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Busking in the Berkshires
Aug 27, 2025
Brent McCoy of Secret Circus Show at Berkshire Busk!
Roman Iwasiwka
While playing outside in the early post-pandemic days, Berkshire Busk! founder Eugene Carr had an epiphany: why not expand the idea of performing on the street (aka busking)into a full-fledged festival in Great Barrington?
As an entrepreneur and cellist, Carr envisioned a well-organized jamboree featuring regional talent, including musicians, acrobats, storytellers, fire-eaters, and more. He formed a team, connected with local businesses and the town of Great Barrington, and launched Berkshire Busk! in 2021. Since then, Berkshire Busk! has grown into a summer staple for Great Barrington.
In the summer of 2024, over 25,000 people experienced Berkshire Busk!. The festival is free to the public, provides a big boost to local businesses, and spectators can tip performers.
Busking takes place all over the world, either organized by individual performers or via busking festivals. Artists like The Roots, Tracy Chapman, Phoebe Bridgers, and Old Crow Medicine Show have all cut their teeth performing on the street.
General Manager Carli Scolforo is a Berkshire native with a love of music and writing. She can often be seen roaming the streets of Great Barrington, making sure everything’s in order, and serves as the festival’s face on social media.
“This year is the fifth anniversary of Berkshire Busk!, and it’s been an amazing summer,” said Scolforo. “We were able to welcome back a lot of our favorite performers, and bring in some new experiences as well. After getting rained out last year, we were able to host our first outdoor movie night in partnership with The Triplex Cinema and the Boondocks Film Society.”
Scolforo added, “This summer, we also introduced our first Open Mic Night, hosted by local recording artist and music producer Jackson Whalan. We were really pleased with the turnout of talent. The sheer amount of talent that’s hidden within an hour or so drive of Great Barrington always astounds us.”
Local businesses sponsor various busking spots, like the Berkshire Money Management Stage in the parking lot between the Triplex Cinema and Mama Lo’s BBQ. Typically, buskers bring their own amplification, while there are few spots — such as Berkshire Mountain Distillery in Sheffield — provide power.
Berkshire Busk! will end its season with a fireworks display on its last night on Saturday, Aug. 30.
Berkshire Busk! is endorsed by the Select Board of the Town of Great Barrington and is entirely supported by sponsorship fees from companies and organizations, as well as philanthropic donations from granting organizations, individuals and the Town of Great Barrington.
It operates under a fiscal sponsorship agreement with the Nonprofit Center of the Berkshires and participates in Mass Cultural Council’s Card to Culture program — in collaboration with the Department of Transitional Assistance, the Department of Public Health’s WIC Nutrition Program, the Massachusetts Health Connector, and hundreds of organizations — by making cultural programming accessible to those for whom cost is a participation barrier.
For more information, visit: berkshirebusk.com
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What if the dog onstage was played by a person? That’s the delightful twist in A.R. Gurney’s “Sylvia,” opening at the Sharon Playhouse on Aug. 29. In this clever and heartfelt comedy, the title character — a stray pup who disrupts the lives of a married couple — is portrayed not in costume but by an actor who brings insight, charm, and chaos to the role.
Stepping into Sylvia’s paws is Jen Cody, who is returning to the Sharon Playhouse in a starring role for her third year in a row, ready to bring this spirited dog to life. She’s joined by Jonathan Walker as Greg, the middle-aged man smitten with his new four-legged friend, and Jennifer Van Dyck as Kate, his wife, whose patience and identity are tested by Sylvia’s sudden presence in their home.
Directed by Colin Hanlon, this production balances elements of comedy and emotional depth. Gurney’s script may be filled with laughs but at its core, “Sylvia” explores loyalty, companionship, and how love sometimes arrives in unexpected forms. The play premiered Off-Broadway in 1995 and has since become an audience favorite for its wit, warmth, and originality.
Rounding out the cast is Sienna Brann, taking on a trio of roles that highlight the play’s comic versatility. The design team includes Christopher and Justin Swader (scenic), Kathleen DeAngelis (costumes), Bobbie Zlotnik (wigs), Wheeler Moon (lighting), and Graham Stone (sound), ensuring the story is grounded in a fully realized world, albeit one occasionally seen from a dog’s point of view.
Performances run through Sept. 7 at the Sharon Playhouse. For tickets and more information, visit sharonplayhouse.org.
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Anna Handler makes her BSO debut.
Hilary Scott
On Saturday, Aug. 16, we were excited to see the debut of new Boston Symphony Orchestra assistant conductor Anna Handler, and the return of violinist Augustin Hadelich. Another warm evening in Lenox with humidity near 100 percent, couldn’t stop a massive crowd from gathering.
Handler strode onto the Shed stage with purpose, greeted the evening’s concertmaster, Alexander Velinzon, and took the podium for Brahms’ “Tragic Overture.”Right away, her crisp, powerful conducting style — clearly reminiscent of Andris Nelsons’ — was effective at bringing Brahms to life. She urged forth the strings, waved in the brass and percussion with verve, and caressed her winds in an emotional way.
Velinzon and the stings were superb — a powerfully played Brahms. Handler made her mark. She bowed modestly, placing hand to heart, and pointed to credit various sections and individuals. She strode off stage with pace and quickly returned for Schumann’s “Symphony No. 4.”
No. 4 begins with somber tones and develops into something else: Ziernlich langsam (Rather slow) to Lebhaft (lively) to Romanze: Ziernlich langsam, to Scherzo: Lebhaft — Trio, then. Langsam — Lebhaft — Schneller — Presto (slow — lively — faster — very fast.)
It was exquisitely performed with Handler bringing both artistry and quality. It flowed like a river — meandering, then surging with power, until it exploded into a torrent. The build up was sharp; the conclusion loud, and vibrant.
Handler turned to the audience, now a broad smile. She shook Velinzon’s hand. Her deeper bows greeted a standing ovation — a glimpse into a bright future.
Anna Handler at Tanglewood.Hilary Scott
After intermission, it was up to Hadelich to follow a great orchestral performance.
A large man with larger hair, he dwarfed Handler as he waited onstage to begin his part in the famous Tchaikovsky “Violin Concerto.” Velinzon and the orchestra led the soft opening bars. Hadelich lifted the 1744 “Leduc / Szeryng” Guarneri (lent to him through the Tarisio Trust), and began. Sweet tones emerged.
He had previously played the 1723 “ex-Kiesewetter” Stradivari but switched recently after hearing the mellow, more human-like voice he was in search of — and found — in the Guarneri. What followed was smooth, soft, gentle brilliance.
Allegro moderato – Moderato assai served as a warm-up. Then came Canzonetta: Andante —and things really got going. The Finale: Allegro vivacissiomo, Hadelich flew up and down the neck of the Guarneri with such speed and precision that, through binoculars, I caught Velinzon chuckle and shake his head in disbelief from the best seat in the house.
A virtuoso performance.The crowd roared.
An encore followed: Forrester (arr. Hadelich) “Wild Fiddler’s Rag” — fun and flirtatious.
Will there be other evenings as bright as this? Likely, but few and far between.
Will Velinzon and the orchestra continue to create rare conditions where these thermonuclear pyrotechnics are possible?Absolutely.
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