The Berkshire Theatre Critics Association will celebrate the region’s theatrical achievements at its 10th annual Berkshire Theatre Awards, known as the Berkies, on Monday, Nov. 9, at 7 p.m. at Shakespeare & Company’s Tina Packer Playhouse in Lenox, Mass. Sharon Playhouse received six nominations, including scenic design and choreography for “Swingtime Canteen,” acting honors for Savannah Stevenson and Michael F. McGuirk in “42nd Street,” and outstanding ensemble performance for “Come From Away.” Call 413-769-8306 for reservations.
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A different kind of neighborhood bar
D.H. Callahan
Nov 03, 2026
Ryan Andrade brings his passion for inventive cocktails and neighborhood hospitality to Le Bar in Sharon.
D.H. Callahan
When Ryan Andrade moved back to the Tri-Corner region during the pandemic, he wasn’t looking to create a new kind of neighborhood bar. But by the time he connected with Robert Arbor of Le Gamin in Sharon, his vision was clear. In May, they brought that vision to life at a revitalized Le Bar.
Andrade grew up around Millerton, attending the Webutuck High School before heading to Western New England University, where he studied psychology. He’d been slinging coffee since high school but didn’t catch the cocktail bug until managing a cafe at the SoHo Grand Hotel, which, thanks to an international clientele accustomed to different time zones, had a morning bar service. It was there that Andrade discovered the seemingly infinite possibilities of the cocktail world. While there was only so much one could do with coffee, learning about the potential for cocktails, with their shelves and cabinets of curious ingredients, had Andrade feeling like a kid in a candy shop. It wasn’t long before he was seeking out mentors to teach him the industry secrets required of an innovative mixologist.
Through a series of bartender jobs in Manhattan and Brooklyn, Andrade found those mentors and learned those secrets. He started making his own creations, and the consistently positive reactions fueled his enthusiasm and desire to learn more. By the time the pandemic ravaged the industry in New York, his tool belt was full of tips, tricks and a deep knowledge of the cocktail world.
Robert Arbor, the restaurateur behind Sharon’s Le Gamin and its popular sister location in Brooklyn’s Greenpoint neighborhood, was looking for something more than a place to sling beers. He’d taken over the space behind his French restaurant in the heart of Sharon and was turning it into a bar with beer, basic cocktails and light snacks. His restaurant staff doubled as bartenders, learning the trade on the job. It was the beginning of something the community craved, but it wasn’t quite there yet. He’d known of Andrade and his reputation working at the White Hart in Salisbury and Panacea in Amenia, but it wasn’t until Andrade was between jobs that they got to talking shop.
Though he’d settled in nicely in his six years since moving back to the region, Andrade missed his neighborhood bar. He’d reminisce about walking to the corner for a cocktail with friends or grabbing an easy meal on a whim. With years of experience in New York, Arbor knew exactly what he meant, and was eager to help him create it.
It’s not easy to get people to come into a bar for a cocktail when they have to drive out of their way to get it. But when you pair it with food, it’s simply a dinner out. Andrade wanted to pair his cocktails with casual, albeit elevated, food options. The region is full of refined options for discerning diners, Le Gamin included. The idea behind Le Bar’s food was to make it easy, accessible and delicious. The bar comes first, but the food still needs to be good. With access to Arbor’s kitchen and staff, they took some of the French staples from Le Gamin and added some more casual options, including a chicken sandwich and sausage bites. During happy hour, their offerings are some of the best deals in the area.
Of course, the star of the show is the cocktail menu. Arbor raves about Andrade’s skills, passion and attention to detail. He recalls a time when a regular customer brought in a whole bushel of fresh raspberries. Andrade jumped at the chance to turn them into a compote for his cocktails. The passion comes through in every glass served. His focus while mixing a drink borders on obsessive. His mastery of the bar tools is notably impressive. His garnishes elevate each drink into a cookbook-worthy work of art.
Diners at Le Bar choose their own pace. Some pop in for a quick bite, while others settle in for the evening with friends over rounds of cocktails, laughs and some of those delicious fries. It’s not uncommon to find a table of 20-something weekenders mixing it up with a group of Gen X locals.
Together, Arbor and Andrade have built that new kind of neighborhood bar and whether you’re coming from around the corner or a farther away, you’ll feel right at home.
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Gretchen M. Studio opens in Salisbury
Natalia Zukerman
Nov 03, 2026
Grethen Mol at her new studio in Salisbury.
Natalia Zukerman
The keys are hanging from the lock when Gretchen Mol comes to greet me at her new studio on Academy Street in Salisbury. The door is open, and so, it turns out, is she. Mol has the easy familiarity of someone you’ve known for years. And in a sense, you have.
The actress, known for her roles in “Boardwalk Empire,” “The Notorious Bettie Page” and, most recently, “Tulsa King,” is opening Gretchen M. Studio, a creative space and showroom for her small-batch clothing line, with an open house Friday, Nov. 6, and Saturday, Nov. 7.
But don’t call it a store.
“It’s really a studio space,” Mol explained. “It’s my personal kind of place to be creative, and then at the same time I am trying to sell dresses.”
And pants, and tops, and perhaps eventually jumpsuits and maybe even coats. The possibilities are open-ended, which seems to be exactly how Mol likes it.
“I’ve always loved making spaces,” she said. “I want people to feel like they could come in any time and just be here.”
Mol launched her clothing line about three years ago, inspired by a vintage 1940s house dress she had owned for decades. Her acting career, particularly her work in period pieces, had given her an appreciation for the artistry of costume design.
“You really step into someone else,” she said of wearing period clothing. Of her role in “Boardwalk Empire,” she said, “I loved that time period. I love those old movies. I think somehow, you put on these clothes and you stand taller.”
But Mol wanted to make something less precious and more practical. Her original house dress was something she could wear around the house, out to dinner or even over pajamas. She began experimenting with fabrics, modifying the silhouette and, at the suggestion of her sister-in-law, adding pockets.
“Pockets!” Mol recalled her sister-in-law insisting. “And I was like, ‘Yes. Of course.’”
Today, Mol sketches her designs and works with a technical designer and manufacturers in New York City to produce exceptionally small runs, sometimes as few as 10 pieces. She sources fabrics from places like Mood Fabrics, allowing the materials themselves to inspire new iterations.
“You’re not gonna see it everywhere,” she said of her collection. “You don’t have to worry that you’ll show up at a party in the same dress as someone else … well, maybe except for around here,” she added with a laugh.
For her clothing line, Mol has partnered with lawyer Jill Foley, who brings business and organizational expertise to the endeavor. The partnership allows Mol to pursue the project alongside an acting career that can take her away for months at a time.
“It’s been really fun to have something else besides my acting,” she said, “that’s generated from me, and that I can just put my head to when I have the time to do it and when I feel inspired.”
The studio itself is an extension of that creative impulse. Alongside her clothing are vintage pieces, books, puzzles and other objects that have caught her eye. On the walls hang paintings by her late mother, Janet, an artist and longtime teacher whose commitment to making space for her own work left a lasting impression.
Mol remembers that after her parents divorced, her mother, now a single parent, gradually claimed more room in their family home for her art. Eventually, the living room became her studio.
“I was like, ‘That’s so badass,’” Mol recalled, laughing. “Who needs a couch there?”
Looking back, she recognizes the significance of watching her mother insist on having a creative life.
“I never felt she neglected anything to do it,” Mol said. “In retrospect, it was so important that I saw her do that.”
Now Mol has carved out a room of her own, right in the center of Salisbury. She isn’t entirely sure what it will become, and she’s comfortable with that uncertainty.
“I’m doing this thing. I’m not exactly sure and clear what it’s gonna be and what the future is, but I’m so excited to see where it takes me,” she said.
For someone accustomed to inhabiting other people’s stories, stepping forward with something of her own has required a different kind of courage.
“You do have to step out in front of it,” she said. “That’s been the interesting part for me, to grapple with how much I’m ready to do that.”
For now, she’s simply inviting the community in.
“Swing by. Check it out. Maybe you’ll like it.”
Gretchen M. Studio, 7 Academy St., Salisbury, will celebrate its opening Friday, Nov. 6, from 4 to 7 p.m., and Saturday, Nov. 7, from 11 a.m. to 4 p.m. No RSVP is required. Following the opening, the studio will be available by appointment, with occasional open hours. Visit gretchenm.com.
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Harvesting experimental sounds at Hungry Reaper Farm
D.H. Callahan
Nov 03, 2026
Hungry Reaper Farm founders and managers Will O’Meara and Jill Verzino
D.H. Callahan
On Saturday afternoon, Nov. 7, the farmers at Hungry Reaper Farm in Morris, Connecticut, will host the first concert at their new outdoor venue, The Three Hickeries, smack in the middle of a beautiful field on their farm.
Farm co-founders and co-managers Will O’Meara and Jill Verzino have always been interested in independent means of production. On the farm, that means growing organic produce on a small scale with a big impact. Their crops feed folks from Bridgeport, where Verzino runs a farmers market on Saturdays, all the way over to Millerton, where their vegetables can be found at Tri Corner FEED Market, the community-minded grocery store offering locally sourced food on a sliding scale.
Both O’Meara and Verzino have extensive experience growing food. Verzino grew up helping her grandmother tend her quintessential Italian vegetable garden. O’Meara started working on farms when he was just 16, got a degree in sustainable food and farming from UMass Amherst and managed other farms before the couple, who have been dating since high school, decided to start their own.
Part of their decision to strike out on their own was based on a desire to do things differently. Local organic food can often feel like a luxury reserved for the privileged and budget-blind. They wanted to bring their produce to a wider audience. Since starting on one acre of rented land, they’ve worked with food pantries, local municipalities, schools and other nonprofits to get their fresh produce in the hands and mouths of people who don’t traditionally have access to such high-quality food. They also landed on a pretty provocative name, with edgy branding to boot.
Verzino, who trained as a visual artist, is responsible for all of the branding. She seems to have an affinity for the medieval and macabre. But more than just a personal preference, it’s a way for them to stand apart from the standard farm branding, which, though often adorable, can start to blend together. Nobody forgets a bag of organic lettuce with a grim reaper sticker on it. After all, Verzino says, “farming is all about sex and death.”
That preference for the weird and unique doesn’t stop with their brand. The couple, who both grew up in the area, used to see a lot of live music. They reminisce about the now-closed Cafe Napoli in Watertown, where they could see a new band with a new sound every week. To them, the small, independent acts seemed to speak the same language as their approach to food and farming. They wanted to find a way to bring that kind of experience to their community.
As they worked their fields, three stately hickory trees towered over the crops. “We like experimental music. We like creative people. We like trees,” Verzino said.
This, they decided, was where they would harvest their next offering — live music.

Playing the first show at The Three Hickories are a couple of experimental acts indeed. The headliner is Old Saw from Ripton, Vermont. Led by composer Henry Birdsey, the ensemble makes experimental ambient music using a wide variety of unexpected instruments. More than songs, each piece feels like a weathered tapestry cloaking the whole scene in haunting textures. A larger-than-life sound emerges from their instruments like an ancient giant awaking from its gothic slumber.
Opening the show is the Knife Kickers from right down the road in Thomaston, Connecticut. Singer and guitarist John Zacarria is the nucleus of this rotating lineup. Sometimes he plays by himself, and sometimes he brings his friends. Rumor has it he’ll be joined by the cellist featured on his last release, “an acoustic album.”
November might seem like an odd time to launch a DIY outdoor concert in Connecticut, but O’Meara and Verzino aren’t just relying on the hearty nature of New Englanders. To warm the audience and musicians, they’ve enlisted the help of pop-up coffee cart Backdrifter Coffee. Still, a sweater and some gloves might be a good idea, just in case.
For tickets and more information about the farm, visit hungryreaperfarm.com.
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Warren Miller’s “Days Off” to screen at Mohawk Mountain
D.H. Callahan
Nov 03, 2026
A packed house watches the 75th Warren Miller film at Mohawk Mountain in 2024.
Mohawk Mountain
For more than 75 years, the name Warren Miller has been synonymous with incredible skiing adventures. On Friday, Nov. 6, and Saturday, Nov. 7, Mohawk Mountain will screen “Days Off,” the 77th film bearing Miller’s name.
Miller was a ski bum in the truest sense, pioneering the nomadic lifestyle now adopted by skiers, climbers, hikers and van-life influencers alike. Long before it was normal, Miller would camp out in the parking lots of big ski mountains to save money on hotel rooms. He’d shoot and eat his own dinners, usually rabbit, unless some well-to-do admirer felt like taking him to a restaurant. He got by as a ski instructor for 25 cents an hour, plus free hamburgers. Eventually, he got his hands on a video camera so he could watch himself ski for the first time, and took to it so naturally that there was no question about his next move.
In 1950, Miller released his first ski movie, “Deep and Light.” In 1951, it was “California Skis.” Then “Wandering Skis” in 1952 and “Ski Fantasy” in 1953. Every year until 1987, Miller would shoot, direct and narrate an entirely new ski movie. He’d take it on the road from ski town to ski town, showing it to packed theaters of fans.
In the beginning, Miller narrated the films live in the theater. He’d take his script and comment on the footage he had shot and edited together, showing perfect runs through dream conditions in seeminly impossible locales.
By the time he recorded his narration directly onto the films, he had honed a kind of relaxed style that endeared him to audiences. His dry wit and humor made him and his annual screenings part of their family traditions.
Miller kept narrating his films until 2004, when he retired to run the ski program at the Yellowstone Club, one of the most exclusive outdoors clubs in the world. His production company, however, never slowed down, cranking out a movie every year, even after Miller’s death in 2018.
Mohawk Mountain has its own storied history, important to skiers all over the world, whether they know it or not. Though Civilian Conservation Corps cut some trails into the mountain in the 1930s, it wasn’t until Army veteran Walt Schoenknecht leased 100 acres of land from the state forest in 1946 that skiing really took off.
But just two years into its operation, Connecticut had a nearly snow-free winter. Rather than sit and complain, Schoenknecht put his Army ingenuity to work and tried something nobody had the guts or means to do — he made his own snow.
That first season, Schoenknecht and his team chipped and spread tons of ice, which melted just a few days later with a day of rain. But the concept had been proven. The following year, Mohawk Mountain started building infrastructure that would allow it to cover nearly a quarter of its trails in artificial snow.
Today, the mountain is known as the birthplace of snowmaking, a technology that has extended ski seasons around the world and brought skiing to areas that never had consistent snowfall. In the face of climate change, it’s one of the most important aspects of modern ski resort success.
Warren Miller was one of the first people to champion this technology, bringing it to a wider audience through his films. Though Schoenknecht is credited as the father of snowmaking, Miller was one of its greatest advocates.
Before the snowmaking machines even have a chance to fire up, Mohawk will get the skiing community in the mood by screening “Days Off” in its base lodge. For over 20 years, this has been a tradition unlike any other on the mountain.
Mohawk doesn’t screen other movies, and aside from the Cornwall Rummage Sale, it tends to focus on creating unforgettable skiing experiences at Connecticut’s largest ski area. If you’re looking forward to a season on the slopes, nothing will get you excited quite like a Warren Miller movie.
For more information about Mohawk Mountain and to purchase tickets, visit mohawkmtn.com.
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Sergei Fedorjaczenko and the engineering of art
Millerton News
Nov 03, 2026
Sergei Fedorjaczenko in his Falls Village studio with his recent oil painting, “Cubes Bursting Forth,” part of his exhibition “The Engineering of Art,” opening Nov. 7 at the David M. Hunt Library.
L. Tomaino
I liked art and also liked the technical things. Industrial design filled both needs.
—Sergei Fedorjaczenko
Sergei Fedorjaczenko’s studio is filled with paintings in watercolor, acrylic and gouache, along with sculptures made from wood, metal, plastic and found objects. The variety of materials reflects a lifelong fascination with both art and engineering, two disciplines that have shaped his work.
“I liked art and also liked the technical things. Industrial design filled both needs,” Fedorjaczenko said.
Fedorjaczenko and his family came from Germany when he was just 4 years old. They lived first in New York City before moving to Connecticut about 10 years later, in 1960. He has lived in Connecticut ever since.
“I was always drawing,” Fedorjaczenko recalled.
Although he wanted to study art, his parents insisted he pursue something more practical, so he enrolled in an engineering program.
After a year and a half, he dropped out, realizing engineering was not for him. With the Vietnam War underway, he was drafted into the Army, where he became a photographer.
While serving, he thought about what he really wanted to do. The answer: design cars.
He wrote to Chuck Jordan, vice president of design at General Motors. Jordan “responded with a handwritten note,” advising him to pursue industrial design.
After leaving the Army, Fedorjaczenko earned a degree in industrial design from the University of Bridgeport. He then worked for General Electric for 14 years, during which time he was credited with four patents and a trademark.
“I ended up designing everything but cars,” Fedorjaczenko said.
After General Electric, he sought other jobs and other puzzles to solve.
In February 2000, he read an article in the Hartford Courant about Cornwall artist Tim Prentice, known for his kinetic sculptures. The story made a lasting impression.
“I read the article about 20 times, thinking, ‘This is what I want to be when I grow up. A guy living out in the country making sculpture and stuff.’”
In 2001, he and his wife, Zoe, bought a circa 1730 house in Falls Village. A year later, Fedorjaczenko retired. After spending several years restoring the property and creating a studio for himself, he was able to concentrate more on painting and sculpture.
Today, his three-level workshop is equipped with tools for metalworking and woodworking, including an English wheel, a sheet metal brake and other equipment he has used to make components for a full-size car. He can mill and turn parts, bend and cut sheet metal and tubing, and weld and sandblast components for his sculptural work.
By a window sits a table he designed and made from wood offered to artists when Cornwall’s covered bridge was restored. His “Bridge Table” is a simple, clean design, reflecting his interest in both form and function.
Fedorjaczenko enjoys the physical process of creating art “because I am making something, using my hands.”
His work is influenced by the Bauhaus, a German design school that operated from 1919 to 1933 and became an international movement. For his upcoming exhibition, “The Engineering of Art,” Fedorjaczenko used the triangle, square and circle, primary geometric shapes associated with the Bauhaus, in each of the pieces.
On his website, Fedorjaczenko shares a quotation often attributed to Pablo Picasso: “I am always doing that which I cannot do so that I may learn how to do it.”
It seems a fitting philosophy for someone who has spent a lifetime moving between disciplines, learning new skills and finding creative possibilities in unfamiliar territory.
Despite his considerable body of work, Fedorjaczenko resists the label of full-time artist.
“I don’t consider myself a full-time artist. I consider myself a jack of all trades … with many interests.”
“The Engineering of Art” opens Saturday, Nov. 7, at the David M. Hunt Library in Falls Village, with a reception from 5 to 7 p.m. The show runs through Nov. 27. Fedorjaczenko will give an artist talk about his life and work Thursday, Nov. 19, at 5:30 p.m.
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Rumi at Race Brook
Natalia Zukerman
Nov 03, 2026
Poet and translator Haleh Liza Gafori brings Rumi’s centuries-old verses to life at Race Brook.
Provided
Writer Rebecca Solnit remarked, “If you haven’t heard Rumi’s work performed by a translator who can read him — and sing him — in the original Persian, this Rumi, presented by translator — and rock star — Haleh Liza Gafori is for you.”
On Friday, Nov. 6, Gafori will bring Rumi’s poetry to life through spoken word and song at Race Brook Lodge in Sheffield, Massachusetts, in what will be the venue’s final performance before closing.
The evening promises to be both a celebration and a farewell, as the beloved Berkshires gathering place prepares to end a chapter of music, community and cultural exchange.
Gafori, a translator, vocalist and performance artist, has spent a decade exploring Rumi’s poetry and finding new ways to make his centuries-old wisdom accessible to contemporary audiences. Her acclaimed translations, published in two volumes, “Gold” and “Water,” capture the poet’s ecstatic language and enduring themes of love, longing, transformation and the dissolution of boundaries.
Accompanied by cellist Isabel Castellvi, Gafori will recite her English translations and sing Rumi’s verses in their original Persian, creating a musical and poetic conversation across languages, cultures and centuries.
A 2024 MacDowell fellow, Gafori has presented her work at Lincoln Center, the Philadelphia Museum of Art and universities across the country. Her approach honors both the musicality of the original Persian and the spiritual urgency of Rumi’s writing, bringing ancient poetry into dialogue with contemporary life.
The evening will open with a performance by Western Massachusetts poet and musician James Bird, whose ethereal folk music draws on mythology and timeless stories of love, loss and renewal.
For Race Brook Lodge, which has long welcomed artists, musicians and audiences seeking connection through shared experiences, the evening offers a fitting final note. Rumi’s poetry, with its insistence on love as a force that transcends separation, seems particularly suited to the occasion.
The performance begins at 8 p.m., with doors opening at 7 p.m. For information and tickets, visit rblodge.com.
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