.
Every restored property, he said, can help fill a blank space between larger parks and preserves. Even isolated efforts can have remarkable results. Before a neighbor joined their efforts, Tallamy and his wife were essentially an ecological island. Yet they documented 62 species of birds breeding on their 10 acres. Tallamy has also photographed 1,388 species of moths there.
“We’re trying to change the culture so that this is not the odd way of landscaping,” Tallamy said. “We want this to become the dominant, the default landscape.”
Right now, he argues, the default is essentially reversed.
“Everybody starts with a dead landscape, and then you have to work hard to change it,” he said. “That’s just backwards.”
Tallamy’s sense of urgency comes from his life as an entomologist. The disappearance of insects and birds is not, in his telling, simply a sad loss of nature around us. Biodiversity is part of the machinery that makes human life possible.
“We’re losing our birds. We’re losing our insects. We’re losing everything,” he said. “And if we do, we’re gonna lose humans too, because those are the organisms that run the ecosystems that generate our life support.”
He offers a deliberately stark analogy.
“If I said we had an oxygen crisis, we were losing oxygen on the planet, people would listen,” he said. “Well, biodiversity is the oxygen of our ecosystems. That’s what keeps us going.”
Yet Tallamy’s prescription is strikingly accessible. A landscape, he said, has four basic ecological jobs: support pollinators, support a food web, sequester carbon and manage the watershed in which it lies.
“You can look at those four things and look at your property and say, ‘What can I do to my property this year to improve each one of those functions?’” he said.
“Even if it’s just one little thing.”
And if that one little thing fails?
Tallamy has a story for that, too. Years ago, he planted an ash tree in the wrong soil. It survived but sat there for 20 years without growing an inch.
“So, I did that wrong. So what?” he said. “I learned that wasn’t the right place to put it, so next time you put it someplace else.”
“Work in Progress: Toward Native Fields” will be held Sunday, Oct. 4, from 11:30 a.m. to 1:30 p.m. at Windacre in Millerton. The event includes a seasonal brunch and an opportunity to explore the property; walking shoes are encouraged. For information, donation and registration, visit bit.ly/4yYkzAP.
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Ancram Center’s “A Number” doubles questions of identity
D.H. Callahan
Sep 30, 2026
How would you feel if you found out you weren’t the only you — if there was an exact replica of you? What if you found out that you’d been cloned? Would you believe that you’re the real you? Would you suspect you might be a copy of the original? How could you be sure anything about your life was real? These are some of the questions posed in Caryl Churchill’s play “A Number,” opening at the Ancram Center for the Artson Oct. 1.
Churchill was born in London in 1938 and has been hailed by the theaterl world as one of the strongest voices of her time to take on sexual politics and feminist themes. Her works garner pointedly considered analysis from the highest levels of theatrical intellectualism. Basically, it’s about as far from “The Lion King” as you can get. While she’s experimented with dance theater in the past, “A Number” is much more stripped down, highlighting Churchill’s chosen themes and the skills of both actors on stage.
In “A Number,” Churchill explores the existential ramifications for a man who discovers he’s been cloned. With only two actors — John Wojda playing the father and Drew Ledbetter as the son and his clones — the play play uses a spare, intimate structure to explore complex questions.. Premiering in 2002, “A Number” examines identity, individuality and the implications of human cloning.
Ledbetter, who takes on multiple versions of the same person, has performed in a variety of Off-Broadway and regional productions, including “Hamlet” and “King Lear.” He’s appeared in “The Blacklist” and HBO’s “Succession” and was featured in the WordPlay e-Book version of Shakespeare’s “Romeo and Juliet,” which pairs acted video scenes with the original written word.
Wojda, who’s appeared in several Broadway productions, also has extensive experience with Shakespeare, including “The Merchant of Venice” and “MacBeth.” He has toured nationally with “Spring Awakening” and internationally with “West Side Story,” itself an adaptation of “Romeo and Juliet.” Like Ledbetter, Wojda has also appeared in “The Blacklist” but boasts a robust list of other television productions, including “Blue Bloods,” “Mr. Robot,” “Madam Secretary” and iterations of “Law and Order.”
For tickets to “A Number,” visit www.ancramcenter.org.
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Dispatches from the Farm
Janna Siller
Sep 30, 2026
Adamah Farm crew members planning out the day’s tasks on a late September day.
Janna Siller
“Dispatches from the farm” is a new, periodic column offering a firsthand look at the rhythms, challenges and rewards of farming through the eyes of a local farmer.
The thing about plants is that they can’t get up and move. When a storm like last weekend’s nor’easter threatens to roll through, you can’t just round everybody up and settle them safely on the sofa for movie night.
Over my 15 years of growing vegetables in Falls Village, I’ve exerted my will over all kinds of conditions, from drought to humidity to crows with a taste for cantaloupe. That’s what farming is all about. You zip around the field, hopping on and off tractors, moving hoses and chasing weeds, all in an effort to arrange conditions in favor of your crops. It is the crops’ job to gulp up sunlight and move water through their stems, to transform solar energy into your next pesto or ratatouille or butternut squash soup. It is the job of the farmer to irrigate just enough but not too much, to slice dandelion leaves without damaging delicate cabbage roots, to pander and pamper and stay in tune with what plants need to thrive.
The easy part of farming is trusting plants’ resilience. I have seen bright green shoots barrel ahead out of a plant torn to shreds by hail. I’ve watched wilty, heat-stressed seedlings turn rigid overnight and greet the next morning with vigor. The hard part is letting go of what you can’t control. As our crops lapped up Friday’s gentle sunshine and I considered the weekend forecast, I imagined roots holding tight to wet earth and branches supporting each other in sideways, pelting rain. I made sure all of our storage crops were already harvested and tucked away. I battened down the sides of our greenhouses and wished the remaining field crops good luck.
The nor’easter didn’t materialize too dramatically in our corner of New England. A few broken branches and debris blown about, nothing like the July Fourth storm that sent half a tree crashing onto the deer fence and left crates of fresh veggies in coolers without power.

Farming is an exercise in acceptance. To do it well and return year after year, you have to balance hubris and humility. The prize can often be a certain equanimity, a training in the art of moving into the next day even when the last one scrambled all your plans.
Epic change is not always about the unexpected. It also comes like clockwork on the seasonal calendar. As I type, the last of summer’s watermelons wait naively on the vine for a few hot days to finish ripening. Broccoli are holding their leaves wide as they did in June and July, only to find that the hours of sunlight decrease with each earlier sunset. Plants can’t pick up and go south or call the manager to order a bonus round of sunshine. Their growth slows and they get a resigned look to the hue of their leaves, so different from the frenzied growth of summer.
The release of fall is not tragic or gloomy. It is not an ending because so many fall tasks are about setting up for the new beginnings in spring.
We turn the vines that yielded thousands of pounds of fruit into the soil, where healthy microbes feast on their rotting stems. Then we plant cover crops — a mix of cereal grains like rye and oats and legumes like peas, vetch and clover. Cover crops hold the soil and its nutrients in place over winter, feeding the soil food web and adding organic matter that next season’s crops will need to grow.
We sort sprinklers and repair hoses. We inventory tarps. We take notes about which plants did well where and how we might try a new approach for this or that. We stack crates of cured garlic and onions and winter squash in a cool, dark room.
We save seeds from tomatoes and beans and lettuce, carefully labeling each variety for next season’s long, sunny days.
Janna Siller is the farm director at Adamah, a community farm in Falls Village offering CSA shares, educational programs and a food access program.
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Pinchas Zukerman brings an all-Beethoven program to Hotchkiss
Thomas Jensen
Sep 30, 2026
Pinchas Zukerman to perform at Hotchkiss Oct. 4
Cheryl Mazak
The passion, drama and energy of Beethoven will fill Katherine M. Elfers Hall at The Hotchkiss School on Oct. 4, when world-renowned violinist Pinchas Zukerman is joined by pianist Shai Wosner for a special recital.
The 4:30 p.m. program at the Esther Eastman Music Center will feature three of Beethoven’s celebrated violin sonatas: Violin Sonata No. 4 in A minor, Op. 23; Violin Sonata No. 5 in F major, Op. 24, “Spring”; and Violin Sonata No. 7 in C minor, Op. 30.
Beethoven’s Violin Sonata No. 4 in A minor, Op. 23, is a three-movement chamber work marked by stark emotional contrasts and dramatic energy. Its three movements take the listener on quite a journey.
The first, a Presto in A minor in an unusual 6/8 meter, is propelled by an urgent, relentless, tarantella-like rhythm. Intensely minor and austere, it creates tension and sets the mood for what follows.
Next, an Andante scherzoso, più allegretto in A major serves as both a slow movement and a playful, subtle scherzo. It features intricate, delicate fugal textures and a trilling second theme. The third movement is an Allegro molto, back in A minor. An anxious, turbulent rondo finale, it features middle sections in which Beethoven playfully misaligns the timing of the violin and piano, creating a tense, out-of-sync dialogue that eventually collapses into a quiet, gloomy conclusion.
Violin Sonata No. 5 in F major, Op. 24, “Spring,” was Beethoven’s first violin sonata to depart from the traditional three-movement Classical format by adding a brief scherzo. Its four distinct movements will give Zukerman and Wosner ample opportunity to display their technique and musical interplay.
Driven by a soaring, lyrical opening theme shared between violin and piano, the first movement is an Allegro in F major. Next comes an Adagio molto espressivo in B-flat major, a deeply sentimental, songlike dialogue that builds on gentle variations.
The third movement, Scherzo: Allegro molto, is a brief, comic interlude featuring rhythmic playfulness as the two instruments purposefully fall out of sync. The fourth movement, Rondo: Allegro ma non troppo, is a grand finale written in a pleasant, courtly style with contrasting dramatic shifts.
Beethoven’s Violin Sonata No. 7 in C minor, Op. 30, begins with an Allegro con brio featuring a dramatic and tense opening movement. It is the first of Beethoven’s sonata-allegro movements to break with tradition by omitting the exposition repeat.
Next comes an Adagio cantabile in A-flat major. Serene, deeply lyrical and comforting, it contrasts with the intensity of the first movement, flowing like an expressive song and offering a momentary emotional respite.
The third movement, Scherzo: Allegro, is short, playful and sharply rhythmic, contrasting with the overall somber gravity of the sonata. The finale, Allegro: Presto, returns to C minor. Restless, suspenseful and driving, it builds immense tension before exploding into a furious Presto coda. Beethoven ends the work with a sizzle.
Zukerman and Wosner perform Sunday, Oct. 4, at 4:30 p.m. at The Hotchkiss School in Lakeville. Admission is free and first-come, first-served.
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Found Footage Festival brings laughs to The Triplex
D.H. Callahan
Sep 30, 2026
Pickett and Prueher on stage.
Provided by Found Footage Festival
On Sunday, Oct. 4, the Found Footage Festival makes its way to the Triplex Theatre in Great Barrington with a treasure trove of lost and forgotten VHS tapes scraped from the piles of distant memories and discarded physical media.
The Found Footage Festival is a “celebration of the videos that time forgot” hosted by two Brooklyn-based comedy writers and childhood friends, Joe Pickett of The Onion and Nick Prueher of The Late Show.
Back in 1991, the duo found a discarded McDonald’s custodial training tape in their home state of Wisconsin, and since then, they’ve been collecting all the VHS tapes they could find and mining them for untapped comedic gold. Today, they are the undisputed champions of lost media, having collected and archived over 15,000 videocassette tapes.

Prueher and Pickett’s brand of comedy values the missteps and accidents that come with amateur video productions more than it does the carefully crafted wordplay of the comedic superstars of our time. But it’s not just bloopers from birthday parties that they find. Some of the most popular clips come from instructional videos, taped religious services, fully produced movies, music videos and, of course, the ever-popular news bloopers.
For more than eight years, Pickett and Prueher have been hosting a video podcast they call “VHS Party,” complete with their own rabid fans who send them tapes and comment along online with the streams. Their YouTube page is chock-full of interesting clips, many of which are featured and discussed on “VHS Party” with their two co-hosts and occasional guests from the comedy world, including Jon Glaser, Jo Firestone and David Cross.
The duo started the Found Footage Fest in 2004 as a way to raise money for their documentary, “Dirty Country,” about a vulgar country music performer looking for a bigger audience than his garage. Since then, they’ve taken the show on the road, bringing new selections of their favorite clips and their signature comedic stylings to theaters around the world.
For tickets to the Found Footage Festival, visit thetriplex.org.
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Luis Felber at home at Cornwall Music Bowl
D.H. Callahan
Sep 30, 2026
Luis Felber at home at Cornwall Music Bowl
Luis Felber at home at Cornwall Music Bowl
Luis Felber is excited about creating in the Northwest Corner. Coming of age in the British countryside, all he wanted to do as a teen was move to London, the creative heartbeat of England. At 17, he started a band called the Eraserheads and went for it. Since then, he’s been in so many bands he struggles to list them all. But on Saturday, Oct. 3, he’ll be taking the stage at the Cornwall Music Bowl all by himself.
Felber has always felt more comfortable on stage than interacting with people. There’s a sense of purpose in being at a concert. Everybody in the room is there for the same reason: to witness the act of making music. So whether he’s on the stage or in the audience, he feels at home in a venue.
For Felber, a venue doesn’t have to mean a traditional setup with a stage and bar and all the other trappings of clubs or theaters. When he was starting out in London, he quickly grew sick of the repetitive process of working with managers and promoters, trying to get booked. In response, he and his friends started their own club nights, where they and other local acts could play music, have fun and forget about the constructs of established society. Those club nights turned into a record label called Young Turks, named after the events they hosted. Now just called Young, the label is home to acts like FKA Twigs, the xx, Sampha and modern jazz legend Kamasi Washington.
Felber’s current band is called Attawalpa, which is actually his middle name. It’s a reference to Atahualpa, the last Inca emperor. It might seem strange for a kid from the English countryside, but Felber’s mother is Peruvian, and Luis spent several years growing up in Lima, where his mother still lives.
Felber is tapping deeper into those roots on his next album. It’s a pretty quick turnaround for such a busy guy. His last album, “Experience” was released just last year. Some of those songs were featured in “Too Much,” the Netflix series he createdand is writing for with his wife, Lena Dunham. Based on a young American woman looking to turn her life around in England, the album was necessarily in English. But for the next one, he’s written — and will be singing — some of the songs in Spanish.
Felber is excited to talk about his forthcoming album. In addition to his regular Attawalpa bandmates, he collaborated with Thurston Moore of Sonic Youth and Debbie Googe of My Bloody Valentine. For him, collaboration is half the fun of creating art. That’s why he’s so excited about the acts he’ll be sharing the stage with in Cornwall. He raves about the familiar sound with new edge of Amelia Jackson, the low-fi indie-pop of Jess Yaffa and the indisputable talent of local singer-songwriter Simone White, whose credits and accolades merit their own article. The bill seems marvelously cohesive and intentional.
While he splits time with London, Felber is now settling into life back in the countryside — this time, the Northwest Corner. He’s enchanted by its inescapable beauty and the friendly, creative energy he sees in the people he meets.
For more info, videos and music, visit attawalpa.com.
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