Preview: Norman Rockwell Museum, "I SPY! Walter Wick’s Hidden Wonders"

Norman Rockwell Museum, Stockbridge, MA

www.nrm.org

through October 26, 2025

Shera Cohen

Marionettes-from-Hidden-Wonders

Walter Wick, an artist with a euphonious name from Hartford, CT is someone who many museumgoers should have heard of. Perhaps, those who frequent toy, books & hobby stores will recognize the name. After all, Wick has been an extremely successful artist for 50 years.

Norman Rockwell Museum’s annual summer/fall exhibit usually outdoes the prior year’s display. Cliché, but true. Wick’s name and work were new to me. I was glad that I corrected this unknown missing piece in my knowledge of art.

Filling 5 or 6 connecting rooms in the museum, visitors couldn’t help but smile…a lot. On display were gigantic photographs usually alongside equally large 3D storybook settings, creating entire villages all in miniature.  

I’m not sure who enjoyed the exhibit more – kids or adults. Actually, I must “vote” with the older visitors seeing images of 1950’s and 60’s life in small vignettes. Heard were so many saying, “I remember that.”

The exhibition is organized by themes, including Miniature Worlds; Floor Games; Craft-Built Worlds; Optical Illusions; I SPY Games; Puzzle Challenges, Wonders of Science; Connecticut Woods; and Curiosity Shop. A picture book of each category is sold in the gift shop.

The whimsical world of Walter Wick has fascinated people of all ages since 1991, when his first children’s book series I SPY found its way onto the bookshelves of millions of homes. The success of Wick’s books has established him as one of the most celebrated photographic illustrators of all time.

Wick began his career as a landscape photographer before becoming enamored with the technical aspects of studio photography. Wick found his niche in studying perception of space and time especially with the use of mirrors.

Wick’s I SPY: A Book of Picture Riddles resulted in the publication of more than 26 children’s books. His Can You See What I See series resembles an intricate, imaginative, and innovative version of Where’s Waldo; yet this is real art, not just a game.

My two favorite artworks were “Curiosity Shop” and “Pirate Doubloons”. Greeting visitors in the first hallway are hundreds of tiny toys from many generations, stuffed into what ‘ol-timers knew as the Curiosity Shop. The pirate boardwalk, while a bit more modern, was a step into a “Pirates of the Caribbean” gift shop/café – but again, every element was so small that it must have been torture and/or great fun for the artist to assemble and place each piece exactly where intended.

It was easy to spend at least a half-hour looking at each, even though dozens more story villages were around nearly every corner of the museum’s first floor. 

Yes, I had to purchase one of the colorful coffee-table books; a gift for my nearly 3-year-old nephew. But I’m not sure if I will only share it with Allen.  

Personal Thoughts: Tanglewood, Top Dozen Reminders & Rules

My Top Dozen Reminders & Rules

by Shera Cohen

(N) = nighttime rules only

1. Parking: Arrive early, always follow the traffic guides in their green vests, do what they tell you to do, you’ll be fine. Remember where you park. Each lot has a name,; i.e. Birchwood, Maple.

2. Rain: Bound to happen at some point. Those seated in the shed will be fine. If seated on the lawn, be prepared with an umbrella, tarp for your belongings, hoodie raincoat. The concert will NOT stop except for power outages and/or danger.

3. Smells: Perfume, cologne, hairspray, or scented soaps are mosquito magnets. However, each year Tanglewood seems to have more and more means to get rid these pests. (N)

4. Clothing, part 1: Wear light-colored clothing. Again, colors like red, purple, deep yellow make mosquitoes happy. (N)

5. Clothing, part 2: Bugs again! Wear long pants. Do not wear capris or bell-bottoms. The plan is to pull your socks up over the bottom of your pants, barring invitations to all bugs and a possible wet lawn. (N)

6.  Restrooms: There are two, either end of the Shed, lots of stalls. However, the problem may be finding your way back to your lawn seats especially after nightfall. Shed seats are fine because there are many volunteer ushers to help. (N)

7. Darkness: Bring flashlights or put your cell phone on shine. For a concert that starts at 8pm, it’s of course dark by 10pm. (N)

8. Golfcarts: Yes, there are some, but only for those with special needs. On occasion, when the audience is exiting, there may be some helpful young drivers who are eager to please walkers carrying lots of stuff.

9. Wheelchairs: You should bring your own, although Tanglewood has some. CALL AHEAD for rules, costs, and scheduling. Again, more helpful teens/20somethings appear for direct door to shed and return service. 

 
10. Food: 4 options. BYOFood, purchase at the nice and huge cafeteria, a combination, or neither. Because the cafeteria is not open for rehearsals, most people bring picnic lunches or return home. Concerts usually end around 12noon – 1pm; perfect time for lunch. No eating in the shed except water and maybe a crunchy bar. There are many picnic tables, benches, beer garden tables, and the pristine lawn to serve as a table.

11. Kids: For me, it is one of my favorite things on the planet to see little kids at Tanglewood. Somehow, even when they aren’t listening to the exceptional musicians and composers’ pieces, I think that by osmosis, the kids seep up the notes. Then there’s the flip side, at least for me. I have an unnatural fear of frisbees. Kids play on the lawn, mostly away from others. 

12. Personal Phone Calls: Oftentimes, novice concertgoers think that since the venue is a large tent-like bandshell, that this is somewhat like being outside and okay to use cell phones. Lawn seating, as well, is NOT an invitation to call anyone.

Personal thoughts: Tanglewood’s Open Rehearsals

Tanglewood, Lenox, MA

www.bso.org

Summer, 2025

by Shera Cohen

Rehearsal v. Concert

Regular Tanglewood visitors are aware that programs are scheduled every Saturday morning; these are orchestra rehearsals for the next day’s concert. Take out your calendars, write these dates down, and try to get to Tanglewood just once this summer. I ask no more.

The scheduled conductor and guest soloists take the stage along with the full Boston Symphony Orchestra. There’s only one noticeable change between the two days’ concerts; it’s casual Saturday as everyone wears summer pastels and shorts, and dress-up Sunday when the musicians wear the traditional classical music “uniforms”. As for the audience, whatever fits and is cool.

Is the rehearsal the exact program at the next day’s “real concert”? Sometimes, but not often. Some can be 2+ hours of start, stop, over, and over, as the conductor talks to various sections of the orchestra, making suggestions on how to perform with perfection. I fully trust the conductor’s decisions. Anything the BSO does is perfect in my book.

Most times, the rehearsal plays straight through until the end of each piece. Only then are segments extrapolated and rehearsed again. To have such a keen ear, I am amazed by the talents of conductors. 

For me, rehearsals are learning experiences in one of the most beautiful settings in this country. Prior to attending, I usually don’t pay attention to who’s performing, which composer, etc. Melding the sounds of classical music with the sights, smells, and touch of Tanglewood as a backdrop, just can’t get better on any Saturday morning.

Tanglewood: Rehearsal: Saint-Saens Piano Concerto No. 2

Camille Saint-Saens

The rehearsal program on July 26 included “La Calaca,” a contemporary work by Mexican composer Gabriela Ortiz; one of Beethoven’s well-known compositions, Pastoral Symphony No. 6; and Camille Saint-Saens’ Piano Concerto No. 2 in G minor, highlighting Lang Lang. Resident artistic director and conductor Andris Nelsons held the baton.

In the span of time it takes to perform only one composition, pianist Lang Lang (whose name I had only heard of) jumped to the Top Ten of My Favorite Musicians of All Time List”. 

I often enjoy sitting on the Tanglewood lawn in order to hear a somewhat different sound than when seated in the Shed. This was not the time!

Large monitors at stage left and right as well as outside the building project the soloist at his or her instrument. Up close, the audience can see the sticks against the drumhead, the bow along the violin strings, and fingers on the piano.

In Lang’s case, his skills exuded from his ten fingers, fists, arms, and entire torso. This man has to be seen, not just heard. It’s no surprise that numerous articles call Lang “superstar” and “rock-like musician”.

Learning piano at age 2 in China, and playing “The Nutcracker” publicly at age 5, Lang remembered that his first years of studying were like playing with a toy in his hands. Yet, the piano wasn’t as easy as his violinist father expected it to be. When Lang turned 9, his piano teacher fired him as a student. Mr. Lang was also sharp to criticize his son. “That was very, very difficult for me. I thought my piano career is over,” said Lang.

Jump ahead 8-years, Lang had a solid plan; to play with the biggest orchestra in America. “But in reality, I always play as a sub, waiting for somebody to get sick. You have to be ready all the time, because the opportunity comes in very fast. And if you catch it in the right way, you are in a game,” remembered Lang.

Andris Nelsons

His opening came with the Chicago Symphony at Ravinia Festival, subbing for pianist Andre Watts.

Lang is comfortable on all stages throughout the world; from small groups of children to his largest audience of millions at the Opening Ceremony of the 2008 Summer Olympics.

This is a musician who plays fast with energy on full-power, exaggeration, and arms flailing. It seems he might bounce off the bench. He loves the piano, it’s obvious. Those of us listening at this particular rehearsal, love him.

Note: Quotes paraphrased from Lang’s interview on NPR

Casting Call: HENRY & LUCY KNOX 1774 MINI-PLAYS

HENRY & LUCY KNOX 1774 MINI-PROMO PLAYS (LIVE)

The personal history of a young couple; two of the founders of the United States.

Project #1

September 13, 2025

Live reading in small black box theatre at Springfield Armory, Springfield, MA

• 1 white male, age 20, in 1770’s costume
• 1 white female, age 20 in 1770’s costume
• Short rehearsal time
• Live, 5-minute performances, same script repeated 4x during day
• MUST be available on September 13, 2025
• Scripts provides, to semi-memorize, but w/ script in hand (letters)
• Actors will look at each other as if reading actual letters
• Require, CLEAR, EXCELLENT speaking voices (no singing)

Project #2

Mid-November 2025 – January, 2026

Approx. 15-20 minute videotaped reading of Henry & Lucy Knox (as Project #1)

• 1 white male, age 20
• 1 white female, age 20
• Require, CLEAR, EXCELLENT speaking voices (no singing)
• Primarily reading actual letters
• Actors/reader may or may not be seen, if seen on videotape; in 1770's costume
• Plan is for actors to be voice-over as John & Lucy Knox
• Rehearsal time and taping in November, 2025 (requires venue)

Videos to appear: colleges, high schools, libraries, historic agencies, MA250 literature, MA250 website, Visitors Bureau website, Armory website, others

Notes:

• Need to hire: IMMEDIATELY
• Audition: Send recording and/or in person
• Producer: In the Spotlight, Shera Cohen  
• Video: Running Shoe Productions
• Actors: Ideally, same male & female actors hired for both Project 1 and 2
• Compensation: TBD, actors will be paid same amount. Less compensation if actors only do Project #1
• Credit: Actors to be given written & verbal credit where appropriate

Springfield, WMA, or MA residents preferred, in that order

Questions: spotlightinc@verizon.net. DO NOT CALL

REVIEW: Tanglewood, “A Tanglewood Weekend”

Tanglewood, Lenox MA

www.bso.org/tanglewood

July 18-21, 2025

by Shera Cohen

Three different orchestras in one weekend! Where? Where else but Tanglewood.

Boston University Music Center Orchestra

Andris Nelson

World-renowned conductor, and Tanglewood’s resident music director, Andris Nelsons led this full orchestra of 20-somethings; all exceptional students about to take their Tanglewood diplomas and resumes to orchestras throughout the world. This is what they have trained for. At first, I hadn’t realized that the musicians looked younger than I had expected. Actually, this was the first rehearsal that I’ve attended when the BSO was not onstage. How encouraging to see so many young musicians!

A constant at Tanglewood at 10:30am are rehearsals of the following Sunday’s afternoon concert. On this Saturday were works by two composers, who in my opinion, are not the easiest to perform: Hector Berlioz’s Symphonie fantastique,” and Sergei Prokofiev’s “Piano Concerto No. 2 in G minor”. The latter piece featured pianist Yuja Wang.

For the most part, Nelsons directed the orchestra straight through; later going back to improve on selected sections, in particular the rousing ending. As for me, I never heard a single note that needed fixing yet can appreciate what the young musicians must learn from the prominent man at center stage with the baton.

Boston Symphony Orchestra

Of the three performances, it was the BSO that hosted the concert dedicated to kids and their families. This annual event in July fills the Tanglewood Shed with countless little boys and girls. I mean little – not the teens who hopefully have already had a taste of Classical music – but toddlers standing approximately 30” or are carried. 

Conductor Thomas Wilkins runs the show. The man is charming, speaking directly to the kids, leaving out highbrow language and musical jargon. This is a participatory program; one which the adults in the audience can enjoy especially when watching their kid’s enjoyment. Wilkins throws in anecdotes about composers, music, BSO, and himself. Everyone laughs.

The program was eclectic, featuring music by Gould, Dvorak, Faure, Britten, and Beethoven; just the right length to hold a child’s attention; and varied. Some pieces, while familiar to many adults, are likely unfamiliar to anyone under age 12 and/or under 30”. Isn’t it amazing to watch children (some seated, some walking or running around) listen to professional artists, particularly those of the BSO, in a huge tent-like building as birds fly and chirp?

I had been introduced to Tanglewood at a young age; although not as young as these little ones. Yet, no one is ever too young or too old to experience symphonic music in a group setting.

Boston University Tanglewood Institute (BUTI)

BUTI photo by bu.edu

This unbelievably talented group are high school age whose homes are as near as MA and NY, and as far as Mexico and Taiwan. They are the proverbial “cream of the crop” of young Classical music talent, sincere in their future careers as musicians. At the concert’s start, the introduction from BUTI’s Executive Director Nicole Wendl, were words to hold onto; the relationship between the selection of talent onstage, coupled with the audience seated in Ozawa Hall make the music extraordinary, providing an energy to be acknowledged and appreciated. 

For me, Gershwin’s “Rhapsody in Blue” was the selling point to attend. A jazz version of RIB highlighting  the Marcus Roberts Trio, backed by the young artists, was a nice change to an old standard. Conductor Alexander Jimenez was very engaging throughout. It was obvious that the orchestra’s presentation of the melodic “Negro Folk Symphony” in three parts was as enjoyable to those onstage as in the audience. It was when the musicians brought out the fully equipped percussion section for Zhou Long’s “The Rhyme of Taigu” that the audience couldn’t stop their collective bodies from swaying and stopping their feet. The heavy use of drums and brass, almost sounding like stampeding elephants, was electrifying!

There’s still over a month left of a Tanglewood Summer!

Personal Thoughts: Trinity Irish Dance Company

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

July 10 – 13, 2025

by Shera Cohen

I won’t pretend that I know enough about most genres of dance to pen a bona fide review of Trinity Irish Dance. Yet, merely writing that I enjoyed their performance certainly does not give the troupe enough credit.

From the point of view of a layperson, who are probably most of our readers, I watch dance for the excitement, drama and/or humor, envisioning a story of some sort. The group can be large or soloists. The text that I loosely interpret might be incorrect and only true for me. But that’s okay.

It was a treat for Trinity to celebrate its 35th anniversary at The Pillow. They are known for their strength and aesthetics; the combination was an even and delightful mix.

The two-hour program filled what looked like every seat at the Ted Shaw Theatre. No surprise. Ever since Michael Flatley brought “Lord of the Dance” to the world’s stages, every nationality instantly discovered what Irish Dance was all about. In fact, Trinity Irish Dance is often credited as a predecessor to “Riverdance”. 

Performing arts can be every bit as pleasant, emotional, and/or exciting to newbie audiences as much as to diehard, knowledgeable fans. Not that I am a daring person, but I have experimented with performing art forms, hoping that I just might like at least one or two. That was my expectation at the Irish Dance concert, going in with only one pre-conception: if the Pillow’s reputation of selecting only the best, then I was in for something worthy.

My expectations were well-founded. The approximately 25 young female and male dancers made for a lovely site. The first segment on the program was Irish as could be. Ah, this is what I came for. However, as the dances proceeded, there was one, unfamiliar, and very pleasant twist; these dancers smiled! I thought that was verboten. In addition, they used their arms above their heads, in front, and even touched each other. Step dance is known for its rigidity, but this concert proved that it was not mandatory. 

At the center of the program was a recently created piece titled “The Sash,” a black & white video coupled with the dance movements for a raw political story. This piece was bookended by two lengthy and far-less dramatic works.

This is to say that while I am not a dancer, only studied dance for 6-weeks at age 10, and have no Irish heritage, when given the opportunity, there is a lot of room in my life to experience the skills and beauty of a new (to me) art form. Try it…you will like it.

NOTE: While I didn’t have a chance to peak into the new Doris Duke Theatre, from the outside it looks very inviting. Maybe next time.

Preview: Anita Kunz: Original Sisters Portraits of Tenacity and Courage

Norman Rockwell Museum, Stockbridge, MA

www.nrm.org

November 9, 2024 through May 26, 2025

by Shera Cohen

You probably see her shopping in the grocery, jogging the treadmill at the gym, or sitting beside you at the conference table. Who is she? She’s smart and savvy, eager and diligent, tenacious and courageous. She is many women. She might be you.

Anita Kunz (b. 1956)
Illustration for Original Sisters: Portraits of Tenacity and Courage by Anita Kunz
(New York: Pantheon)

The unassuming, yet internationally renowned and award-winning, sketch artist Anita Kunz brought a group of 12 media folk on a special tour through her current exhibit “Original Sisters: Portraits of Tenacity and Courage” at the Norman Rockwell Museum, Stockbridge, MA. Leading the group and answering questions along with Kunz were two staff representatives from NRM. 

While the name Anita Kunz may not be familiar to many, it is a sure bet that her art is; seen through the years in Rolling Stone, The New Yorker, Vanity Fair, Time, and many other magazines. Book covers are a big part of her talent, having illustrated over 50.  

Yet, Kunz is rather shy about her own accomplishments. Referring to the NRM exhibit, she credits the success of the “Original Sisters” drawings of 300+ accomplished women, not to herself, saying, “This is not about me, it is about them.”

Filling nearly every inch of wall-space in several of the Museum’s large connecting exhibit rooms are illustrations of faces upon faces in equal sized frames depicting portraits of women; some famous, some not, some alive, and others not. It’s safe to say that all ethnicities, races, and ages are represented throughout the centuries and the world.

Why would any one artist set her mind on such a massive project? Probably one answer was timing; during the height of the COVID-19 pandemic. Under unknown circumstances, how can any single person fill time meaningfully?

Since no one knew how long the pandemic would last; Kunz had no deadline for her project. That said, she was positive that she would never run out of faces to draw.

Her decision to focus on women of strength, each in her own milieu and era, came from curiosity, asking, “How come I never knew about these women?” 

At her studio in Toronto, the isolation of the world-wide disease set her on a journey searching the internet for information about notable women in history.

Important to know is that Kunz’s exhibit is fun. Many faces are humorous as they look at the NRM visitor looking at them. Knowing Rockwell’s own work, it’s not surprising that guest artists’ subjects have a twinkle in their eyes or half-smile. Mr. Rockwell would be pleased.

Of course, many women’s names and faces were recognizable to Kunz and to most of us; i.e. Maria Callas, Isadora Duncan, Queen Elizabeth I, Anne Frank, and Gloria Steinem.

Then there were the subjects who were rather well-known from history books but without memorable faces; Edith Head, Nina Simone, and Dorothy Parker.

For those with no references to fall back on -- the unknown and the unnamed -- Kunz let her imagination create: Amanirenas, African warrior queen who defeated Augustus Caesar (died circa 10 BCE); St. Elizabeth of Hungary, princess who vested herself of all trappings to the needy (1207-1231); and Tomoe Gozen, legendary Japanese samurai warrior (circa 1157-1247).

Exploring and studying vast amounts of knowledge was essential to depict the “tenacity and courage” within each subject along with writing succinct bios. 

The drawings are not sketches, later to become finished products. Kunz’s task – to unrelentingly draw a woman-a-day, without fail, complete art pieces set to frame and mount.

The commonality of her subjects are the triumphs of the women; whether it be with the hindsight of history (Sojourner Truth 1797-1883) or through current events (Greta Thurnberg b. 2003).

NRM curators have put logical thought into the placement of the pictures. Oftentimes, one portrait faces another as if in conversation. Other women are deep in thought, having fun, or purposely facing her audience.

Each woman is shown in color primarily on a flat one-color background. The subject’s actual signature appears in different forms. It is obvious that Kunz took great care in fitting the names with the pictures. Whenever possible, the signature is written in the native language (Egyptian feminist philanthropist Huda Shaarawi), others are bold in block letters (US vice president Kamala Harris), or in a font which replicates the accomplishment of the woman (television credits for soap opera pioneer Irna Phillips).

Visitors to NRM will need more than a few hours to view and read about each woman. If that is not a possible, Kunz’s coffee table book is not a substitute, but a companion on the page. 

At the start of the project, and throughout, some names were culled from those suggested to her by people she knew as well as strangers who knew about her quest to honor women. Since COVID has somewhat subsided, Anita Kunz is no longer isolated in her home questioning herself, “What should I do next?” In fact, she has lots more women on her “to do list”. She actively seeks suggestions of women of tenacity and courage.

[This exhibit] is a tribute to those upon whose shoulders I stand with gratitude, respect, and love.  Anita Kunz, November, 2021

Preview: "Bravo: Adele Addison", A Celebratory Event

November 3, 2024, 2pm-3pm

Community Music School, 

127 State Street, Springfield, MA

Adele Addison in 1955
Photographed by Carl Van Vechten

Adele Addison sang her first concert at age 12 at Old First Church, Springfield, MA. Those were the first luscious notes from Adele’s soprano voice which led her to a professional career throughout the U.S., Europe, on recordings and film.

In the Spotlight is proud to formally honor Adele Addison for the first time in her home city of Springfield. Addison is 100 years-old. 

“Bravo: Adele Addison” will take place on Sunday, November 3, 2024 from 2pm – 3pm at the Community Music School of Springfield, 127 State Street, Springfield. Ideally, Addison would be in attendance, but due to her frailty at this age, a video tape of the program will be sent to her at her home. Admission is FREE.

July 24, 1925 was a special day in the history of Springfield, MA. On this date, Adele Addison was born. Addison, an African-American lyric soprano was a figure in the classical music world during the 1950’s and 1960’s. She appeared in several operas but spent most of her career performing recitals and concerts in world-stage auditoriums. 

Her performances spanned a wide array of literature from the Baroque period to contemporary compositions. She is best remembered today as the singing voice for Bess (played by Dorothy Dandridge) in the 1959 movie, “Porgy and Bess”. Known for her polished and fluent tone, Addison made a superb Baroque vocal artist. Many of her recordings were with the New York Philharmonic under the baton of Leonard Bernstein.

As a teenage, Addison was selected to sing as a soloist with the Springfield Symphony Orchestra at Symphony Hall (then called Springfield Auditorium). Addison began dedicated vocal studies as a teenager and, following her graduation from Classical High School in 1942. Her Classical High School yearbook states, “She sings like a bird”. 

The singer won her first scholarship to study at the Westminster Choir College in Princeton, NJ. Further scholarships enabled her to pursue graduate studies at Princeton and attend summer sessions at the Berkshire Music Center (now known as Tanglewood).

She continued to study voice at the Juilliard School, and in 1955 she made the prestigious stage appearance with the New York City Opera, debuting as Mimi in Puccini's “La Bohème”. The New York Post said, "…about the most appealing interpreter of the Parisian seamstress yet to appear on the City Center stage. Small, frail looking, and pretty, Miss Addison enhanced these assets by acting and singing with moving poignancy and sincerity."

The Music School’s entry on State Street will be open with a greeter at the door. The venue is wheelchair accessible. Parking is located behind the school and on-street. NOTE: 11/3 begins Daylight Savings Day.

The program is sponsored by a grant from the Springfield Cultural Council, an agency of the MA Cultural Council.

Additional support for “Bravo – Adele Addison” comes from: the Community Music School, Springfield Museums, Springfield Women’s Commission, and FOCUS Television.

For information email spotlightinc@verizon.net

PREVIEW: Paradise City Arts Fair

3 County Fairgrounds, Northampton, MA

www.paradisecityarts.com

October 12, 13, 14, 2024

Nearly 30 years ago, Bravo Newspaper’s 24th edition was hitting the streets. Lauren Grossman and I were publishers. One of the cover-page, above-the-fold, articles featured the new Paradise City Arts Fair. 

What was once a racetrack, were now dusty and murky grounds and large empty barns. Husband-and-wife artist team, Linda and Geoffrey Post, then created something beautiful literally from mud. Needless to say, at first the couple questioned each other, asking how can we transform this venue to showcase quality crafts and fine art? Would people come from throughout the country to a small New England town? 

Hindsight is, of course, 20/20. Amazingly and thankfully, Paradise City has become one of the “Top 10 Art Fairs sand Festivals in America”. [AmericanStyle Magazine]

Paradise City has boasted attendance far beyond the Post's expectations. Annually, among the huge groups of enthusiasts and shoppers is me.

All of the art, of every genre imaginable and some never imagined, is high-end because it is among the best of the best in the United States. I can only imagine the fun and feigned torture the judges must go through in their selection process. I would love that job.

If you attend, and I hope you do, plan for at least 3-hours viewing the crafts, talking to the creators, walking by the outdoor sculpture, and lunching in the giant food/music tent. Local musicians perform throughout the fair.

“My tried ‘n true method” of experiencing the fair, and not to exceed my self-allotted 3-hours, is to realize that I can’t see everything. Hard as it is to believe, but there can actually be too much art.

With no offense to jewelers, of which there are many, I skip all. Someone else might set jewelry as their first destination. It’s all to one’s liking. 

Crafters are located in attractive spaces in each barn or on the lawn, with a variety of each art form at every venue. Many of the artists are old-timers, yet the organizers make sure there is room for first timers as well as locals. No matter the category, each vendor must be vetted.

Paradise City’s crafters include the genres: metal, leather, wood, painting, photography, mixed media, furniture, fiber, works on paper, glass, ceramics, and jewelry.

My 3-hour clock is ticking – what to look for? My first instinct would be paintings and photography. Why? Because I have no skills at either which makes me appreciate the talent of others even more. Whimsy, unusual, new; these are a few of my favorite things; i.e. furniture that looks like humans [think “Beauty and the Beast”] or a metal 8’-foot tall whooping crane.

I surprise myself each year when I gravitate to two particular artists. The surprise is that I normally do not like sculpture or ceramics (I refer to as pottery). Yet, without fail, I purchase at least one item from each – an example of my personal goal to support living artists when possible.

The sculpture pieces are large brass tree limbs with multi-color, delicate leaves for a wall creation. The artist has designed the branches so the patron can add more branches, twist the shape, and grow larger wall art…or not. 

The second crafter specializes in small, unusual, usable ceramics with waves and splatters of color in green and blue. My first purchase was many years ago with my mother as my guest. She loved these works of art. With her birthday two weeks later, this became the ideal gift. Year after year, fair after fair, when my mother was unable to go, I would make another selection for her. Mother’s Day and Chanukah gifts just kept on coming. 

When Mom passed away, at age 99 ½ (half-years count when you are a toddler and a senior), I inherited each bit of pottery that I had gifted her. I said to myself, “I live in a condo. I have no more room for these”. Yet, discovered that when something is important, there is space for it and for the memories.

ON THE ROAD: The Mount, Lots of Talking in the Berkshires 2024

The Mount, Lenox, MA

www.edithwharton.org 

by Shera Cohen

Nearly every performing and visual arts venue in the Berkshires provides the opportunity tolearn about the particular genre’s history, techniques, and personal stories. For me, this was the “Summer of Talks”. I felt, and still do, that I had to spend most of my awake vacation hours watching the part of the art with physical movement: dance, music, theatre. I’ve learned that I can appreciate even more.

Summer Lecture Series

In its 30-years, the Mount (home of prolific author Edith Wharton) has hosted its Summer Lecture Series. On average, one author speaks on his/her book, twice each week. All lectures include Q&A.

With attendance bursting the proverbial seams of the original Barn venue, the series has moved to the grounds under a huge tent. 

Authors of fiction or nonfiction discuss the writing process, research, publishing, and other aspects of making the piece complete.

Oftentimes, the books’ focus is on historical figures. Upcoming are authors: Jonathan Eig, Deborah Cohen, Charlotte Gray, and Brenda Wineapple.

Masters Series

In its second year, author Andre Bernard, former VP of the John Simon Guggenheim Memorial Foundation, interviews well-known, much-published authors.

My latest “to do list” now includes reading any Lauren Groff novel. This prolific, young writer juggles writing  at least three books at a time. Groff’s most recent, “The Vaster Wilds,” has consistently received excellent reviews since published in 2023.

This series is an introduction to authors who are favorites of Bernard. I suspect that Groff’s works are as fascinating, colloquial, and unflinching as her personality. Without going into particulars, Groff was not afraid to step on toes in her not-so-subtle comments on the banning of books.

Next up in the series: Rosanne Cash’s “Composed,” Jonathan Alter’s “His Very Best: Jimmy Carter, a Life,” and Michael Pollan’s “This Is Your Mind on  Plants”.

Wharton Revisited Series

For over a century, authors, performers, and artists have been drawn to Edith Wharton’s writing. This latest series of talks explores recent adaptations on the page and for the stage.

The opening talk, titled “The Shadow of a Doubt,” discussed the long-lost, hidden away Wharton play of the same name, written in 1901 and discovered by two scholars in 2016. Director Peter Hinton-Davis and designer HAUI explained the concerns, complexities, and character development in mounting the world premiere at the Shaw Festival in Canada. The audience heard about every nuance and detail of behind-the-scenes work to make this Wharton-penned play into an ultimate production.

Future speakers are: Joan Ross Sorkin, Mariah Fredericks.

It certainly makes sense that Wharton’s home has become the venue for discussions on authors.

ON THE ROAD: Some of my favorite things & other stuff in the Berkshires

by Shera Cohen

Gift Shops, everywhere – Years ago, I wrote an article on performing art, museum, and historic home gift shops. Why? Because I am a souvenir store fanatic. My mug collection can no longer fit in my kitchen. But everyone sells mugs. Unique in variety, quantity, and themes related to the particular venue are: The Mount’s Book/Gift Shoppe, Tanglewood’s Glass House, and Ventfort Hall’s Parlor of period items.

Jacob’s Pillow Visitors Center, Becket – There’s more to the Pillow than dance. Guests can enjoy art shows, videos, talks, displays, and one-shot seminars all free. Films and photos about the Pillow’s founding as well as snippets of dance to take the stage in upcoming weeks are always on display. Suggestion --  arrive early.

Museum Outlets, Pittsfield – Around the corner from Berkshire Museum is this attractive store aesthetically jam-packed with mid-range and unique chachka. It never fails that I don’t purchase a gift for someone and a gift for myself. The store’s primary business is framing book binding images of antique novels. 

Signage, everywhere – Realizing that a huge percentage of Berkshire art lovers reside elsewhere and realizing that the Berkshires is not just one dot on a map (do they still make maps?) but large in geographic land mass, it would be extremely helpful to see more signage. I don’t mean highway signs and arrows, but location markers once near or at the venue. Great Barrington Public Theatre, located on a college campus, is a tough site to navigate.

St. Francis Church Gallery, Lee – I would change the name of this art show/gallery to one less clerical. Yes, the location is an old church, but a whimsical metal sculpture of Jack Benny at the violin stands by the front door. Nearly three-quarters of the art is that of local professionals. The balance are artifacts from Kenya. Annually, the gallery’s owner travels to African to help educate and promote the talents of young people in pursuit of expressing their artforms. Eclectic best describes this venue.

Rehearsals, Tanglewood, Lenox – What once seemed like a secret, has become the best secret that everyone knows – Tanglewood’s Saturday morning rehearsals. Tix are far less expensive, dress is ultra-casual, lots of kids on the lawn, and sometimes the music unexpectedly stops. The reason is that the conductor, with his deft ear, needs to make changes during rehearsal so that the end product is perfection.

Shakespeare & Company’s Outdoor Theatres, and any other outdoor venues, Lenox – One of my least favorite things on the planet are mosquitos, although the Berkshires seems to have been taken over by gnats this year. Patrons at S&Co. tented plays must deal with the elements. As for me, my jewelry of choice are yellow twisty bracelets on each arm. I’m not sure if they are loaded with DEET, but it works. 

Ice Cream, everywhere – I once read that MA is one of the highest per capital ice cream devourers’ states. Seems odd, but apparently, we eat the treat in all seasons; even winter. Whether in a cone, a dish, as a sundae, or a drink, downtown Lee, Lenox, and Stockbridge have small stores selling locally churned ice cream. Yummy.

Explore these and more Berkshire destinations at: https://berkshires.org

ON THE ROAD: Berkshires Summer Vacation 2024 or, what to do in 5 straight days at 90+ degrees

by Shera Cohen

Each day predicted rainfall was over 60% with strong winds, thunderstorms, lasting for hours, even potential hail. Not that I’m complaining that none of this did occur, although it might have given a bit of reprieve from the heat. But then, I had no choice but to manipulate my plans and try to be spontaneous – yes, an oxymoron. 

The following were the “go to” and “stay home” programs on my “How I Spent [part of] My Summer Vacation” agenda.

"Mornix"

Jacob’s Pillow, Becket www.jacobspillow.org – I won’t pretend to be a connoisseur of dance.
Yet it’s a pleasure to learn about art genres that are not my bailiwick, while explaining to readers that, perhaps like them, I know what I like and no more. One professional, international dance company takes the Ted Shawn Stage for a week. Good to know: the barn-like theatre has AC. In many cases, young girls fill the seats; wannabee dancers. It’s obvious that they love the programs.

Since the horrible fire of a few years ago which destroyed the Pillow’s second stage, JP’s summer program is atypical, yet it works. The Pillow utilizes its Outside Stage more often than ever to showcase numerous smaller dance companies or individual artists proving their talents for one-shot gigs. What an excellent opportunity for many who might not have had on a stage, let alone the prestigious JP stage.

Switzerland’s Ballet du Grand Theatre de Geneve has been prominent throughout Europe for over 60-years. The term “ballet” seemed to be a misnomer, as the three pieces were not indicative of my expectations. “Noetic” created full-company modern dance tableau images. “Faun,” developed a growing love story between a male and female faun. Not that the Each dancer’s nuance from head to toe transformed themselves into two lovely animals. The final piece, “Strong,” was the epitome of a 40-minute flawless program of mesmerizing, synchronized movements; a nonstop performance that required incredible strength, focus, and stamina.

Argentina-based Social Tango Project combined equal parts: dance, live music, still images, and video documentary. This genre of dance brings tango to the concert stage in a way that audiences have not seen before. The dancers had been primarily based in Argentina. The essence of the South American culture is at the core of “the project”. 

Fragile Beauty Exhibit

Clark Art Institute, Williamstown – www.clarkart.edu/museum From various readings, I believe that Clark is considered one of the finest museums in the country. I am thrilled that this large, multi-faceted building which is home to the “A List of Artists” of the past two centuries is here in MA, and a “must” on my Berkshires vacation calendar. Only by coincidence on my part, did we visit Clark on opening day of the Edgar Degas exhibit (through 10/6/24). This artist’s name is synonymous, along with that of others, with Impressionism.

The large billboard signs depicting Degas throughout the Berkshires are, however, a bit of a misnomer. I was mistaken that Clark had mounted a Degas exhibit of many of the artist’s genres; these were works on paper only, such as sketches and essentially first drafts.

The star of Clark’s 150th Anniversary of the First Impressionist Exhibition (through 10/14/24) is Guillaume Lethiere. Who? This man, whose skills to my untrained artistic eye, are equal to those whose names we all recognize. At least one-half of the Clark Center’s lower level is devoted to Lethiere as well as his followers in the same era; late-18th/early 19th centuries. 

Usually, I pace myself too quickly when viewing galleries. I do not give the artist his due. Yet, Lethiere’s images and accompanying stories alongside grabbed me, in a sense, as if he would say, “Hey, 21st century woman, I realize that my name isn’t Cassatt, Renoir, or Manet, but I’m damn good. Just take a look.”

Shakespeare & Company, Lenox – www.shakespeare.org If you like, or even love, the Bard, this is a must. If you like (primarily) contemporary theatre, S&Co. is still a must. “A Body of Water” is a contemporary play about a senior couple and a young woman who invades their privacy. The Roman Theatre is a snug alcove adjacent to one of the property’s buildings. The site is intimate, sound is flawless, yet mosquitos are aplenty. Spray and/or a bug bracelet will pretty much cure that problem. See review.

Back home, South Lee – Scrabble. We play a mean game. Suggestions: bring a game or book, watch HBO, or all 3. 

Great Barrington Public Theater, Great Barrington - www.GreatBarringtonPublicTheater.org GBPT is a relatively new group, located on the campus of Simon’s Rock.  I couldn’t have written a better review of “Survival of the Unfit,” a drama/comedy than that of In the Spotlight’s reviewer. One important suggestion: this is a college campus with many buildings, we spent a half-hour to find the theatre. SIGNAGE please. 

Mass MoCa, Williamstown – www.massmoca.org While looking forward to the Plastic Bag avant guard exhibit we couldn’t fit in the time; this unique static show is featured hand-in-hand with a movie specific for the exhibit. Just because I missed it, doesn’t mean you have to. 

Emanuel Ax

Tanglewood, Lenox – www.bso.org/tanglewood The coolest day in July, at 78 degrees, was ideal for a trip to the best-known attraction in the Berkshires. Many don’t realize that Saturday mornings offer music on the pristine acreage of Tanglewood. All rehearsals are open, whether sitting in the shed or on the lawn, for the BSO musicians to prep for Sunday afternoon’s concert. In most cases, the schedule is performed in its entirety with a few notes to artists from conductor Andris Nelsons. Those onstage are dressed in casual summer wear, as is the audience.

The program’s highlight was pure excellence to listen to pianist Emanuel Ax play Beethoven’s  Piano Concerto No. 3 in C. minor. Opus 37. Not being familiar with the music, my focus was on Ax, who always appears to be one of the unassuming geniuses of this era.

Richard Strauss’ sprach Zirathustra, a very long, powerful symphonic poem for full orchestra seemed to reach the sound panels of the shed to ricochet throughout the tent. This could be wrong, but quick research on my part implies that composer Gustov Holst borrowed some sections of Zirathustra for his own The Planets. Even later still John Williams used several portions of this same music. I was convinced that I was listening to Star Wars. I googled to check if all this borrowing was legal and kosher. Yes. 

Back home – More Scrabble. By this point it was nearly 100 degrees; even too hot to walk to the pool.

Don Quixote at TurnPark

TurnPark, West Stockbridge – www.turnpark.com Not so long ago, I visited TurnPark the year it opened. There wasn’t much to see, except huge, whimsical sculptures of Einstein and Don Quixote. Both still reside on the boulders and shrubbery of the large expanses of land. The owners are a Ukrainian family from who traveled through Russia, Europe, and finally the U.S. to pick the exact location they wanted for their sculpture showcase. By chance, TurnPark’s address is Moscow Road. New this summer is “Lost and Found,” a series of homes for gnomes; sweet, charming, and small. Hikers would be especially interested in this art venue.

Back home – Scrabble, yet again. 

--------------

However, yet to come as my Berkshires Vaca continues are the following. 

The Mount, Lenox – www.edithwharton.org The ongoing, amazing, huge sculptures throughout the  acre of Edith Wharton’s home. Plus, a summer of weekly or bi-weekly author talks. I’ll be there at least twice. 

"Boeing" photo by David Dasheill

Barrington Stage Company, Pittsfield – www.barringtonstageco.org Earlier in the summer, I had seen the marvelously entertaining “La Cage aux Folles”. See review here. Next up will be Boeing, Boeing starring 3 of my favorite actors in the Berkshires.

Berkshire Museum, Pittsfield – www.berkshiremuseum.org On my docket for next week is to see three new exhibits: The Wild Indoors paintings, Black Woman as Muse photography, and Imaging Women in the Space age multi-media program. For a relatively small museum, it’s packed with a lot. 

Berkshire Theatre Group, Stockbridge & Pittsfield – www.berkshiretheatregroup.org The week prior to my vaca, I spent 2.5 hours laughing at “Mel Brooks’ Young Frankenstein”. See review at inthespotlightinc.org. It seems to me that BTG has put a lot of effort in mounting its best season in many years; I want to attend everything! A good mix, more musicals, small plays, and casts of thousands, or less.

REVIEW: Shakespeare & Company: So, you don’t like Shakespeare…or you think you don’t like Shakespeare

REVIEW: Shakespeare & Company, “The Comedy of Errors”

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 18, 2024

by Shera Cohen

So, you don’t like Shakespeare…or you think you don’t like Shakespeare

Photo by Katie McKellick

Every decade or so, I write an article focused on my annual visits to Shakespeare & Company, Lenox, MA (S&Co). At the same time, each year, I make a point that my Plus 1 guest is a person who falls into either of the categories of this article’s title.

My mission is to convert Bard naysayers to Team Will Cheerleaders. Okay, that’s a big challenge. At the very least, I hope to help others appreciate the stories of 500-years-ago and realize that perhaps there are lots of things about attending live performances that can be enjoyable.

“The Comedy of Errors,” running July 13-August 18 at S&Co, as the venues “big play” of the season, is an ideal piece of theatre for novices for a variety of reasons. 

1) This is, as the title states, a comedy; far easier to understand than the dramas or history plays. If some of the language is difficult, the actors’ movements onstage (a lot of running around) fill in the blanks. You don’t need to understand every word. You won’t, and that’s okay. A suggestion would be to ask any of the many kids in the audience. They “get it”!

2. The time period is Coney Island in the early 1900’s. Oh, not in the 1500’s somewhere in Italy? Would Shakespeare approve of S&Co taking such liberties with his work? I think so. In fact, I believe that he would be the first to applaud the creativity of a different era and location that never existed in his own lifetime.

Photo by Katie McKellick

3. S&Co takes its productions very seriously, but no one says that you can’t laugh hysterically as well. Its directors, set and costume designers, and vocal coaches are all pros, many of whom are experts on the Bard.

S&Co has replicated the original Globe Theatre in England on an open-air stage, mounting the play on its outdoor amphitheater. The story takes place on flat wooden flooring in the center base surrounded by seating for approximately 200. There is nearly always a full house.

4. Adjectives that describe “Errors” are fun & fast, colorful & crazed, loud & louder. Be assured that every Bard play at S&Co has music; “Errors’” is honky-tonk and jazz. Actors wear a lot of day-glow yellow and motley attire. The lighting is a mix of electronics with nature when the sun gradually dims on the 7pm show.

5. The plots of Shakespeare’s comedies are, for the most part, similar: mistaken identity, usually twins mistaken for each other. In the case of “Errors,” there are two sets of twins; double the laughter, double the gymnastics, and double the pratfalls.

Experience “The Comedy of Errors”. You might not be a convert, but you will have fun. 

Commentary: SSO, "MLK, Jr. Celebration"

Springfield Symphany Hall, Springfield, MA

www.springfieldsymphony.org

January 14, 2024

by Julia Hoffman

We appreciate when art lovers read "In the Spotlight." On occasion, individuals write to us directly. Because this patron's praise of SSO's January concert was so exuberant and honest, "In the Spotlight" presents it along with that of our music reviewer Lisa Covi, here.

On January 13, 2024, The City of Firsts, Springfield, MA, experienced a Night of Firsts with the Springfield Symphony Orchestra. Damien Sneed, guest conductor for this evening, presented the world premiere “A Symphonic Homage to the Duke”. A beautiful arrangement commissioned by Springfield Symphony and composed by Sneed featured three Duke Ellington songs. Sneed is multi-talented as a pianist, vocalist, organist, composer, conductor, arranger, producer, and arts educator whose work spans multiple genres. Growing up with Gospel music in Augusta, GA, he refused to be defined by one genre alone and successfully branched out to Classical and Jazz. Springfield reaped the benefit of his leap outside the lines.  

In the Symphony pre-talk, [I urge symphony audiences to attend these free, short lectures] we were introduced to our featured artists; two young men of immense talent. Jason Flowers II from St Paul, MN studied Master of Music in Piano Performance at Manhattan School of Music and Master of Education at Columbia University. He is now a music teacher employed by NYC Department of Education. Teaching science and math in the Bronx, as well as music, is awe-inspiring enough, but his talent at the keyboard is undoubtably where his future lies. Flowers' featured piece, "Yamekra," written by the great jazz pianist James P. Johnson in 1927, pays homage to the Negro settlement on the outskirts of Savannah.

The second featured artist of the night, Mebrakh Haughton-Johnson, The SSO program booklet states, he studied in his hometown of London at the Royal College of Music and now studies for his Master of Music in Clarinet at the Juilliard School, NYC. His piece was a jazz suite for clarinet composed in 1993 by David Baker. Three Ethnic Dances featured as many varied styles; jitterbug, slow drag, and calypso.

Women were not left off the program. In this case, African-American female composers were highlighted. Presented were Florence Price's "Colonial Dance and Concert Overture No.1" based on the spiritual “Sinner Please Don’t Let This Harvest Pass.” Additionally, Margaret Bond’s Montgomery's "Variations" was dedicated to Dr. Martin Luther King, Jr.

To hear a 74-piece symphony play jazz with such talented featured artists will long be remembered. Congratulations to SSO for inspired programming, for giving showcase to voices less heard, and for providing another level of talent that we’ve not heard before from our beloved Symphony. This was a very special evening. As Damien Sneed said when introducing the two young talents, "Jason Flowers II and Mebrakh Haughton-Johnson are going to be famous, and very soon. But you heard it here First." 

Preview: Springfield Armory, "Voices of the Armory"

Springfield Armory National Historic Site, Springfield, MA

www.nps.gov/spar/index.htm

Saturday, September 9, 2023

1 to 4p.m

Voices of the Armory will celebrate the communities of Armory workers, past and present, who shaped modern day Springfield. Join us for special programming, temporary exhibits and refreshments as we honor the workers who made the Springfield Armory a success.

Did you, a family member, or friend work at the Springfield Armory before 1968?

Friends of Springfield Armory would like to hear the stories of people who worked at the Armory before its closing in 1968 as part of a larger project to highlight the workers history of the Armory. If you, a family member, or a friend have memories of that time and would be willing to share your experience with the Friends of the Armory, contact the Springfield Armory, info@friendsofthearmory.org

When is an Artist a Genius? A Tribute to John Williams at Tanglewood

Tanglewood, Lenox, MA

www.bso.org/profiles/john-williams

August 5, 2023

by Shera Cohen

Photo Credit: BSO.org

If I was asked to define the work of composer/conductor John Williams in a single word, I would quickly answer, “genius”. Whether this is Webster’s definition or not, I really don’t care for the purposes of this article. I doubt that many would disagree with my description of this amazingly talented man.

On the evening of August 5, 2023, I was among the thousands charmed by the skills of John Williams and the Boston Pops Orchestra. Adding the magnificent grounds and ambiance of Tanglewood, a clear sky, and 75-degree weather made for the proverbial perfect day. My usual Tanglewood excursion includes dousing myself in bug spray. For some reason, I forgot this part of my regime; surprisingly the site seemed mosquito-free.

Tanglewood hosts Mr. Williams annually, or with the luck of precise scheduling, twice each summer. To date, I have been lucky enough to attend most of these glorious concerts, even the year that I broke my leg. If John Williams can stand to conduct the Boston Pops hour-long Act II of “Film Night” then walk across the stage and back countless times – each time earning more accolades than the last – then I can hobble on the grass with or without broken body parts. Yes, this 91-year-old man is a genius.

David Newman, an accomplished composer and conductor himself, lead the BSO in the first part of the evening’s program, all the while praising the talents of Mr. Williams. 

The program offered the Boston University Tanglewood Institute Young Artists and Vocal Program Chorus the unforgettable opportunity to sing some of Williams’ scores from the Olympics Anthems as well as “Star Wars”. I can only imagine how the members of these youth choruses will feel about this moment 50-years from now.

Although I hadn’t picked up a program book until the concert’s end, it was obvious that the Suite from “Far and Away” was imbedded with an Irish lilt, “Superman” focused on the Love Theme for a softer section rather than the “up in the air…it’s Superman” segment.

My favorite music piece was “The Cowboys Overture,” not movie music, but television. The fast-paced rousing segments brought back memories of good westerns which I’d seen as a child, as well as the theme of “The Marlboro Man”.

This concert focused on the lesser-known works by Williams rather than Indiana Jones I – 5. The second part of the concert was heavy with “Star Wars”. Accompanying those onstage, was a superbly edited montage of Olympian to Williams’ “Call of the Champions,” which I hadn’t realized was yet another display of genius.

If I am not wrong, “The Theme from Shindler’s List” is included at each Film Night. Mr. Williams’ music is not all pomp, circumstance, marches, and continuously embellished themes. Elita Kang’s violin set a serious, melancholy tone. Sometimes, it is amazing that the man who brought us the “crushing” music of Indie, Luke, ET, Superman, et al, can compose the softness and sadness of “Shindler’s List”.

In his own words, “Writing a tune is like sculpting. You get four or five notes, you take one out and move one around, and you do a bit more and eventually, in that rock there is a statue, we have to go find it”.

I have never met Mr. Williams. Although he once sat six rows in front of me, I doubt that that counts. His stance onstage, his appreciation of the audience implies to me that he is a humble man, just doing his job – the job of a genius.