What is the spongy moth, and what is it doing to our forests?

Spongy moth caterpillars have destroyed trees throughout the Tri-state region.
Peter Steiner


Spongy moth caterpillars have destroyed trees throughout the Tri-state region.
MILLBROOK — One of the major factors in the cycle of the spongy moth and their proliferation — or lack of proliferation — turns out to be acorns.
Spongy moths, formerly referred to as Gypsy moths for their itinerant ways, were the topic of a lecture Thursday, Jan. 11, by scientists Clive Jones, who has studied the spongy moth for 30 years, and Charles Canham, who has studied northeastern forests for 40 years. Both are emeritus scientists of Cary Institute of Ecosystems Studies, which hosted the lecture.
Spongy moths, natives of Europe and Asia, came to North America in 1868 or 1869, to Medford, Massachusetts. Amateur entomologist Etienne Trouvelot believed he could crossbreed them with silkworms in an attempt to “make a hardy silkworm.”
“He got some egg masses of the spongy moth and set them on the sill of his open window. When they blew into his garden, he could not find them,” said Jones.
By 1891, there was mass defoliation in the Medford area and spongy moths were found in a 200-square-mile area. From there, they began to spread throughout the U.S. and Canada.
Alone, the spongy moth travels by ballooning on silk threads; assisted, humans unwittingly transport eggs laid on cut logs or vehicles.
The life of the spongy moth could be said to begin in July and August, when the flightless female moths emit pheromones to tell males that they’re ready to mate.
They each lay a few hundred eggs, often at the bases of trees. If the moth population is high, they lay eggs anywhere, on garden furniture or on the bumper of a car.
Then, the following May, the eggs hatch. The larvae spend May and June ballooning to new locations on silken threads. They rest under trees during the day, then go up into the tree canopy at night to feed. They prefer oaks but also eat maple, beech, apple, hickory, willow and birch trees, among others.
When the population is very dense and the competition for food is fiercer, they may eat all day and night. Once a tree is defoliated, they’ll move to the next canopy.
In late June and July, the larvae pupate — a caterpillar-to-moth metamorphosis that lasts a couple of weeks — then they emerge and breed and the cycle begins again.
Jones explained that “outbreaks” — or high densities of spongy moths — “occur about every 10 years on average, but like any average, it does not mean there will be outbreaks like clockwork.”
There are two major causes of outbreaks, he continued. One is “high female fecundity,” for example: If one moth laid 500 eggs and 250 were female, 125 of those would live to maturity and lay eggs. So, in year two, there would be 125 females laying eggs, and the third year, over 15,000 would result.
The other cause of outbreaks is the collapse of the white-footed mouse population, he said. White-footed mice eat the pupae as a part of their omnivorous diet.
At this point, we reach the subject of acorns:
“The number of mice is determined by the number of acorns the previous fall,” Jones continued, saying that if there is a moderate to large acorn crop in the fall, more mice survive the winter and begin breeding earlier in the year, in late winter or early spring. When that happens, there is an extra generation of mice, meaning more mice to eat more moth pupae.
Studies at the Cary Institute concluded that “moderate to high mouse densities keep moth populations low,” while it was found “that when the mouse population declines, the spongy moth population increases.”
However, defoliation of oaks can cause the trees to produce fewer acorns, meaning less food for the mice, meaning fewer mice the following spring, meaning more moths, and so on, until the moth population collapses again.
There are three major causes of population collapse among the moths.
One is a fungus, Entomophaga maimaiga, which kills the moth at moderate and high densities. It likes cool, wet springs and is more abundant in those conditions.
The more common cause of collapse is Nuclear Polyhedrosis Virus (NPV): When the moths are at high density, they are more stressed by the struggle to find food. Their immunity drops, they are more likely to catch the virus, and many are killed.
The third cause of moth population collapse is lack of food: When they defoliate a large area of trees and run out of food too early, they can’t mature and proceed to egg laying.
Jones said that Cary Institute scientists predict an NPV collapse in 2024: “Whether or not there’ll be a lot or a little defoliation [this year] will really depend on how fast the virus moves through the population. If it moves slowly, there’ll be complete defoliation. If it goes through fast, there’ll be incomplete defoliation.”
Canham continued the lecture by saying, “Defoliation by caterpillars is rarely a direct and immediate cause of tree mortality.”
Canham explained that this is due to “carbohydrate economy”: “Basically, photosynthesis during the growing season produces the sugars needed to produce new tissues, and the energy those tissues need for their metabolism.
“But the even more important outcome of a good growing season is the profit leftover after meeting those immediate needs, and that profit is in the form of sugars and starches that act as reserves for use next year.”
Usually, unless the tree is weakened by other factors, it will draw on its reserves to get through this defoliation and produce more leaves that same year.
An exception that Canham has observed at Cary Institute is the understory hemlocks, which don’t make as many reserves and, after a couple years of defoliation in a row, may not recover. Needle trees, DEEP has noted, can be killed if they lose more than 50% of their foliate.
Canham said he worries more about the devastating effects of the emerald ash borer, longhorn beetle, spotted lantern fly and hemlock wooly adelgid than about the spongy moth.
He said if a tree is in crisis, a way to help it is to water it to “help replenish its reserves.”
For more information or to view the lecture video, go to www.caryinstitute.org/news-insights/lecture-video/...
Richard Feiner And Annette Stover
Continuing a popular tradition, the Sharon Playhouse will present a one-performance-only staged reading of “The Divine Sister,” another riotous comic romp by the acclaimed playwright and performer Charles Busch, on Friday, Aug. 28 at 7 p.m.
The play is a wild and witty homage to Hollywood films that feature nuns — from “The Song of Bernadette” and “The Bells of St. Mary’s” to “The Singing Nun” and “The Sound of Music.” It is classic Charles Busch: wickedly funny, gloriously over-the-top and overflowing with theatrical joy.
Busch is no stranger to the Playhouse, which has previously produced readings of his Tony-nominated Broadway hit, “The Tale of the Allergist’s Wife” and his hilarious spoof, “Die Mommie Die!” High time indeed to celebrate this irreverently reverent piece of theater.
“The Divine Sister” centers on the Mother Superior of St. Veronica’s Convent and her efforts to save the struggling order and school, which are upended by mysterious visitors, forbidden romance, shocking revelations and increasingly outrageous miracles. In a review of the play’s original production, The New York Times wrote, “‘The Divine Sister’ finds Mr. Busch returned to peak form. This gleefully twisted tale of the secret lives of nuns — in which the playwright doubles as leading lady — is Mr. Busch’s freshest, funniest work in years.”
In addition to Busch, the reading reunites members of the play’s original 2010 Off-Broadway cast: two-time Tony Award nominee Alison Fraser; 2021 Isabelle Stevenson Tony Award recipient Julie Halston; and Sharon Playhouse favorites Jennifer Van Dyck and Jonathan Walker. Completing the cast is Lucy Rhoades, seen earlier this season at Sharon Playhouse in “Swingtime Canteen” and last summer in “Million Dollar Quartet.”
“This is the kind of special event we love to present,” said Sharon Playhouse Artistic Director Carl Andress. “Charles is one of our country’s great comic playwrights and performers, and every time he comes to Sharon it’s a celebration. Whether you’re a longtime fan or discovering his work for the first time, ‘The Divine Sister’ is a wonderful introduction. Reuniting so much of the original Off-Broadway cast for one unforgettable evening makes this a truly special event.”
Busch has been recognized with countless awards for his indelible contributions to American theater. He was inducted into New York’s Theater Hall of Fame in 2024 in honor of his distinctive body of work. He also is the subject of the documentary film, “The Lady in Question is Charles Busch.”
The reading will take place on the Olsen Stage, with all proceeds going to benefit Sharon Playhouse’s productions and educational programs and helping ensure that the Playhouse continues to thrive as a cultural destination for audiences and artists in the region.
“The Divine Sister” is presented by Dugazon and Pete Hathaway, producers, in association with Amy Danis and Mark Johannes, associate producers.
The day before the reading, producer Hathaway will host “A Divine Celebration with Charles Busch,” an exclusive cocktail party on Thursday, Aug. 27, from 5 to 7 p.m. All ticket proceeds from this event will also directly benefit the Sharon Playhouse.
Tickets for both “The Divine Sister” and “A Divine Celebration with Charles Busch” are available at sharonplayhouse.org.
Natalia Zukerman
KK Kozik in her studio
Maybe it takes the ability to interpret what you’re looking at to really see.
— KK Kozik
KK Kozik has a theory about getting older.
“I don’t think you have eyes to see until you have eyes to see,” said the painter. “And maybe it takes the ability to interpret what you’re looking at to really see, and maybe that’s what comes with wisdom.”
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.

Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”

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Sally Haver
Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
For nearly seven decades, the Lakeville Open Horse Show has brought riders, horses and spectators together for a day of competition and community.
This year’s show takes place on Sunday, Aug. 30, at Riga Meadow at Coole Park, 1031 Bengal Amenia Road in Millbrook.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.

For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
D.H. Callahan
This year, the ARChive of Contemporary Music, or ARC, is moving its collection to a permanent home in Ridgefield, Connecticut.
ARC is somewhat hard to imagine. Comprised mainly of huge collections from musicians, archivists, and DJs, it has compiled more than three million sound recordings, consisting of over 90 million songs.
But with the rate that it collects, there’s a good chance that number has now hit its ninth digit. The collection is arguably even more impressive than its board, which has included such illustrious members as Q-Tip, Keith Richards, Nile Rodgers, Fred Schneider, Martin Scorsese, Paul Simon, Carl Bernstein, and David Bowie, many of whom house their personal collections at ARC.
Given its size, it is likely to take ARC about two years to be open its new location to the public. It hopes to have its collection in the building within a year, and then spend the following year putting it all into place.
Since 1985, founder and director B. George has been storing away musical media on Chambers Street in New York City. George moved to the area in the 1970s, and quickly became friends with many of the day’s top musicians, who would gather in the one downtown eatery open after-hours, Dave’s Lunch. It’s where he met David Bowie and Lou Reed.
George was immersed in the culture, DJing parties, and rubbing elbows with musicians. He worked with Laurie Anderson, and released her ‘O Superman” single on his micro-label One Ten Records.
The artistic scene was thriving, due in no small part to its affordability. New York City had been written off by mainstream America as a dirty, crime-ridden trap.
A famous Daily News headline still tickles George to this day. It reads “Ford to City; Drop Dead.” Even the president of the United States thought New York was irredeemable. But in its weakest hour, the city created one of the greatest assets it’s ever provided: a place for poor artists to create without the looming threat of eviction or starvation.
In 1980, George edited a book titled “Volume: International Discography of the New Wave.” The book was so successful that people started sending him recordings for the next edition. Quickly, George had more than he knew what to do with, so by 1985, he started looking for a home for this rapidly growing collection. He found it on Chambers Street in lower Manhattan for just $68 a month.
The reality of financial constraints seems to be a constant concern for George. To him, the “revitalization” of the city meant fewer opportunities for artists to create without the need for a safety net. That era is now decades in the rear view mirror, and the whole creative world has felt the effects.
Today, George feels that “cool” has become too heavily commoditized to allow artistic scenes to thrive. Once corporate America identifies the next hive of underground cultural activity, it pounces.
George saw this happen in SoHo, where the rent he couldn’t afford in the ‘80s of $100 has now risen to as high as $10,000 a month. This pattern seems to keep repeating. In recent years, a vibrant creative scene in Williamsburg, Brooklyn mirrored the same trajectory, at an accelerated pace. An area littered with loft parties and underground venues in the early 2000s has already been replaced by luxury fashion storefronts in a matter of years.
That’s what’s driven George to move the ARChive out of the city. As his collection continues to grow, there’s simply no way to meet the financial demands for space in Manhattan. So five years ago, he started moving media to Dutchess County, as part of a short term agreement at an estate in Staatsburg. Now he’s found a more permanent solution in Ridgefield, Connecticut
For the ARChive, physical media is the priority. While it has a partnership with archive.org, digitizing millions of songs, and making them available to the public, ARC is not a traditional media library. Its collection has not been open to the public to browse at leisure. Instead, it mostly makes its resources available to researchers and rights holders.
This new home, however, presents new opportunities, and George is excited to share portions of the Archive with a broader audience. This will include a Japanese-style listening area – built in partnership with Klipsch and Sonos – DJ and listening spaces with extra copies of its robust music-book collection (they have over 35,000), and more public-facing spaces to experience otherwise inaccessible recordings. Its Adopt-a-Record program will allow the public to sponsor pieces of media much like sponsoring an endangered animal. For an additional donation, donors can even get their picture taken with their record at the ARC headquarters… once it’s open.
For George and the ARChive of Contemporary Music, the collecting never stops. With collecting trips all over the world, and donations coming in from every imaginable genre, they can only hope that their next expansion won’t be necessary any time soon. For now, it’s time to settle in, and listen to some tunes.
Learn more and support ARC at https://arcmusic.org/
Natalia Zukerman
“The Magnificent Ms. Pham” combines Vietnamese water puppetry, shadow theater, music and storytelling.
“The Magnificent Ms. Pham,” the first Vietnamese American water puppet show, is returning to the water where it was born. The perpetual motion puppet show will be at TurnPark Art Space in West Stockbridge, Mass., Aug. 28 and 29, following a sold-out New York City premiere earlier this year. The production was originally developed at TurnPark, where its puppets first danced across the surface of the quarry lake.
Created by Vietnamese American artist Tommy Nguyen and director and designer Doug Fitch, the production tells the story of Nguyen’s mother, Kim Pham, and her journey from Vietnam to the United States. The story moves between memory, Vietnamese history and mythology, and the realities of immigration, following Kim from her childhood in Vietnam through her escape as a “boat person” and eventual life in Houston, Texas.
But this is hardly a conventional historical drama. The story unfolds as a country-western musical, with original music by MUR and additional music by Vietnamese American composer Hao Le. Puppets, shadow theater, songs and water combine to bring figures from Vietnamese history and literature into Kim’s story, including the legendary warrior Lady Trieu and Lady Kieu, the literary heroine who becomes one of Kim’s guides.
The production draws on a Vietnamese theatrical tradition that dates back at least to the 11th century, when water puppetry emerged in the rice-growing communities of the Red River Delta. Traditionally performed on ponds or flooded rice fields, the form uses the water itself as a stage, concealing the mechanisms that allow puppeteers to make wooden figures dance, swim and interact with one another.
For Nguyen and Fitch, the quarry lake adds another dimension to the story. The production was first conceived and developed at TurnPark, including a 2024 workshop and a 2025 festival presentation that featured a giant dragon carrying a Vietnamese village on its back.
The result is a theatrical hybrid: part family history, part mythology, part musical and part visual spectacle. And with the puppets once again moving across TurnPark’s natural quarry lake, the setting is not simply a backdrop — it is part of the show.
“The Magnificent Ms. Pham” will be presented Aug. 28 and 29 at 7 p.m. at TurnPark Art Space, 2 Moscow Road, West Stockbridge, Massachusetts. Tickets and information are available at turnpark.com

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