Will Call

Norma Dream is the songwriting project of Norma Jean Haynes: folksinger, banjo player, and wandering musician. Based in western Massachusetts, Norma Jean has followed a love of traditional song to Corsica, Bosnia, England, South Africa, and Appalachia, and her original songs are inflected by these experiences. Her debut album, Mothers & Daughters, embarks on an exploration of nature and relationship as she strives to define a tradition of her own. Norma Dream’s forthcoming album, entitled Mercy Drops: une catalogue des brûlages, seeks to capture the experience of a summer spent in Corsican with songs in English and French. At once timeless and timely, Norma Dream’s original material uses traditional idioms to explore contemporary life. With a feather-light voice and a backbone of New England grit, Norma Dream is where Emily Dickinson meets Pete Seeger, where Robert Frost meets Anne Briggs, and where Edith Piaf meets the Hilltowns of Western Massachusetts. Accompanied by her father Christopher Haynes—celebrated local pianist and accordionist whose credits include Claudia Schmidt and the Young at Heart Chorus— along with fiddler Ben Wetherbee, Norma Dream promises to win your heart with her originality, simplicity, and sense of wonder. Norma Dream’s Upcoming Dates .stk-ea33044{background-color:#e49f3e !important}.stk-ea33044:before{background-color:#e49f3e !important} .stk-d69b40b{border-radius:50px !important;overflow:hidden !important;padding-top:8px !important;padding-right:8px !important;padding-bottom:8px !important;padding-left:8px !important;margin-right:auto !important;margin-left:auto !important}.stk-d69b40b .stk-block-tab-labels__text{color:#999999 !important}.stk-d69b40b .stk-block-tabs__tab{color:#999999 !important;padding-top:8px !important;padding-right:24px !important;padding-bottom:8px !important;padding-left:24px !important;border-radius:50px !important}.stk-d69b40b .stk-block-tabs__tab.stk-block-tabs__tab--active .stk-block-tab-labels__text{color:#ffffff !important}.stk-d69b40b .stk-block-tabs__tab:not(.stk-block-tabs__tab--active):hover{background:#dddddd !important;opacity:1 !important}.stk-d69b40b .stk-block-tabs__tab .stk--inner-svg svg:last-child,.stk-d69b40b .stk-block-tabs__tab .stk--inner-svg svg:last-child :is(g,path,rect,polygon,ellipse){fill:#777777 !important}.stk-d69b40b .stk-block-tabs__tab:not(.stk-block-tabs__tab--active):hover .stk--inner-svg svg:last-child,.stk-d69b40b .stk-block-tabs__tab:not(.stk-block-tabs__tab--active):hover .stk--inner-svg svg:last-child :is(g,path,rect,polygon,ellipse){fill:#000000 !important}.stk-d69b40b .stk-block-tabs__tab.stk-block-tabs__tab--active{background:#000000 !important}.stk-d69b40b .stk-block-tabs__tab.stk-block-tabs__tab--active .stk--inner-svg svg:last-child,.stk-d69b40b .stk-block-tabs__tab.stk-block-tabs__tab--active .stk--inner-svg svg:last-child :is(g,path,rect,polygon,ellipse){fill:#ffffff !important}September 23October 8November 11 7:30 p.m. Norma Dream The Foundry2 Harris Street, West Stockbridge, Mass. 10:00 a.m. – 5:00 p.m. Ashfield Fall Festival Ashfield Town CommonMain Street, Ashfield, Mass. 7:00 p.m. Bridget St John with Norma Dream The Institute for the Musical Arts165 Cape Street, Goshen, Mass. Find Norma Dream on Instagram, Facebook, and Bandcamp NTRVW: Norma Dream (VERY rough transcript) Will Call: Norma. Thank you so much for being on the show. Norma Dream: Thanks for having me, Mongrel. Excited to be here. Will Call: Well, we’re very excited to have you live and in person at the Foundry West Stockbridge on September 23rd. And I think when we were talking in the digital green room, there were some reasons that that I especially wanted to to, you know, sort of praise your you’re showing up here in the Berkshires. Number one, you are sort of local, right? I mean, you went to Smith College, correct? Norma Dream: I did. I just graduated as an ADA Comstock scholar last May. Will Call: Sweet. So North Northampton is a very cool, very cool town. I really wish that we could just drag the whole city into the Berkshires, to be honest. But, you know. You know. Go ahead. Norma Dream: I also lived for a number of years in Cummington, Massachusetts. Right. They call it the Gateway to the Berkshires. Will Call: Yeah. The exceedingly severe weather gateway to the Berkshires. I love Cummington. In fact, when we my family was looking to to settle in Western Mass, that was very high on our list of places that we wanted to to consider. We ended up in Franklin County, but that that is a beautiful and sometimes severe landscape, isn’t it? Norma Dream: I would say it can be. They get a good deal of snow sometimes there sudden storms it happens. Will Call: But that’s I would say that the the hills and Cummington I think they they they shoot up the rise of a run I think is most severe in Cummington. There’s just they just jut right up out of the out of the earth there. And you also have the Cummington Creamery which I would also love to drag into the Berkshires because the creamery is I’m sure that you probably made that at home, right? Norma Dream: Well, I worked there. Will Call: Oh, you did? Norma Dream: I played there many times. Yeah. No, I lived in Cummington. Most of the songs off my first record. Mothers and Daughters were written in Cummington and about Cummington. Will Call: Okay, Well, it’s and we talked about that in the Digital Green Room. I love that album, and we’re going to talk about that. Smith That was a that’s not the choice for everybody. It’s a it’s a women only school. If I well, more or less, except for the fact that you’ve got that five colleges agreement, what is it like in the 21st century to go to a women only school? Norma Dream: Well, you know, there are things about it that are really special. I think it gives women and also non-binary people and trans people the opportunity to experience real leadership in a sort of a in a protected environment before going out into fields that can be dominated by men, for example, in music or in engineering. That’s a big one. It gives, you know, young women the opportunity to experience what real leadership feels like before entering into an environment where they’re faced with more challenges related to sexism. Will Call: That’s an excellent point that I had not actually considered. Yeah, I mean, before you have to deal with the sometimes really sleazy tactics of men in business and in other areas. It is good to be able to find yourself, to be able to be grounded. I’m guessing to be to to get to know yourself and to to recognize your own strengths and to hone them before you have to hit that that that. Mostly binary world. At least it’s a world that kind of wants to stay. It’s. It’s clinging desperately to 20th century binary values. It’s good to hear that that Smith is also a safe place for LGBTQ and yes, people. Is it because I had not I had never spoken to anybody about that. But but it’s pretty cool. It’s safe there. Norma Dream: I mean, I can’t speak on behalf of on behalf of LGBTQ people as I’m a straight person, but I know a lot of queer people who are happy there. I’m sure there are some who are unhappy there. It’s, you know, it’s a it’s a it’s an institution. It’s a large institution. And every institution will serve some people and and others will struggle. I think they do try. I think they do try. Will Call: Well, that’s more than some colleges do. So I think I think that’s great. And you are a a scholar of French and education, correct? Norma Dream: Yeah. So those were my those were my two majors when I was at Smith. Will Call: And if I am correct, you spent some time as you were writing your upcoming album in Corsica, correct? Norma Dream: Yeah, I was actually through Smith. I had the incredible opportunity to live in Paris for six months, and then that following summer I received a grant to and I studied art education in France, and that took me to Corsica, where I was studying traditional song with Corsican song masters and that landscape and the experiences I had there were the inspiration for my next album. Will Call: Well, let’s talk a little bit about let’s talk a little bit about your entrance into music before we get to talking about that album. You are a. A brilliant lyricist. I just want to say that their your music, your lyrics are I was trying to categorize them in some way or at least describe them. They’re difficult because the thing that impresses me the most or sticks with me the most is that I feel like the details that you drop into your songs make you feel very present. The things that they’re details that are in the moment in a way that, you know, it’s not vague, it’s not abstract. There are a lot of very concrete, small but concrete details that really pull you into the story that you often tell. What what is your what is your inspiration or your some of the the artists that have maybe been your your musical mentors? Norma Dream: Oh, wow. Well, thank you for saying that. That is not something I’ve heard before. But I feel like those are we’ve we’ve got two questions there. Um, so I when I read a song, I often think of a song as sort of like a spilling over of emotion. Like if I have a really big feeling, it’s almost like a cup that’s filling all the way up and then a little bit spills over the top and that’s Spill Over is sort of the song. So what I’m trying to do when I write a song is to capture images and experiences that get at what that feeling is. Um, so a lot of my songs are sort of collections of images and experiences that, um, that encapsulate a feeling for me. Um, in terms of artists who have been really inspiring to me, both locally and more broadly. Um, there are traditional ballad singers like Anne Briggs and songwriters who, who I love, um, Anne Briggs, Lisa O’Neill from Ireland. Locally, Cloud Belly is a friend and a hero of mine. Um, Bridget Saint John, the songwriter out of New York. Um. People who, um, whose music has a strong sense of place, um, and is also sort of rooted in a certain kind of tradition. Will Call: So when we’re talking about your, your album Mothers and Daughters, you say that it is inspired by Cummington. How do you translate the sense of place? How do you find the the elements of of coordinates on a map and humanize them and emotionalize them? Yes. Norma Dream: Well, there’s something really special in Cummington. And I don’t know if you experienced this in the Berkshires at large about sort of the way that. That human lives correspond to the seasons. Like the way that that patterns change in our lives over the course of the year. Um, and, and when I was living there as a young woman around 19 to 22, um, I was really, I found something almost alchemical about the relationship between, like, about between people and nature and how, how the relationships I was having with people were developing in this landscape over time. Like walks I took with people, specific people. Um, like on the bank of a specific river and the way that the leaves looked on that day, or to have the geese flying overhead or the apples ripening or the first real like skateable ice of the winter. Those experiences were made richer by the relationships that I was having with people I met there. And, um, and so a sense of place is also a sense of people is what I’m getting at, I think. Will Call: And I like the, the use of the word alchemical in, in this description because it really is transforming one form of, of matter or energy into another, isn’t it? Norma Dream: That’s right. Will Call: Mm hmm. Um, when you when you chose your, your majors going into into Smith, you chose education in French? Yes. Why? Why not music? Norma Dream: Well, I started doing Covid. Smith was online when I started there. Um, and for me, studying music on the Internet was not going to be compatible with what music is in my life. Um, it’s not true for everyone. A lot of really phenomenal musicians and technicians have have found ways to continue their studies online, and I really admire that. But, um, personally. It wasn’t going to be the thing. And and for me, music and community are really intertwined. So studying education sort of felt like a no brainer because education is a study of how people learn in community. Will Call: Got it. Got it. Norma Dream: Yeah. And friendships makes sense because I love language and I’ve studied for a long time. Will Call: Yeah, a French soap commercial actually can sound sexier than most English poems. So I get you there. I would say the same with Spanish and Italian as well. Yeah. It’s like. Norma Dream: Um. Being myself, being a musician, I have managed to spin both French and education in the service of music. Will Call: Hmm. Norma Dream: Now I am a music teacher and I am. My second album will be bilingual in French and English. Will Call: This is. You’re going to have to let me butcher the title here. It is Mercy Drops. Norma Dream: You can just call it Mercy Drops, but the subtitle is UN Catalog de Privilege. Will Call: That’s what I was going to try and butcher. And but I would have said it perfectly. I promise you, if I had not heard you just say it. So un catalog de boulange. What is Boulange? Norma Dream: It’s sort of like, um, it it just means burnings or fires. But also there’s, it’s an art form that has to do with like with, with burnings on paper, but it really just means fires. Hmm. Will Call: Well, let’s see here. So you, you are. You’re a complicated person to interview. You’ve got so many, so many directions. I could go here. Norma Dream: I’ve had a lot of lives. Will Call: Oh, I hear you sound like a kindred spirit. Um, well, let’s start. Let’s. Let’s stay with mercy drops here, because that’s where we’re. That’s the. The the plate we’re standing on. Um. Corsica. It is a it’s a nearly mythical place. Yeah. What? What would you say would be the if we’re using the same alchemy that we used in sort of trans transcribing cummington the place into into cummington the the song, the music, How would we how would you describe Corsica in that along those lines? Norma Dream: Well, I was in Corsica for about a month and it is it is a land of extreme contrast. And I was there in peak summer. The, the, um, the um, motto, sort of an unofficial motto of Corsica is from like, from the mountain to the sea. Like the mountain slope directly to the ocean. There’s nothing in between. It’s just like mountain sea. And in the summer it is dry, but it is surrounded by this glittering, perfect ocean. But the land, it is just so, so dry. And it’s hot and the ocean is just glittering, like some kind of mirage. And then all of a sudden there’ll be this epic hailstorm like we were there. It was the middle of July, and these hailstones fell down and they were huge, the size of golf balls. And it was just, um, that’s where actually the title of the album came from because I was there with some singers. We were singing in this shape note hymn that talked about Mercy Drops falling from the Sky. And and then these hailstones fell from the sky and everyone was calling them mercy drops because it has so dry. And so for me, this album is about. About extreme contrast and also in love in the absence of love. Extreme contrast. Will Call: Interesting. You know, Corsica is an interesting place. Have you been? No, no, no, I have not been. But I have sort of an interest in the roots of civilization and. And the roots of the human experience. And Corsica is one of those places that has been occupied in Europe for a long, long time and have had and has had, you know, settlement human settlement there for a long time. Yes. And, of course, it has changed hands many, many times. Oh, sometimes through. Bloodshed sometimes through just sort of the amalgamation of cultures depending on the century. What can you say about the people that you met? What what? Because you said that very often the sense of place is also the sense of people. What did you experience there? Norma Dream: Well, I met a lot of different kinds of people, so I did meet Corsicans, as one does. Um. Um, who are exceptionally kind to me. But actually, um, a lot of the songs on that album are, are love songs for a young man I met on a Mountain and he’s actually Swiss. He’s Swiss. He was, um, he was I was hiking there in the mountains and I met this Swiss man, and a lot of the songs on the record are for him. Will Call: Well, that’s fantastic. It’s not every young man that gets to be immortalized in song. Norma Dream: He’s a very special and strange one. He was a sculptor. Will Call: Fantastic. Well, how did a Swiss sculptor end up in Corsica? I guess. How did an. Norma Dream: American banjo player end up in Corsica? Will Call: Excellent point. Excellent point. So you mentioned shape note. Are you familiar with Alice Parker? Yeah, of course. Okay. Norma Dream: She was a mentor of my mentor. Will Call: Yeah, she was one of my neighbors in Franklin County. Norma Dream: Oh, wow. What a phenomenal woman. Will Call: Right, Right. I mean, and the energy that she has at I don’t even know. I don’t even know how old she was when she was still touring. Um, but yeah, like 92, 93. And she’s still like, getting on planes going across the world. Yeah. Norma Dream: So, yeah, yeah. She’s a very special person. We’ve only met once or twice. Will Call: Tell us about Shape Note. What is it? Norma Dream: Well, shape note is a New England tradition. A New England tradition of choral singing. Um, basically there was this movement in the churches to sort of to make New England churchgoers better singers and more consistent singers. And someone decided to that the way to do that would be to assign shapes to the notes on the page, to make the relationships between the notes easier to follow, to make the music easier to read. Um, so you have a whole, a really enormous tradition of these hymns that were written with, with shape notes, with the notes in the form of different shapes. There’s four shapes. Um, and I am drawn to shape note because, because it is a, it’s a New England tradition. And as a banjo player, I’ve grown up studying different musical traditions and sort of a tradition based approach to thinking about music. So I’m always curious about the traditions that surround me and the ones that I might have learned from without maybe even realizing it. Will Call: Um. Norma Dream: And I did grow up singing shape note So there’s that. Will Call: There is that. Well, you know, I this is why I love this show. I get to to I knew a little bit about that, but that was the most concise explanation that I have heard. Oh, thank you. Norma Dream: It’s very popular in Northampton. Will Call: Yeah. I mean, and. And it is popular. All over the world in pockets. There are people that come to visit Allah that come to visit Alice from all over the world to sort of study under her. So it’s it’s one of those, you know, those one of the things that we can take from the Puritans and accept them and with with thanks. Yes. Can accept everything that the Puritans did with thanks. But the shape note system, I think we can we can be pretty happy with. Let’s go backward and talk a little bit about education. You said that education to you is a very community centered thing, and I love that you you say that because I don’t know that everybody feels that way. At least not in the sense that it belongs to everybody. But your song, your book, rather making Make Music a Kid’s Guide to Creating rhythm. And is a it is as basically everybody can make music. Norma Dream: Yes, that is a philosophy to which I subscribe wholeheartedly as a music educator. Will Call: Go ahead. Norma Dream: Yeah. No, no. Will Call: Well, I was going to ask what what do you think the evidence is? Because I just I was just interviewing somebody who said I can’t sing, but which I thought was really strange because he had this very melodic, sonorous voice. And I thought, I bet you can sing. You just for whatever reason somebody told you you couldn’t and you believed them. What what do you think about this notion that everybody can make music? Where does it come from? Norma Dream: Well, I can I have not I have yet to sleuth my way to the bottom of of why people say that they can’t sing. I’ll have to get back to you in 5 or 10 years on that one. But I do think that everyone can make music, and I just think I think it’s because my idea of music is rooted in the sounds of the natural world. Like everything makes sound and and birds sing naturally. It’s just like an expression of what’s inside of them. And I do feel like singing is sort of just an extension of speaking at the base. And then there are levels and levels of discipline that you can put on top of that to become a great concert singer or a great folk singer of any style. But. At the base. Rhythm. Like melodic sound. Melody like melody and rhythm and timbre and pitch. These are just parts of our lives. These are just how we communicate. And also, it’s all just vibration. So it just feels like if you are capable of making sound, you’re capable of making music and anything else in there is just a mental block. Will Call: I’m going to go with that. I’m going to agree with that. A mental block is is why we say we can’t do math or mental block is why we say we can’t dance. Right? I mean, it’s typically something. And I think that well, you know, I’m guilty of saying I’m math is is is a language I don’t understand. I think that probably if I were to dance more and play more instruments, math would probably come easier because math is is music is is mathematical, as is dance. I mean. Norma Dream: Music will will come easier to some people than to others. And also people have more exposure. People have more resources. Like it’s not fair. But but it also. I think this idea, you know, have you been to see the Gunnar Schoenbeck exhibition at Mass MoCA? Will Call: No. Norma Dream: So there’s this musical instrument inventor who taught at Bennington College, and his collection is at Mass MoCA, and they on the wall there. It says, Music is for everyone. Um, and I don’t know, it doesn’t necessarily mean like. Everyone is already a musician. I think it’s more like music belongs to everyone. And sometimes in this era of recorded music and music as an industry, we forget that music belongs to everyone. Will Call: I agree. I agree. I think that music I mean, everyone can make music, but as you said it, it’s a matter of discipline and a matter of of time and sometimes a matter of opportunity. But but I think everybody certainly should be able to internalize the music of their lives, whether it is, you know, humming as you’re doing tedious work. Housework, for example, is is a I think probably if you ask people when do they get to listen to the most music, it’s probably when they’ve got, you know, earpods in as they’re doing laundry or vacuuming. And so like you don’t have to make it a special thing. It already is, no matter when you’re doing it. Norma Dream: And also one of the things we get at in my book, Make Music a Kid’s Guide is like. Well, what if you take out the headphones and is are the sounds of your laundry a kind of music. Will Call: Mhm. Norma Dream: It’s sort of like that’s the inquiry, that’s the line of inquiry that I like to take kids down sometimes. Will Call: No that’s exactly right. That’s exactly right. Um, I think there’s all sorts of different work that lends itself. I find that chopping wood, yes. Has a wonderful rhythm to it. And actually there’s a, there’s a minister over in your neck of the woods who wrote an entire book. What was his last name? Norma Dream: Philbrick. He’s a good friend. Will Call: Yeah, he. He and his father wrote a book about splitting wood. I don’t agree. I don’t agree with everything. But I do say I will give them credit for convincing me that the mall should be your first line of attack. And rather than an ax. I grew up I grew up using an ax. That was my father’s tool. But but then again, we had acres and acres of straight oak, you know, it was like, you know, 80ft before you hit a branch so you could cut that with an ax easily a maul. However, you have to sometimes, you know, if you’ve got these curly maple things or whatever, you’ve got to really whack it and whack it. And that’s where the music comes in, because you can choose to to create a rhythm of your own. You can choose to. To allow whatever grunts and groans and sometimes profanity to enter that song. And that’s not even a joke. I think that there’s a, you know, work of all kinds sometimes is even the most tedious or difficult or painful work can be made better with allowing the mind to to sort of, again, alchemize it into. Norma Dream: Yes. And also especially with the example of something like chopping wood. You are inserting yourself into a rhythm that people have been practicing before you for hundreds of years. And that’s special too. And that is the same sort of experience I have when I sing a folk song is like inserting myself into a musical or a rhythmic and melodic structure that people before me have been inhabiting for hundreds of years. Will Call: Hundreds. Thousands, sometimes. Yeah. Excellent point. Norma Dream: Are you like, are you? It’s the same as when you do something like chop wood in that way. I mean, it’s a big metaphor, but I love metaphors. Yeah, but it connects you to not only to your environment, but also to the past. Will Call: Yeah, there is a there’s a place in Maine that sells the size that we used to use before the Civil War. They were hand hammered. They weren’t drop forged. And there’s a whole story behind that. Basically, after the Civil War, we needed to do something with all these factories that we that we had to make guns. So we literally turned our swords into farm equipment because the factories had all this capacity and it was good for a lot of things, but it was terrible for the the PSI, which is a precision instrument, not this big, clunky cast iron or drop forge thing. But so you can still order a European PSI, which is what we used to use. And they are they are razor sharp and they are very lightweight. And when you get going down the field, when you’re cutting hay with a PSI, if you don’t hear the music, I don’t know what to tell you. I just don’t know what to tell you. Norma Dream: Yeah. Yeah, absolutely. Will Call: And rural life. I don’t think I have to convince you either, because, you know, you’re sort of a folklorist here. Rural life does not, I think lays claim to so much of our musical tradition. Before before it was sort of taken over by, you know, big city interests. I shall say. Norma Dream: Yeah, absolutely. Well, one thing I think a musical life requires is time. You have to have time. And when you have a lot of repetitive chores to do. You have time. Will Call: That’s true. That is true. And I grew up on a farm, so I can attest to that. And time to think of things. Time to write lyrics in your head. Time to do all sorts of things. Um, let me ask you this last before we leave the children’s book. Did the the children’s book, did that come out of your, um, your studying education or was it before that? Norma Dream: That book was published. I was approached about work, so I didn’t go back to college till I was 24. Um, that book, the Story publishing, approached me about working on that book when I was 19. Will Call: Awesome. Yeah. Awesome. The story is great right here in North Adams. Norma Dream: Yeah, I love story. They’ve been really good to me. Will Call: Yeah, Yeah. A lot of writers get their start. My wife worked for Story for a number of years. Oh, wow. In fact. So, yeah. Small world all around. Um, yeah. One of the things that’s great about stories is that they are not always looking for multi book published authors. They’re looking for people who know, know what they’re talking about, whether it’s raising raising sheep or whether it’s doing some sort of weaving. They will work with people who may not necessarily be authors initially, but they they take experts in their fields and and help them distill their knowledge onto the page. Norma Dream: Yeah, absolutely. Well, they took a they took a risk on me. And I’m really grateful that having that opportunity really opened up my world and helped me really see myself as a music educator. Will Call: We’re definitely going to put a link to that book in the show notes for this episode. So that’s that’s great. Um, and now let’s talk a little bit. About. About mercy drops and that’s that’s your most recent and well it’s upcoming. When is when are when is mercy Drops going to drop. Norma Dream: It actually won’t drop until the spring time. Will Call: What. Norma Dream: Sorry. Yeah it’s I’m just gathering sort of momentum for it now. Will Call: Okay. Norma Dream: All right. Getting my hand together. Yeah. Will Call: That. That kind of really. Gosh, that just. That just shook me. How could you do that, Norma? I got so excited to hear this. This all this romance just spilling over. Norma Dream: If you come to the Stockbridge West Stockbridge show on the 23rd, you’ll hear a good number of those songs. Will Call: Oh, okay. So, ladies and gentlemen. Norma Dream: Playing that material and I’m working it up with a band at West Stockbridge. I’ll be playing with a trio and and we will be recording it in Goshen, Massachusetts this winter and then releasing it in the spring for a summer of touring. Will Call: Um. Okay. My heart has settled down a little bit. I can. I can live with that. Now that I know that I can hear the music. Not all of our listeners can. I mean, they can if they want to catch a flight. We have we have listeners all over the world. So. Norma Dream: Fabulous. Well, you know, I will have, um, little teasers coming out, um, all throughout, probably beginning in November. December. Okay. Yeah. You can follow me on socials and, and get on my mailing list and things will get out there. Will Call: Things will begin to, to sort of leak. Well, I’m, I’m glad to hear that. So let’s. Let’s just sort of wrap it up here. The only thing that we haven’t talked about is banjo. Yeah. Why Banjo? Norma Dream: I ask myself every day. I just fell in love with it. I mean, I didn’t. It turns out the woman who was my babysitter as a toddler ended up being my banjo teacher for about a decade when I was a teenager. Um, and I mostly learned in her basement. But since then, I’ve been. I’ve been really involved in the old time music scene. Um, that is like banjos, fiddles, guitars, basses. Um, yeah, it’s. And I’ve learned a lot from that. It’s. I never was interested in guitar. Now I play guitar, but the banjo is just it. Will Call: Mm. Will Call: Well, this is exciting. Very exciting. Well, it fits very well. You know, the original idea that I had was to was I’ve got a number of different podcasts. One of them is Will call and that is a performing arts as you, as you guess performing arts podcast. Another one is the top left corner which is. Notrillioneally. Appropriate since Stockbridge is definitely not the top left corner of Massachusetts, but the one that is probably most has the biggest audience is the Cornbread Cafe. And it is all about American roots music, old time music, gospel, blues, you name it. And it goes up to and inclusive of rock and roll that is heavily flavored by folk or gospel or, or blues. Yeah. So and it even will, you know, I’ll even dabble in some alt country from time to time if it’s not too tear in my beer. And you know, my wife stole my dog and my truck and that sort of thing. But I think that you’ve got a an absolutely solid, a solid place on the Cornbread Cafe. So you’re going to be probably in two different places, probably locally for the Berkshires you’ll be on will call and then elsewise. I’ll have at least a portion of this interview on the Cornbread Cafe, and I would love to feature a song, if you will, if you’ll grant me permission to to play a song from your most recent album on that episode from Mothers and Daughters. I loved a couple of different tunes I really loved. Um. A blot on the flag. That was. Oh, yeah, a very. There was a surprise. I like that. It was, you know, I it, I was listening to so many in major in major keys and then blend the flag starts and it drops into minor and I said ooh I better get ready for this. I have a feeling it’s going to be good. And and of course it was. But you know, like Clay was, you’ve got a video out on that. So that’s obviously a loved one. What what would you what would you recommend that I. A feature on that episode. Norma Dream: Well, you know, I would encourage you to go with whichever one seems like it would be a good fit for you and for your audience. I love Blood on the Flag. It is the only song I have written of that kind that actually the melody from that is a traditional British ballad. Um, that song has a whole story. Um, and like, Clay was written for a potter in Windsor, Massachusetts, named Constance Talbot. Um, both of those are. Yeah, like. Like would be a good one. Especially since the video is out there. Will Call: Could do that. Well I’ll see. I’ll see which. What other tunes. Sometimes it has everything to do with, you know, the collection of the eight songs or so that I’m playing and what sounds best with, you know, altogether. Sure. You said that you’re going to be recording in Goshen. Yeah. Is that at the The Institute for Musical Arts? Norma Dream: Yeah, they’re major collaborators of mine now. Will Call: Do you want to tell us a little bit about about the Ima? Norma Dream: Sure. So the Institute for the Musical Arts or the Ima for short is a nonprofit founded by Ann Hackler and June Millington. They were founded in California, but then they moved out here. June is is a is a founding member of one of the first. All female rock and roll bands signed to a major label in the United States called Fanny, and Anne ran the women’s center at Hampshire College for a number of years. Basically, the Ima is a nonprofit, um, committed to supporting women in the music industry. Um, I have worked as an intern and then as a faculty member at their summer camps for pre-teen and teenage girls and non-binary youth. I also recorded mothers and daughters there and am planning a concert series there this fall, so they offer a lot of opportunities for women in music to to network, to expand their careers, to come for retreats. Um, they have an incredible network of music professionals to tap into highly recommend. Will Call: And they’ve had some, some some big names actually show up as, as as instructors. And one of the things that I love you’re never going to get another interviewer who’s going to know as much about like this stuff as I do. I’m just going I’m going to say that I love the fact that they don’t just focus on the the the music. They also focus on the business side of music careers because that’s one of the place where probably women have been most exploited. Yeah. So being able to teach women how to manage their careers and how to keep from getting ripped off or exploited is is a super important thing even today. Norma Dream: Huge. I was just there a few weeks ago with the pre-teen girls watching a professional drummer teach these ten year olds how to run a soundboard, how to adjust their own sound, and set up their amps and get their microphones the way they need them. And just thinking like these young people are going to know are going to be literate around their own technology because that music tech side is a place where I have certainly felt sort of helpless as a woman in music. Nobody taught me about how to run a soundboard, about how to what to ask for when I’m working with a sound person. Um. Will Call: Yeah. And you have to you have to advocate for your, for your own sound. I mean, as a lead singer and, and although I do play guitar badly and I play piano even worse. Um, but, but generally as a lead singer, they don’t let you touch the soundboard. They don’t let you touch anything unless you happen to own the equipment. And so I went many years feeling like my vocals were, were mushy or were were sort of cloudy. And I always I always suspected that it was it was the guitarist who owned all the gear that was, was, was keeping me down. That’s what I was suspected that they were jealous of my my razor sharp vocals and they were trying to try to crush me. No, I’m kidding. You have to you have to be able to to know what to you have to be able to to know the language, to know the vocabulary of of of the technical side of music. And you have to be able to to advocate for yourself and kind of like I would say it’s probably a little bit like Smith College in that when you learn these things as a young woman in an environment where you don’t have to compete with pushy male lead guitarists or whatnot, you get to sort of. You get to sort of find yourself first and find your place in music first. Norma Dream: Yeah, I would say that that is true. And also to know that no matter how much frustration you have experienced in your career that you have somewhere you can go to process that with people who want to support you. Will Call: Awesome. Awesome. Well, we’ll put a link to the Ima in the show notes as well. Norma Dream: They have lots of opportunities for women of all ages. Will Call: Cool. All right, well, so let’s just say one more time. Where can people other than other than what did we say was September? Norma Dream: September 23rd. Will Call: And third. Norma Dream: At the foundry at 7:30 p.m.. I’m also playing the Ashfield Fall Festival on October 8th, and I will be a little further down the line at the Ima in Goshen on November 11th with the incredible and celebrated British songwriter Bridget Saint John. That is one not to be missed. Will Call: Okay, well, we’ll put a little mini mini calendar in the episode. You’ve given me a lot to sort of pack into the show notes here. Sorry. No, that’s great. That’s great. I don’t always have that from from just one artist. But this is fantastic. Norma Dream: And graduated from college. And I’m I’m I’m getting the ball rolling, as they say. Will Call: Well, you know, like like you said, the so much was inaccessible, undoable during the pandemic. And it’s sort of like you’re emerging from a chrysalis at just the right time in your sort of musical journey. Um, what where can people go to find out more about Norma Dream? Norma Dream: Well, I’m very active for for Instagram users. That is a great place. I am at Norma Dream, Jean. I’m also I have a Facebook page. Norma Jean. Norma dream. Um, and I have a Bandcamp which is Bandcamp.com. Norma Dream Dot Bandcamp.com. Speaker3: All right. Will Call: Well, we’ll put links to all of those in there. Thank you for such a lovely almost hour here. I’m not sure where we’re going to. I’m not sure where we’re going to fit any music in this episode, but. All right. No, thank you so much for that. It’s been a really enjoyable I feel like I’ve been talking to an old friend since we know so many of the same stuff and we will see you at the foundry in West Stockbridge. And until then, safe travels and keep us in your your thoughts as you as you share more stuff out there. Norma Dream: I will. Thank you so much and thank you for the time and the platform. It’s been nice talking to you. Great. Will Call: Take care. Bye bye. The post Will Call #76: Norma Dream appeared first on The Greylock Glass.

From the streets of Boston to the rolling hills of the Berkshires, we&#8217;re taking a deep dive into the remarkable journey of Floating Tower, a unique musical collective. Today, we have the pleasure of speaking with Mátti Kovler, the founding artistic director of Floating Tower, who took his first steps on this path even before being named composer in residence at the Elie Wiesel Center at Boston University. Born out of the multiethnic influences of Boston&#8217;s academic and artistic scene, Floating Tower thrives on blending diverse musical traditions into a singular soundscape. Kovler and his fellow musicians—immigrants and refugees alike—have crafted a musical theater that reflects their shared and disparate experiences. GET TICKETS for Shadows of Forgotten Ancestors <img decoding="async" width="490" height="490" src="https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01.webp" alt="Promotional image for musical performance &quot;Shadows of Forgotten Ancestors,&quot; featuring an image of a boy leaning back to back with his reflection. " class="wp-image-116243" srcset="https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01.webp 490w, https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01-300x300.webp 300w, https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01-100x100.webp 100w, https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01-150x150.webp 150w, https://www.greylockglass.com/wp-content/uploads/2023/07/SHADOWS-01-480x480.webp 480w" sizes="(max-width: 490px) 100vw, 490px" /> A decade on, and after a residency in New York&#8217;s Blue building, Floating Tower has found a new rhythm in the Northern Berkshires. As we’ll hear, Kovler has made this tranquil setting an opportunity for a cultural and artistic exchange, hosting large-scale productions that draw from local and international talents alike. Today, we&#8217;ll explore the journey of Floating Tower, the power of music in uniting cultures, the story behind its evocative name, and the upcoming musical spectacular in support of Ukraine hitting Adams Theatre July first and second. Tune in for an enriching discussion on the fusion of music, culture, and community. NTRVW: Mátti Kovler (rough transcript) Will Call: And with me on the line is Matti Kovler of Floating Tower. Welcome to the show. Mátti Kovler: Hi, Jay. Nice to meet you. Will Call: Well, it&#8217;s great to have you here and I&#8217;m very excited to talk about this project that has been going on for some time but has a new a new life here in the Berkshires. First of all, tell us a little bit just give us the background of of Floating Tower and what its original goal and purpose is. Mátti Kovler: Well, I started Floating Tower when I was still living in Boston about ten years ago. I was back then at BU, I was composer in Residence with the Elie Wiesel Center at Boston University. And I, um, I started doing programing with some of the students and some of my fellow musician friends that brings together all kinds of multiethnic influences, if you wish. Some of the people that I was connected with at the time back in Boston were from New England Conservatory, from Berklee College of Music, and many of them were immigrants such as myself and also refugees from Iran, from Syria, from Turkey. So it kind of evolved into a group that most of the musical participants in it are actually either immigrant or refugees, even though this was not this was not by design initially. And the kind of work I was doing was music. I would call it music theater work. So we we had a number of productions that combined these different influences into into one musical soundscape. So, for instance, you know, one of the first productions we did while I was at residence at Boston University was called Quill of the Soul. It started from Hasidic nigun melodies, sacred melodies by Jewish Orthodox Jews. But then some of these melodies were performed by Iranian musicians with in Persian ornament, ornamental singing style, Indian, South Indian classical musicians. And then it you know, and then I realized that it&#8217;s it&#8217;s very gratifying for me personally, musically speaking, to have, you know, Iranian musicians thinking something in Yiddish and vice versa. So I started experimenting with this, bringing together different vocal traditions, different musical traditions in one production. And this is what Floating Tower began doing. Later, when I moved to New York, uh, Floating Tower started a residence at the Blue building in New York. Mátti Kovler: It&#8217;s a wonderful fringe-like venue in Manhattan, where before the pandemic we would produce 2 or 3 productions a year. And then the pandemic happened. And also before the pandemic. I should say that in the summers we would go to the Berkshires. And I&#8217;m not a stranger to the Berkshires. I&#8217;ve been here since 2008 when I was a Tanglewood Fellow, and then I kind of kept coming back. I love the Berkshires, but mostly I started back. Back then I stayed in South County, so I would say about seven years ago we started coming to the Berkshires with my group in the summers to do workshops because certain things that are possible in the Berkshires are not possible in New York City. In New York City. You need to fight to, um, to accommodate a two hour rehearsal. And then one of the musicians has to have a baby sitter and somebody needs to leave earlier. Somebody needs to come later. So while at the Berkshires, you basically bring everybody together and we&#8217;re just here and we&#8217;re, you know, we&#8217;re doing musical rehearsals, but also and hiking, you know? Right. So so we would come in the summer to, um, to a place called Trent Park in West Stockbridge. And we, I think for about three summers we would go there and, and the dream was that at some point floating Tower will have a place of our own in the Berkshires to to to also accommodate the refugee musicians but also to, to allow us to workshop our work. And this is sort of what happened in the past three years. That&#8217;s that&#8217;s the the long answer to your question. Speaker1: No, that&#8217;s that&#8217;s that&#8217;s perfect. And and I think it gives us a really good foundation to discuss what&#8217;s coming up. And yes, when you when you do kidnap a bunch of musicians and bring them to the Berkshires, you get to you get to have them on your schedule. That&#8217;s true. That&#8217;s correct. Mátti Kovler: And that&#8217;s exactly what that&#8217;s exactly what&#8217;s happening. And since then, I since then since then, I mastered the kidnaping in a way that for now, you know, now we&#8217;re having all the Ukrainian refugees here and all the musicians. And this is a huge production brings together really almost 40 people. And, you know, you will see more than 30 musicians on stage, including Ukrainian teen refugees and members of Ukrainian village voices and different musicians from floating tower and local musicians and local members of community choir. You know, So. Will Call: It&#8217;s going to be huge. It&#8217;s going to be huge. I can tell. Mátti Kovler: That it&#8217;s it&#8217;s a big it&#8217;s a it&#8217;s a it&#8217;s a big it&#8217;s a big production. And we&#8217;re very lucky that, you know, the Adams Theater was able to put up with the this extravaganza. But speaking of kidnaping, basically, you know, we decided that every night while they&#8217;re staying here at Chase Hill. And I will tell you a little bit about it in a second. But, you know, we also have food for them. We&#8217;re cooking every night. You know, we have communal meals. We also sometimes invite community members to these meals. So there&#8217;s also dinners. And this is why I sound hoarse, because last night we stayed up so late singing until 3:00 in the morning. So it becomes this big communal event, you know, so it&#8217;s not only about it&#8217;s not only the performance as much as we care about the performance, it&#8217;s also the eight days leading up to the performance is is something that I value also as a as a as a bonding process for all of these people who sometimes haven&#8217;t had a chance to play with each other before. Sure. Will Call: Sure. And it&#8217;s it&#8217;s it&#8217;s sort of like instant family in a way, too, when you&#8217;re that close and you&#8217;re working that hard and there&#8217;s that much creativity flowing, you form very you form bonds typically very, very quickly. And sometimes those bonds can last last a lifetime. And so before you talk about about your the space that you have now, just actually, let&#8217;s let&#8217;s talk a little bit about the name Floating Tower. I like the description on the website, but why don&#8217;t you tell us about where the name comes from? Mátti Kovler: Well, floating tower is initially is initially a homage to my dear composition mentor, Andre Haidu, who passed away six years ago in Israel. Haidu was a huge influence on me. And and he created a initially he created a body of work called Floating Tower to text from the Mishnah. Mishnah is the Pirates of the Jewish oral tradition. And basically the idea of floating tower in Judaism means that it&#8217;s it&#8217;s it&#8217;s an experience that cannot be you know it&#8217;s it&#8217;s an experience that is somewhat ephemeral. It&#8217;s like fatamorgana of sorts. So, so it speaks to the value of an of experience. And sometimes the best learning can be done, even though the people say that Jews are people of the book. So we care about letters and words. In fact, we we&#8217;re also the people of the sound. So sometimes an experience that you experience in a in a theater, for instance, or in a concert, a music experience, in fact, it registers even scientifically and forgive my generalizations, but it does register almost in different places in one&#8217;s brain. You know, sometimes you remember you could remember a performance that you saw ten years ago in great detail. That&#8217;s true. So, so, so that&#8217;s that&#8217;s for me. So that&#8217;s one aspect of floating tower, which is which is this experience that kind of materializes. And on on another hand, you know, floating tower deals with many floating people. Mátti Kovler: And I know something about floating because I you know, I&#8217;ve been immigrating every ten years of my life, more or less. So, you know, I was born in a country that no longer exists in the Soviet Union. I left it when it was still Soviet Union in 1990, when all the Russian Jews were coming to Israel in droves. Millions. I was ten. Back then, Russia was still communist. And then in my late 20s I came to this country to do my master&#8217;s and doctorate in Boston and kind of got married and stayed so, so, you know, the the idea of floating and, and figuring out environments, languages, ways of adapting oneself to a different, you know, modus operandi is also related to the notion of floating tower because many of the floating tower musicians have different immigration stories. You know, we we also have, you know, as you know, refugee musicians and some of our Iranian refugee musicians were able to, even during the previous administration, to secure asylum visas for which is something we&#8217;re very proud of. Um, and, you know, and now since Floating Tower is kind of growing and giving the crisis in Ukraine and by the way, my connection with Ukraine was way before the war. I was in Ukraine several times. And, you know, I have significant musical connections there. But because of the crisis in Ukraine, of course, I felt that deep need for floating tower to do something that is particularly related to Ukraine, but also in a way that would be meaningful for us, meaning that I did not want to put up a, you know, a performance of Ukrainian folk song because this is not what Floating Tower is about, right? So this this production really wants to illuminate the multi-ethnic nature of Ukraine that is very often being overlooked in in the media and in discussions of Ukraine, especially in this country. Mátti Kovler: Um, where, where there&#8217;s not enough understanding of the role that Ukraine plays in, you know, European history and beyond the pan-slavic world, you know, the role that Ukraine, for instance, some of the most ancient inhabitants of Ukraine spoke Persian, you know, and there&#8217;s a huge Greek connection. For instance, half of Greek mythology as we know it today is actually happening in what today is situated in modern day Ukraine. So, you know, Kyiv was the breadbasket of Athens. Right. And and, you know, and Timothy Snyder, Professor Timothy Snyder has a wonderful series of lectures on YouTube that, you know, I&#8217;m fascinated by called The Making of Modern Ukraine that I highly recommend. And he really talks about all of these, you know, ancient world traditions to Ukraine. And this is why in some of the parts of Ukraine, you will hear in the performance, you sometimes hear, you know, influences that are completely non Slavic. Mátti Kovler: So first of all, don&#8217;t forget about the Jews who lived in Ukraine for centuries. And of course, the relationship is very complicated. I say that as somebody whose grandparents are on both sides are Ukrainian Jews and and on both sides, their great grandparents generations were pretty much all murdered in the Holocaust. Some was murdered by in Ukraine by Ukrainians. So it&#8217;s it&#8217;s a complicated relationship. But even before the Holocaust, there is a relationship that goes back, you know, for centuries between Ukrainians and the Jews. And and one of the interesting and sorry, I&#8217;m, you know, swaying a little bit from your original question, but one of the more interesting things that I discovered in doing research in this production is that we are used to talk about Jewish music, like klezmer, you know, as a music that incorporates all kinds of other influences Ukrainian, Polish, Balkan, so forth. But nobody thinks about the the other way. And and when I started discovering Ukrainian peasant chants with words like, of course, I&#8217;m like, What&#8217;s going on here? That&#8217;s a Ukrainian peasant singing a chant with some Yiddish in it. And that got me really started on this project. So because the influences are there and it goes both ways, I was just going to say that. Will Call: It sounds it sounds like you&#8217;re taking a look, a rare look at the way there&#8217;s a mutual there&#8217;s a mutual flow of there&#8217;s a mutual origin to a lot of this that&#8217;s exciting. And and I love the I do really love the sort of mystical imagery of floating tower as itrillionepresents a big picture, but also the individuals within your project. I think that&#8217;s a really beautiful way of looking at it. And yes, for people who have all of a sudden or who have perhaps not had a home for a long time, either have lost it recently or have been constantly on the move, that feeling of floating, you know, whereas other people might feel that it&#8217;s liberating the feeling of of being untethered can. Be unsettling and traumatic for people. Talk to me about how the music plays into a way of stabilizing one&#8217;s identity. Mátti Kovler: I think that&#8217;s an excellent question, Jason. In very concrete, very simple ways, You know, so for instance, when I first discovered the, you know, the Ukrainian when I first started working on the Ukrainian project about a year ago in doing research and in fact, the idea was born a few years ago when I was in Ukraine. This is a project that was initially conceived and when I in Ukraine for Ukraine, right? So this, this, this, you know, because of the war, I decided to start workshopping, you know, the project here. And I decided to do it in the Berkshires because we had this incredible opportunity with a new, you know, renaissance of everything that&#8217;s going on now in North Adams and Adams. And obviously everybody knows about it, but there&#8217;s, you know, post-pandemic renaissance. Everything is blooming. You know, there&#8217;s so much, you know, culture and, you know. Right and artsy, you know, fights excuse me, my expression, people like myself coming in, you know, so, so, so I, I saw that Adams Theater would be the perfect laboratory for something like this. And they, they were very kind to to allow us basically to take over for a couple of weeks and just and, and and do the experimentation there. But back to your original question in very concrete ways, you know, there is something well, two ways. First of all, the singing itself, like when you sing this sort of Ukrainian repertoire that is choral, that is highly sophisticated, that uses different kinds of voice production, It&#8217;s not an operatic bel canto, right? It&#8217;s not what we call in American musical theater belting, singing. Mátti Kovler: It&#8217;s it&#8217;s different vocal production that that combines different kinds of from head voice to chest voice, um, to all kinds of very sophisticated melismas. And when it sounds in tune and this production brings together some of the I mean, you will see there is some top tier musical talents involved. So when you hear a choir that is as good as what we have and um, you know, by singing in this choir in a community setting for like an hour or two hours, you already feel like there is a therapeutic effect on you, right? So, so physically, the act of singing does something to our brain. Communal singing is present in all cultures and communal singing of this Ukrainian folk songs as as do the Ukrainian Village Voices members who are participating in our production and describe themselves as a kind of an organism. They it&#8217;s not just a choir, it&#8217;s an organism that exists. So we were able to tap into the already existing, you know, organism, you know, of this Ukrainian Village Voice tradition and with all kinds of other musicians. We have, you know, Iranian musicians and Egyptian and Lebanese musicians involved. And we all tapped in into that Ukrainian thing. And it affects us in similar ways. Mátti Kovler: And of course, the other way is instrumentally to play a drone. You play a vassenka, a Ukrainian vassenka that is in 6/8. That is followed by a Lebanese tune that is in 6/8. And you see all the similarities that illuminate the ways in which music traveled. And of course all the six eight stuff probably comes from the Middle East. So it&#8217;s, um, it&#8217;s so it&#8217;s therapeutic just by ways of music making, right? And of course, you know, there&#8217;s late night conversations and a lot of food and, um, and, and many ages, you know, this is a production that is done. We have the youngest person here is nine year old Polina, who is a refugee from Kyiv, from Ukraine. She you will see her in the production at some point. You know, she&#8217;s holding a teddy bear, you know, and she&#8217;s the young marichka and and the oldest person is in her 80s and a community member who has a television show, Rachel Branch in the Berkshires, who is kind of a part of North Adams royalty, you know, the slide family and so forth. So there&#8217;s a whole there&#8217;s a whole array of people of ages and and in that sense, I think it&#8217;s therapeutic because you really come to interact with with your community in, in in ways that are different from what you would normally do in your routine, you know, life, right? Will Call: When there&#8217;s a current that flows between wisdom and innocence and everything in between, there&#8217;s definitely the chance for healing. And anyone who&#8217;s been in a in a concert choir or a a choir of any kind, I&#8217;ve sung in concert choirs myself years ago and. And there is something about the harmonics, the harmonics interacting with human flesh, with the with the with the liquid that we&#8217;re made of, with the bones that make up our our frame. There&#8217;s just something about having all those harmonics playing on our human form that I think is some sort of audio therapy in and of itself. Mátti Kovler: Absolutely. And and and the Greeks and the Romans spoke about it in Musica Umana, and the church knows it. Exactly. And we know it in the synagogue and even in Jewish tradition and in the tradition of religious rituals. You know, we we know about this phenomena, you know, in the Jewish temples, in the Jewish temples, even though we have no idea what the ancient Jewish music sounded like, because unfortunately, the first instance of, you know, Jewish written music is from 11th century. But we know that in Jewish temples, you know, 2000 years ago, there were gigantic orchestras with gigantic choirs of, you know, Levites. And, you know, even though we don&#8217;t know what the music sounded like, we know that this choir, this choral activity was was at the core of the religious worship. Right. It&#8217;s very essential to our experience. Will Call: I believe it is. I believe that, you know, actually, I&#8217;ve even had some friends who are complete atheists who are parts of choirs because they just say they feel better. They it makes them feel wonderful to be singing among a huge group. And there aren&#8217;t a lot of humanist choirs. Psychotherapy. Mátti Kovler: Psychotherapy basically is also sound therapy. And it&#8217;s valid. It&#8217;s a thing. Will Call: Of course, there&#8217;s music. Food therapy, too. Eating together is at the core. I mean, obviously, that&#8217;s that&#8217;s the very the first social thing humans have ever done is, is sharing food together, I&#8217;m guessing. And when you cook together and eat together after you&#8217;ve been kidnaped and brought to the Berkshires, then you do get to you get to. You get to feel the nourishment, the nourishment that comes from those late night conversations and the good smells and the good tastes and just the very act of participating in a meal together. And that&#8217;s at Cass Hill. Is that is that where Chase Hill? Mátti Kovler: But I, I, I also I just want to add that not everybody has been kidnaped and brought to the Berkshires on the outside because a lot of the project participants are rooted deeply rooted in the Berkshires either born here, were either born here and grew up here. For instance, we&#8217;re collaborating with a wonderful wood player, Bob Davis, who was born here in North Adams and grew up here and knows literally everyone. And he as a child visited the Chase Hill estate that we&#8217;re now occupying. And he remembers very well. So, you know, there are multiple connections. And in terms of food also, we are collaborating with a dear friend of mine, Deborah Fishman, who has an organization called Fed Social, which is exactly what they do in Ireland. They feed people. And this is why, you know, I&#8217;ve been I&#8217;ve learned that it&#8217;s so much better to do with food. So I&#8217;m bringing you know, Deborah is here with us and, you know, they&#8217;re doing all the communal cooking. And even though here at Chase Hill, we&#8217;re not fully set up, we don&#8217;t have a you know, we don&#8217;t have a commercial kitchen or anything like that. But, um, you know, but we&#8217;re cooking every night for 40 people. I love it. I love it. Yeah. And also, we serve lunches, you know, for 40 people at the, you know, because we don&#8217;t want to waste time, you know? So. Will Call: Okay. No, no, that&#8217;s. That&#8217;s true. When you&#8217;ve got such a tight schedule, every every second counts. Let&#8217;s talk. And since I know you do have a tight schedule, let&#8217;s let&#8217;s get to the let&#8217;s get to this. Shadows of forgotten ancestors that the name of this performance that&#8217;s taking place on July 1st and second. Are there still tickets available? Mátti Kovler: There are still tickets available, although not many. We&#8217;ve seen a big uptick. Tickets just yesterday. And I should say that if you&#8217;re a member of local community in the Berkshires and you don&#8217;t have money and you still want to see the show, you could see it for free. You just go on the Adams Theater website and you register for a community member tickets. But you should also know that there&#8217;s various levels of tickets for 20, 40 bucks and 75 bucks and all of the proceeds, literally all of them, not the profits, the proceeds, all of the proceeds go towards Ukraine. So that&#8217;s the arrangement with the theater. So money, the ticket money is going to go to a good cause. It goes tourism for Ukraine. Wow. Now, but, you know, it&#8217;s going to I think it&#8217;s going to get filled in the next couple of days. So if you&#8217;re listening to it and you want to come, it&#8217;s this Saturday and Sunday. It&#8217;s at 7 p.m. Adams Theater and Adams Theater is located in the town of Adams on the main street that says Adams on it and 27 Pike Street. And it&#8217;s a new it&#8217;s a new thing. Will Call: Yes. Yeah. We we have been waiting for that. I mean, it&#8217;s been up for a little while now. But the watching the progress of the Adams Theater come alive has been interesting. All right. Well, I. I will. You know, with this podcast episode, I&#8217;m sure that&#8217;ll probably help fill those last few remaining seats. A lot of my listeners are. I would wager almost all of my listeners are heavily into the local music scene. And so this is going to be a particular interest to them. Marty I do hope that we&#8217;ll have you back on the show to talk about more projects that are coming up. Thank you. Do you have something on the calendar for 2024 or even later this year? Mátti Kovler: Well, I have a personal project because we&#8217;re expecting a child in four weeks. So that&#8217;s what my that&#8217;s in the immediate in the immediate future of my. Will Call: That&#8217;s that&#8217;s a well I won&#8217;t I won&#8217;t congratulate you until after the baby is. Mátti Kovler: Born. Thank you very much. Will Call: But but I will congratulate. Right. I will. I&#8217;ll congratulate you afterwards. Tell me something, though, before I let you go. Do you do you know when my two children were in utero, we did play some music and sing a lot. Do you do you do that around the house? Mátti Kovler: So she&#8217;s not with us in the house physically, she&#8217;s in Wisconsin, but she does have a playlist that she&#8217;s playing every day. And the playlist includes all that Persian stuff and the Jewish stuff and Ukrainian folk chant, as well as some Bach and Mozart, which is good for brain development. So all covered, trust me. Will Call: Good, good, good. Well, I wish you the best of luck with that. And. And is this your first? Yep. Well, you&#8217;ll you&#8217;ll just. There will be. There will be challenges. I&#8217;m 17 years into it, and I&#8217;m still alive. So you&#8217;ll survive. And I&#8217;m looking forward to I&#8217;m looking forward to the show. And I will put a link to Floating Tower which is just floating tower.com in the show notes. All right. Thanks so much for being on the show. We&#8217;ll talk again. Mátti Kovler: Bye bye. Thank you very much. Take care. Bye bye. The post Will Call #75 — NTRVW: Mátti Kovler of Floating Tower appeared first on The Greylock Glass.

Above: Cirque du Soleil&#8217;s Corteo comes to Worcester&#8217;s DCU Center January 12 – 15, 2023; photo by Maja Prgomet. And this is Episode Number 75 of Will Call here on the Greylock Glass. I’m your host Jay Velazquez, and I’m so pleased to have you with us for this show, which first aired Thursday, January 12, 2023. I’m excited, because we’re going to be talking about an extremely exciting show from the internationally beloved Cirque du Soleil. Tickets Opening at the DCU Center in Worcester Massachusetts January 12 and running through the 15th the magical performance, Corteo, is sure to bring gasps of amazement in disbelief from audience members young and old. And, we are very grateful to have, as our guest, Frederick Umali, California native and internationally respected gymnast before he joined the original cast of Corteo at its inception in 2005. Mr. Umali performs in the gravity defying act Tournik, in which a group of artists cross paths in an act which marries horizontal bar techniques with circus arts. The artists perform at a central cube shaped structure with two additional bars on each side of the cube. The complexity of the fright pattern and the defiance of gravity will keep you on the edge of your seat. Among other acts are the &#8220;Artist Marionette,&#8221; &#8220;Acrobatic Ladder,&#8221; &#8220;Chandeliers,&#8221; &#8221; &#8220;Cyr Wheel,&#8221; and many more, some familiar, some so unique they challenge the imagination. OUR REVIEW I don&#8217;t know that I should, or even care to, give away any more details than are in my interview with Mr. Umali. Besides, the trailer I&#8217;ve embedded shows you all you should need to know about what you&#8217;ll see. I can only say that 2022 was the hardest year of my 54 year old life, and it carried over into the first couple weeks of 2023. I had the opportunity to take in Corteo, and was sure I wasn&#8217;t really in the mood for clowns and acrobats and balloons on the drive halfway across the state to the Worcester DCU center. By the end of the performance, however, I felt that I&#8217;d been scrubbed raw with the stiff-bristled brush of optimism. Until I saw this show, nothing had drenched me with the childlike wonder and awe of a 10-year-old since I was, well, 10 years old. Nothing you stream to your TV, no matter how big it might be, 10 nights combined, can match the spectacle that is Cirque du Soleil. No amount of special FX, CGI, or green screen stunts can compare to the soaring, spinning, flying through the air (almost always with NO FREAKING NET) explosions of color and flash and sparkle, all accompanied by sensuous live music. Nothing will draw out innocent, healing laughter and perpetual smiles quite the way this circus will. I BEG of you, if at all possible, start 2023 off by seeing &#8220;Corteo,&#8221; a performance that will make you believe in&#8230;every magical, wonderful thing you thought was impossible again. The full frontal assault of beauty, gracefulness, and elegance brought tears to my eyes on and off for an hour and a half. In traditional Cirque du Soleil fashion, the entire extravaganza is an explosion of color and light as well with elaborate stage features, mind blowing set creations, and lush costumes and make up. Corteo, created and directed by Daniele Finzi Pasca, first premiered in Montreal in 2005 and has visited more than 60 cities in 19 different countries as a big top show before transforming into an arena show in 2016. More than 9 million people have been enthralled by the world of Corteo. And now joining me by Skype I am pleased to welcome Frederick Umali. JugglingThree young artists perform fast-moving feats of prowess in a surprising act that blends juggling and acrobatics. With unsurpassed style, they defy the law of gravity as they juggle successively with rings, hoops and clubs; photo by Maja Prgomet. NTRVW: Frederic Umali Will Call: And with me on the line is Frederick Umali, who has been with the Cirque du Soleil&#8217;s quartet since the very beginning. Frederick, it is such a pleasure. Thank you. Frederic Umali: Thank you. Nice to be here. Will Call: Now, you have been with the Cirque du Soleil for a long time now. And it&#8217;s my understanding that you were in you&#8217;re an actor in acrobatics, as in a sport before that. How long ago did you get into into that? Frederic Umali: So with the show currently in its form, the act that I&#8217;ve been doing called Tunic, I specifically learned this act for this show that was created back in Montreal back in 2004, 2005, I believe. I started gymnastics when I was about six years old, and I was competitive nationally and internationally for the United States up until I retired back in 2004. And pretty much as soon as I finished my gymnastics career, I went right into some disarray. Will Call: Now, you have said in other interviews that you&#8217;ve borrowed a lot, obviously from gymnastics, but that they&#8217;re not the same. What do you mean by that? What&#8217;s what&#8217;s different than the you know, when we see that you&#8217;re you&#8217;re doing this, the tourniquet act, it&#8217;s very gymnastic. A lot of things that you would see at the Olympics, for example, you know, feats that you&#8217;d see on the uneven bars or something. What&#8217;s different between the acrobatics you do with Cirque du Soleil and gymnastics? Bouncing BedsLike a gaggle of young kids playing in their grandparents’ room, six artists jump on two 600-pound beds that move on rotating platforms. In a playful atmosphere, they perform acrobatic feats, each more daring than the last; photo by Maja Prgomet. Frederic Umali: So the biggest difference that I&#8217;ve learned over the years of performing in professionally in shows for such a play is in sport. We are very competitive. We we train for years and years and years for very, very specific competitions. But a lot of the acrobatics and discipline and strength and flexibility are things that I&#8217;ve learned are directly related to what I needed in terms of basic skills and discipline to be able to to recreate my acrobatic movements specifically for this show. And they&#8217;ve all helped all the things that I&#8217;ve done before have helped me to build that for what I do now. Will Call: Well, that makes sense. That makes perfect sense. Although it seems that to do the number of shows that you do and travel around the world to do it while you did compete internationally, would you say that doing acrobatics today is more or less rigorous, more or less demanding than your life as a gymnast? Frederic Umali: It&#8217;s a little difficult to compare the two because obviously in sport we train for a long period of time for very specific competitions in the Cirque du Soleil theatrical, acrobatic kind of arena. We have to maintain a high level very, very consistently to stay healthy and be able to perform at a level that is that will entertain the audience. So I would say vigorously now, the physical demand is is high, but not as high as sport. But the consistency level is is something that is more of a challenge to keep. Will Call: Interesting. And you&#8217;ve been doing this well, it&#8217;ll be 19 years pretty soon. Frederic Umali: You were? Yeah, just about. Will Call: Yeah. You said that you had retired from gymnastics, which is interesting to think that that was almost 20 years ago. I would think that it&#8217;s it&#8217;s. I can&#8217;t even imagine doing it. 20 years ago myself, I was, you know, 30 something. Do you feel or do you have to be more mindful at this stage in your career to do some of the amazing, astounding feats that you do every night with Cirque du Soleil as as somebody who&#8217;s as an adult well into adulthood? Frederic Umali: Oh, absolutely. Yeah, absolutely. You know, as you mature and you do this type of work, it is a profession. And we do take steps to take care of our our health and our bodies and to be able to maintain the type of physicality that we need to perform at the level that we do. Obviously, as we get older, our body ages and we need to modify and do things sort of differently. But the mindset is always very similar and as long as you&#8217;re keeping consistent with the things that you do to take care of yourself, your mind, body and health, you know, you&#8217;d be surprised with what the human body is actually capable of. But I love what I do and it is my profession for the past eight years or so, and I don&#8217;t think that I would have it any other way. ChandeliersFour women, the Dreamer Clown’s former loves, come together in dreamlike joy. They perform aerial acrobatics on three giant chandeliers that spin above Mauro’s bed; photo by Maja Prgomet Will Call: All right. Well, I think a lot of people give, you know, Tom Brady of football fame, a lot of credit for doing what he has to do, but he doesn&#8217;t have to do with you what you have to do. He doesn&#8217;t have to literally fly through the air for about 20 minutes or so. And, you know, if he can snap that football, you know, to receiver, he&#8217;s done for the for the for that little bit. Of course, you don&#8217;t have people £250 piling up on you either if you if you miss. So there may be a difference there. But you mentioned that it&#8217;s amazing what the human body can do. I have heard it said that. And seeing actually comparisons of gymnastics from the 1960s and today and the things that sport has pushed the human body to be able to do just in the last 30 years would have seemed almost impossible. In our grandparents time, the things that that you can you can do. Do you find that it is always reaching? I mean, how do you find it to be always reaching for that next amazing pinnacle of performance? Frederic Umali: Hmm. That&#8217;s an interesting question. But, you know, like going through my career and and having to evolve constantly and and grow and push myself, you realize that, you know, obviously, technology has a lot to do with the improvement of sports in general. We have better we have better technology to analyze what we do. Coaching gets better. Things evolve on technique, coaching practices and things like this that make that that we gain the knowledge to push the body to a more efficient state and and to understand how we move and how we develop to really go to another level. Because even as I&#8217;ve grown as an acrobat and an artist, I see the new generation coming up, the strength and things that they&#8217;ve had to go through and learn to be able to accomplish the level of acrobatics and, you know, the the risk and rivers you need to to overcome to to perform at this level. So and I think that that that is a pretty good general statement for most professional sports like we push ourselves to to extreme levels to perform and to be better than the previous generations and learn from that also. That&#8217;s my little take on that. Will Call: Well, I mean, it looks like magic. I mean, it looks like the stuff of of superhero comics sometimes. And, you know, I think one of the parallels, or least similarities I see in the sport of the street, sport of parkour, which is sort of a cousin of of acrobatics and the things that people do there and just and even just rock climbing it, it boggles the mind. But at the same time, your art art has always been. As long as history has been recorded, and I&#8217;m sure far before that coming out of the east along the Silk Road. Performers, acrobats, circuses. I mean, these go back to into folk history and to folk tales. Do you ever consider the fact that what you&#8217;re doing, what Cirque du Soleil is doing, is part of a tradition that literally winds back into the mists of time? Frederic Umali: Oh, absolutely. I mean, circus has been a long, long, long tradition throughout human history. And performing the arts is something that has a fundamental root, I think, in that encompasses physical art as opposed to like sculptures or painting or anything like that. But what we do is physical, physical arts, and we try to tell stories in that physical arena. I guess you would say that. Yeah, I mean, we are I think we are still a part of that history. Will Call: Yeah. And it&#8217;s one of the few things that people actually still think about running away to. People still think about running away to join the circus when they&#8217;re kids. I don&#8217;t know that there are two too many careers that kids still think about running away to do. But I still think I have to worry that my kids are going to are going to run away. Well, not worry, actually, because now I know that there&#8217;s so much professional sophistication involved. You have a child, at least in the interview that I&#8217;d read, you had a daughter. Is that is that the case or do you have more children? Frederic Umali: No, I just have the one daughter. Duo-StrapsIn this mesmerizing act, a duet uses aerial straps to create a magical and tender connection that enchants the audience with beautiful displays of agility, balance and strength; photo by Maja Prgomet. Will Call: Would you would you be happy if she chose a life of of of the circus and acrobatics? Frederic Umali: Yeah, absolutely. The things that you learn from this, this lifestyle are very unique. And working for a company like Cirque du Soleil. We are an international company and we have we meet people from all over the world. It&#8217;s it&#8217;s a very unique environment. And I have experienced so many things from working with this company, seeing the world, you know, traveling here and there, getting a taste of different cultures and really, really growing as a person just from being exposed to all those those differences and that I wouldn&#8217;t have experienced, like living and working and having a career, you know, back home where I grew up. Will Call: And that was out in California. Was that was it in San Jose or. No. Not San Jose. Where was it? Frederic Umali: Oh, I grew up in yeah, I was born and raised in San Jose. Will Call: San Jose. Okay. Frederic Umali: I was about 20 years old. Will Call: Yeah. I lived just south of you for a while. And in Santa Cruz, just over the mountain, I used to take the Highway nine on my motorcycle to San Jose pretty frequently. So, yeah, I love it. I love it. And I don&#8217;t always miss California, but I sure miss Highway nine between Santa Cruz and San Jose. But it&#8217;s a great drive. It&#8217;s a great drive. In fact, my favorite time is when the moon is full and it&#8217;s been foggy. If you&#8217;re on Highway nine at just just the right night, it&#8217;s often in the autumn when you&#8217;ve had warm days and cool nights and you&#8217;re above the clouds and so you&#8217;re driving higher and higher on Highway nine until you get to this point where the clouds are silver, it looks like you&#8217;re above just looking down on an ocean of silver with islands. My favorite. I should have taken pictures that when I when I was there. But if you happen to go say hello for me. The the the thing about you said something about telling stories and Cirque du Soleil tells a lot of stories. Criteo is a very unique story because it&#8217;s literally about well, it&#8217;s it has circus as a theme and its central character as a clown. Tell us about this, this story. Frederic Umali: So the story, of course, revolves around the life of a clown and famous novelist. And throughout his life, he&#8217;s had it&#8217;s a story about his life and the people that he&#8217;s experiences that he&#8217;s had. It is like kind of dream, like a live dream of people coming through, celebrating different moments of lives, of the women that he&#8217;s met, the friends that he&#8217;s had, childhood memories and things like this. And each of the acts kind of represents these these moments in his life and. That we&#8217;re really here to celebrate that. Will Call: Hmm. Because he&#8217;s thinking. Dreaming of his own. His own funeral. Correct. Frederic Umali: Yeah. Basically, this is this is the basis of on the show. And it&#8217;s his imagination on what would happen. And. And his looking back and reflection on on all of those, the loved ones that he&#8217;s had throughout his life. Cirque du Soleil&#8217;s Corteo comes to Worcester&#8217;s DCU Center January 12 – 15, 2023; photo by Maja Prgomet. Will Call: Now, originally, this show was conceived and staged as a big top. Performance. And now it&#8217;s it&#8217;s an arena performance. What&#8217;s the difference? Frederic Umali: Well, I mean, the difference main difference between an arena and a big office with a big top. We travel with all of our obviously a large tent and we have the whole logistics to create this basically a small city. And we stay in in markets much longer. With the marina, we we basically moved with like a very, very condensed version of that show because we don&#8217;t need the big top. We have, you know, the physical structures of other arenas and are able to move much quicker, put up the stage and everything much quicker because we don&#8217;t have all this logistics around it. But and we can get to more markets that we wouldn&#8217;t readily be able to accommodate us because it&#8217;s much more more mobile and fast moving paced show. Will Call: I can understand that not every city has a great open space that you can, like you said, just create a little village out of that that&#8217;s accessible to the to the public. Is there anything about being in a big top for this particular show that that felt really sort of right on on the money? Frederic Umali: I mean, the biggest difference was obviously with the big top we set up in a city and we were there for much longer. So we can experience the cities longer and get a feel of the people more. And but with with an arena, we don&#8217;t really get that so much. It&#8217;s really we do our shows and we move quite quickly. Obviously, we&#8217;re in the city for maybe about a week or so. Will Call: Right. I guess I wonder if from the public&#8217;s point of view there was something kind of neat about going to see a show. That revolves around the life of a clown in a big top, in a sort of traditional venue. Of that a circus would be in. But I suppose there&#8217;s a lot of reasons why those have been harder and harder to stage. I know that I was fortunate when I was very, very young to see. A Barnum and Bailey, Ringling Brothers and Barnum and Bailey Circus in a tent. And they did away with that not too long afterward. And I took my children to see Barnum and Bailey the year before they decided to go out of business permanently. And that was in an arena in Albany. And it&#8217;s the same magical it&#8217;s magic, but it&#8217;s a slightly different feeling. I mean, between the big top and in an arena. Have you been to Worcester before? Have you toured through central Massachusetts? Frederic Umali: Yes, I have. I&#8217;ve been to I&#8217;ve been to Massachusetts a few times. Boston And actually I was in Worcester before and I think I believe was back in 2000, 18 or 19. Exactly. Yeah, I have that passed through there. Will Call: Is this the first? Is this the first staging of this show since the pandemic, or has it been. Frederic Umali: No, we&#8217;ve actually been to for quite a while. Will Call: Oh, no kidding. Frederic Umali: The courtyard came back. Yeah, it&#8217;s been quite a while. We just finished our marketing in Europe, and we&#8217;re beginning our North American leg just at this moment. So we&#8217;re about our second city in at the moment and will continue here for quite some time. Will Call: Do you have any do you know if you have any requirements? No. There&#8217;s no masking or anything like that. Has to has to go on, is there? Frederic Umali: I believe the show abides by whatever local laws and regulations that they have, but currently we don&#8217;t have any national policies put in place right now. Will Call: Well, I don&#8217;t have too many other questions because I don&#8217;t want to actually give too much away. I will say that the Spotify playlist includes music from the show, and I&#8217;m addicted to that. It&#8217;s a very sensuous, very visceral sound. I&#8217;ve seen some of the videos of some of the performance. It&#8217;s just it&#8217;s dreamlike. It&#8217;s it&#8217;s very rich. It&#8217;s a very visual show, very colorful as as Cirque du Soleil usually is. But it&#8217;s especially so and it&#8217;s it&#8217;s it&#8217;s very fun. Tell me something. When you were a child and you imagined the circus or maybe you had a chance to go to the circus. Do you look at, say, videos of your work and compare them to the sort of dreamlike quality that you might have had in your imagination as a child and say, Yeah, yeah, I pretty much hit the mark on that. Or or do you think that there are yet greater, more wild productions that you&#8217;d like to to see yourself in? Frederic Umali: Speaking directly about Kyoto itself. The yes, like all the things that you said about it being a rich environment, very colorful, very joyous, we we we are trying to portray this on stage as artists and as actors and acrobats. And we we really try to give something unique. And what makes Cocktail very unique is for me personally, is the humanity of the show. We are in very natural makeup, even though our costumes are absolutely amazing. And yeah, we try to make like a very unique experience for for the for the public. And we have, I believe, something very special in the show. And it&#8217;s very soulful and heartfelt and enjoyable for all ages of people. And I think it&#8217;s it&#8217;s a very strong representation of capabilities of what this company proposes and can give to the public. So if you get a chance to see it, amazing. Will Call: Oh, I, I am delighted that I&#8217;m going to get to see it and I will tell you that. I see what you do, and I think maybe it&#8217;s not too late. Maybe I could lose a bunch of weight and and start training right now. And maybe it&#8217;s not too late to run away and join the circus. Do you have any advice for people? Frederic Umali: You&#8217;d be surprised. Will Call: Oh, yeah. Do you have some people that. Frederic Umali: Are looking to pursue this? Oh, we have. We have people of all ages. People are actors from from young to old, from all different backgrounds, gymnasts, dancers, actors, actresses, singers. Live musicians, for sure. Which makes the music amazing. If you if you like, of music always, always love music. And yeah, we have we have a whole catering staff and an audience and 28 different nationalities that are just represented in this show. Will Call: And I&#8217;m sure you have communications people and who knows, maybe you could use an old podcaster to come by. Well, you never know. Frederic Umali: Yeah. Will Call: Maybe I will. It&#8217;s not too late to run away and join the circus. Frederick, I want to thank you so much for your time, your generosity, and for the commitment to the art that you clearly have have manifested in a way that makes me still, even at the tender young age of 54. Believe in magic. Stay safe. Enjoy the snowstorm that we&#8217;ve got coming up this week weekend. And I can&#8217;t wait to see you on stage. Frederic Umali: Great. Thank you very much for your time. I really appreciate being here. The spectacular Corteo runs plays at the Worcester DCU center until January 15 tickets are available at cirquedusoleil.com. Look for the link in the show notes to this episode. Thanks again for tuning in and I hope to see you in the audience. The post Will Call #75 — NTRVW: Cirque du Soleil&#8217;s Frederic Umali appeared first on The Greylock Glass.

From the film&#8217;s officially released information: GREAT BARRINGTON, Mass — The Berkshire International Film Festival and New Moon Films announce the New England premiere of the award-winning Four Winters: A Story of Jewish Partisan Resistance &amp; Bravery During WWII. The film is a recipient of Steven Spielberg&#8217;s Jewish Story Partners Grant and was awarded &#8220;Best Documentary” at the Toronto Jewish Film Festival 2022 Berkshire resident and 97-year-old WWII partisan Michael Stoll, whose powerful story is featured in the film, will be in attendance for a post-screening conversation with the film’s director, Julia Mintz. BIFF will present the film one-night only on Tuesday, August 2nd at the Mahaiwe Theatre in Great Barrington at 4:00 p.m. &#8220;A MUST-SEE HOLOCAUST MOVIE (NO, REALLY) … ‘FOUR WINTERS’ is a documentary with suspense, humor, and zero sentimentality… It’s surprising, moving, horrifying …and sometimes shockingly funny.”– Marjorie Ingall, Tablet Magazine Four Winters Director-Producer Julia Mintz connects with WWII partisan Michael Stoll; submitted photo. Despite extraordinary odds, over 25,000 Jewish partisans courageously fought back against the Nazis and their collaborators from deep within the forests of WWII’s Belarus, Ukraine and Eastern Europe. Torn from their families by the ravages of Hitler’s armies, men and women, many barely in their teens, escaped into the forests, banding together in partisan brigades; engaging in treacherous acts of sabotage, blowing up trains, burning electric stations, and attacking armed enemy headquarters. Shattering the myth of Jewish passivity, the last surviving partisans tell their stories of resistance in FOUR WINTERS, revealing a stunning and inspiring narrative of heroism and resilience. Tickets: $18 More info Filmmaker, Julia Mintz; submitted photo. BIO —&nbsp;Julia Mintz Julia Mintz is a writer, producer and director of documentary films, whose work focuses on inspiring narratives that reflect on soulful bravery and resistance against unimaginable odds. She has been on the producing team for films shortlisted for the Academy Awards, premiered at Cannes, Sundance and TriBeCa, and won Emmy, Peabody and festival awards. Her films can be seen on HBO, PBS, American Masters, NETFLIX, Amazon, and are shown on college and university campuses across the country. Julia has worked on many of the country’s most celebrated documentary films. Recent projects include Mr. SOUL!, premiered at TriBeCa and short-listed for an Academy Award®; Joe Papp in Five Acts, premiered at TriBeCa for PBS, and Get Me Roger Stone, premiered at TriBeCa, NETFLIX. Mintz produced the Emmy-nominated California State of Mind, PBS and post-produced Soundtrack for a Revolution, short-listed for an Academy Award® Best Documentary, premiered at CANNES, nominated for Writers Guild, HBO; Nanking, short-listed for Academy Award®, winner of Peabody®, Emmy®, and Editorial Award at Sundance; and Love Free or Die: Story of Bishop Gene Robinson, winner Sundance Jurors Choice. Additional projects include Equity, nominated for the Grand Jury Prize at Sundance, winner of the Women&#8217;s Image Network Award; A Son&#8217;s Sacrifice, winner IDA 2007 Short Documentary Film Award; The Killer Within, nominated for an Emmy® award; Muscle Shoals, Sundance; Bing Crosby Rediscovered, American Masters; Life and Times of Frida Kahlo, Emmy® nominee; Billy Strayhorn: Lush Life, Emmy® Award Best Documentary; Larry Kramer in Love and Anger, Emmy® nominee; reality TV series Broadway or Bust; and Cyndi Lauper: Still So Unusual. Julia has also produced programming for Discovery, NASA, National Geographic, NHK and SONY. Mintz’s feature documentary, FOUR WINTERS, premiered to sell-out crowds at Lincoln Centre in January 2020 and is slated for theatrical release in Fall 2022, with negotiations well underway for festival, special venue and academic screenings all over the world. An award-winning artist, Mintz is an accomplished multi-grant recipient for her work in film and visual arts. She has taught seminars on filmmaking and digital post-production at numerous workshops worldwide, including Santa Fe Cinematographers Workshops, the International Film and Television Workshops in Camden, Maine, The SONY HD Film Production Workshops in Toronto, and Film Arts in Hong Kong, where Mintz was featured as the keynote speaker for the Trade and Development Council, and Film Arts International Seminar in China. Mintz has been a guest lecturer at Amherst College, the Trinity School, and held an adjunct faculty position at Long Island University in NYC. If you&#8217;re reading this, you&#8217;re probably enjoying this free show. Help us keep going. There are only so many ways to say it — a &#8220;free and independent press&#8221; is NOT free. Not only do we have to pay for web hosting and technology costs of all kinds, the simple fact is, the Greylock Glass is basically a six- or seven–person operation with one employee. And that employee has bills to pay like everyone else: housing, food, loans. We can&#8217;t survive much longer unless more of the people who enjoy our work pay it forward. Please visit our &#8220;Support Us&#8220; page to become a member or make a one-time contribution.Thanks.Jay VelázquezEditor-in-Chief (and everything else), The Greylock Glass NTRVW: Filmmaker Julia Mintz — Four Winters Editor’s Note: The Greylock Glass pays to have rough transcripts of interviews produced. We attempt to remain as faithful as possible to the speakers’ original meaning, and apologize for any errors of transcription. That said, even the imperfect transcription we perform is costly. Please support us financially by becoming a member or making a one-time contribution to help us continue to provide this service. Will Call: Julia, thanks so much for coming in call. Julia Mintz: Thank you. It&#8217;s great to be here. Will Call: Yes. So we have we have this unique opportunity through your work to find out about something that is well was unknown completely to me until this until this showed up in my inbox. Why don&#8217;t you tell us what is for Winters? Julia Mintz: For Winters is a documentary film about the armed Jewish resistance during World War Two. And it&#8217;s the story of these young people who miraculously escaped Nazi clutches and the all the atrocities that were happening or were in one way or another got themselves into the forest. And once there formed these partisan brigades, which were these unique kind of militias, where they rose up and they fought back and they resisted the Nazis and their collaborators during the war. Will Call: Hmm. Now, partisan, when we say partisan, what do we mean by the term Jewish partisan? Julia Mintz: A partisan is really a soldier. That is, it&#8217;s like a member of an armed group that fights secretly. And the definition, I think, and Wikipedia is like they formed and fight secretly against an occupying source. So it&#8217;s one who fights against enemy occupied. So but they are not sort of with a country. Right, because it&#8217;s an occupation, it&#8217;s an occupied country. So during the World War two, especially in Eastern Europe, there were the Jewish partisans, there were the Soviet partisans, there were the the Russian partisans, most of the Russian partisans, you know, they were sort of left behind the enemy lines to hold back or they escaped capture from the Nazis. And we&#8217;re in the forests, and these groups from these bases formed all sorts of ways to resist. And in the Jewish partisans case, a huge part of that resistance was survival and the acquisition of arms and the acquisition of food, and then actually the active sabotage against the Nazi and Hitler&#8217;s armies and what they were up to, which also included going back to the ghetto time and again and bringing out those that were able to escape into the woods and join the partisan brigades or to join family camps that were in the forests. Will Call: Gotcha. Now, this this bit of history that you&#8217;re going to be presenting at the Mahaiwe is. It is a direct renunciation of this myth, this this misunderstanding of the Jewish role during World War Two. There is this sort of idea of Jewish passivity that they just allowed these horrors to happen to them. But this this film is going to show us that that&#8217;s that&#8217;s not at all the case. Julia Mintz: Yeah. I think that what people will end up experiencing at the movie theater on the second, which I&#8217;m super excited about, Tuesday at 4 p.m., not only will they be able to see the film, that begins to unravel the myth of Jewish passivity. But you&#8217;ll also have an opportunity to meet Michael Stoll, who was one of the last living partisans, who is also featured in our film, who&#8217;s a local in your community. And he&#8217;s going to be with us for Talkback, too, which is going to be fabulous. And, you know, through Michael&#8217;s story that&#8217;s featured in the film and through the other partisans, what we really get to see is it&#8217;s that we get to see history through their lens, through the portal of what they experienced. And I think that for so many of us, we inherit history from the the militaries, especially World War Two history. We inherit the history from what the Nazis meticulously recorded of their atrocities against humanity. We inherit the history from the liberating armies and military of the United States. Right, the liberation of Auschwitz and things like this. But what we haven&#8217;t historically had the opportunity to do until recent times, most recent times like we&#8217;re seeing today in the Ukraine is sort of a personable experience. But we didn&#8217;t really get that when we learned about the Holocaust, or at least my generation, people that didn&#8217;t grow up in this moment in time. Julia Mintz: We know the stories that we heard were through that lens. And so because of that, that&#8217;s how the cameras were focused. That&#8217;s how the stories were focused. So we not to say that we didn&#8217;t have the records of the Shoah, we did thanks to Steven Spielberg and this incredible archive and all of the efforts of the survivors. But with that said, the over arching documentation, the physical elements of proof that we were we&#8217;ve seen over our lifetimes has very much been from the perspective of those other cameras. So what we have an opportunity to do in four winters is we really turn the lens and we hear from the voice of resistance. So a lot of the time we see people at the train stations and they&#8217;re moving toward the trains. And what looks like passivity after learning so deeply about that is actually. These people were, but they had a belief in humanity. There was no possible understanding of what lies before them. And so they believed that if they kept their head down and did what they were told, that they would survive this and they were protecting each other because the moment one person stepped out of line, 1015 were murdered right there in the spot, including the most innocent and children. Will Call: Right. Julia Mintz: And so what we perceive as passivity because of the way the cameras are focused, was actually an effort to save each other&#8217;s lives over and over and over again. And so this is an interesting shift and a deeper understanding of what we see. You know, so it&#8217;s just a good reminder of what the camera focuses on. And what we don&#8217;t see is often what&#8217;s driving the narrative of a moment. And yes, the atrocities were tremendous. But I think that the the persistent myth of passivity is so much more complex than that. I think it was a belief in humanity and love and the family bond that we were actually witnessing. Will Call: And the the notion that the worst possible imaginable things could not really be happening. I mean, they just couldn&#8217;t really be happening. I think that there must have been something. Well, first of all, I should say that I really appreciate that you&#8217;re that you&#8217;re uncovering this because I have always as a as a sort of armchair student of history, I&#8217;ve always wanted to know. But what were the other people doing? You know what exactly besides the generals, you know, this great man view of history, which has been you know, most of us grew up with this great man view. And I&#8217;ve always wondered, but what about the other people? You know, what about the peasants? What about the the the workers? What about the people out on the fringes? And these certainly people both figuratively and literally on the fringes. Give us a sense of how they and end of the movie is going to explain much of this. But give us a sense of how they got from the urban areas into the forests. And, you know, I&#8217;m going to ask you to talk about the documentation, but the photos that they took of themselves do not suggest that they were necessarily born to be forest dwellers. Julia Mintz: Absolutely. Absolutely. I want to just circle back for one more moment and then go forward to what you just asked. One of the things that really helped me understand what I was seeing, too, when I began the deeper dive and research into this new portal was there&#8217;s a scholar named David Angle, NYU professor. And one of the things that he had written that really stuck with me is that he had said that for over 1000 years, right? Well over 1000 years. There was so many times where populations and minorities, especially Jewish people at that time, were being displaced and and had the experience of pogroms. And you have to move and you have to do this and you have to do that. And usually a few people would get killed. But if they kind of did nice, they played nice, right? That they would survive and relocate and start again. And this was something that historically was understood. So one of the crises was that people often like we do today, you know, there&#8217;s a looking back to understand how to proceed, to move forward. And because of that, I think they were sort of informed by a level of humanity. That was shockingly delusional. I don&#8217;t think anybody, any possible person had any concept, and I still don&#8217;t after studying this for a decade, I still don&#8217;t conceptually in my guts understand how other human beings could do this at this level to one another. So I think that we have to remember that like hindsight, yeah, we can see it. But in those moments of time, this was inconceivable. So and I think that&#8217;s really important in terms of like perceiving passivity because we know what they were walking toward. But there was no way, in no way any human being at the time could have understood what they were walking toward. Will Call: Especially especially the Jewish people had a long experience of being displaced. I mean. Julia Mintz: Yes, and don&#8217;t forget, here&#8217;s one. Germany was good to relatively speaking. Germany was not an enemy. Will Call: Right. Well, that&#8217;s very civilized. I have I have some I have some relatives. Great, great aunt. Great, great, great aunt. I guess who due to the fact that she and her sister left your left Russia when they did in 1912 or 1913 or something, it&#8217;s pretty, pretty probable that she was fleeing the czar at the time. And and it was just, again, one of those forced relocations or relocations just to survive. And they figured, well, okay, here we go again. And probably I can understand that this is the first time that I&#8217;m able to understand it. And I thank you for this that yeah, they probably figured, well, here we go again and let&#8217;s all just sort of keep our heads down. And most of us will get through this and we&#8217;ll figure out something on the other side not realizing. Julia Mintz: I mean, if you think about World War One, which wasn&#8217;t that far behind, right. The there was 100,000 German Jewish people in the military who served in the German army during World War One. Of whom 12,000, I believe, were killed in action, 100,000 German Jews. You know, so and this was World War One, so it wasn&#8217;t that far away. I mean, the adults, right? I mean, I don&#8217;t know. I&#8217;m not fabulously familiar with all the statistics of World War One. But, you know, you&#8217;re talking 19, what, 1560 something in there. I mean, and now we&#8217;re 1940. This is not so far away. This is deep impregnated into these folks memory. So I think it&#8217;s just really important to try and get a little bit behind what was informing what we saw. And anyway, I think now to move forward to what you were saying before, let&#8217;s jump forward to these escapes into the woods. I mean, these were mad dashes with the clothes on their back and, you know, through tunnels, over fences, hiding in backyards, impersonating other people. It was with whatever they could possibly grab and flee with, especially in the beginning. And so these journeys would take days and days and walking and hiding and sleeping during the day and walking at night and under all sorts of circumstances. And it was in the winter and there was feet, several feet of snow. I mean, this was. This to. Was. You know, Dudley, to say the. Will Call: Least. Julia Mintz: This was Dudley, too. So I think that. There was no good choice. And I think that these innocent people. Who? I don&#8217;t want to give away too much in terms of what they were like. Had to really. Transform and become something very different. In the flash of an eye after being orphaned, most of them completely witnessing such atrocities to. Sort of manifest the courage, the resiliency and the self determination to. Due to want to live and to find their way to doing everything they could to protect their own lives and the lives of others and a future for a people. Shalom Eran, who is one of the most significant influences in my inspiration to tell this story and to understand it. He is a friend and Shalom had a quote and he said, No person should succumb to brutality without putting up resistance. Individually, it can save one&#8217;s life and in mass, it can change the course of history. And in this way, you know, these people, these innocents are just again, sadly but truthfully, they represent all of those people past, present, and unfortunately. You know, as we see today again and again, those that have to rise up to defend their lives and their people and a future. Julia Mintz: And that&#8217;s why I really made the film. I wanted everybody to sort of connect the dots. I mean, I was horrified to see last week in Tampa, Nazi flags flying and people marching with the caricatures of Jewish people on big signs. I mean, there&#8217;s there was a mural that was in Toronto with stereotypes of a Jewish guy, and it was awful. I mean, they ended up taking the mural down, but this was a huge mural, you know, and the side of a building that had gone through and been approved, you know, like this is this is these are dangerous times when these things start to manifest. And I think that each of us needs to stand up for ourselves, for our people, whoever our people are, and for each other. And I hope that this film is a deep inspiration and. Unfortunately, I think we really need that. We need that call to action to not tolerate bystander behavior in ourselves and in each other. Will Call: And we can&#8217;t be apathetic. Toward these very obviously intentional, willful. Julia Mintz: It&#8217;s just bigotry and hate. It&#8217;s not a new human condition. But what we have to do is we have to also find our own strength, our own voice, our own resiliency, and recognize that within each of us, we do have the power to make change. I&#8217;ve I&#8217;ve spent my career, which I&#8217;m starting to feel like I&#8217;ve been doing this a little while, you know, as an art activist, being part of really fantastic films that tell stories about resistance and creativity and artists, whether it&#8217;s, you know, music or gay rights, and Gene Robinson, the first out Bishop and all of Christendom and Joe Papp, which we just had our premiere at on American Masters, you know, just breaking boundaries with performance and art and putting African-American people and white people on the stage together performing Shakespeare. And we have always looked up to those who stretch and create new ways for us to understand our world. And we also, you know, often when we look back on history, it&#8217;s those that stepped outside the box and showed us something new and different. And they resisted they resisted a system. They resisted the norm. And so this is a good thing. You know, this is this is a good quality in our human nature. And I think that it&#8217;s my hope that in many ways we all find our voice and that the film inspires that. Will Call: Well, the The Greylock Glass was started with that same sort of spunk and intent in mind. The idea that there has to be I think there has to be resistance. There has to be at least an infrastructure in place so that resistance can happen if and when it&#8217;s needed, because you never know when it&#8217;s going to be needed. As you said, only 20 years before, Germany was a reasonably welcoming place for Jews. I worry because sometimes it was 2006. The FBI came up with a study that said, We&#8217;ve got a real problem. We have a massive amount of white nationalists and neo-Nazis in the armies and our army or armed services and in the police forces across the country. Really, nothing was done. I mean, great. They had a study. They have a problem. And only recently did somebody say, you know, we should probably go back and look at this and see if we can&#8217;t do something to limit the number of neo-Nazis and white nationalists and the other police forces across the country. And I&#8217;m shocked and appalled because the way they phrase it, it&#8217;s as if we&#8217;re just always going to have they&#8217;re always going to be there. Will Call: You know, we&#8217;re just going to have to sort of learn to live with the fact that there&#8217;s always going to be this neo-Nazi element within law enforcement, security, intelligence communities. And to me, that&#8217;s that&#8217;s a terrifying thing, because that means that at every and at every level in every state and every town, there&#8217;s the potential for for that hatred to grow. And that&#8217;s what that&#8217;s what terrifies me. And I&#8217;m glad that a film like this can show that in this case, mostly mostly young people, for probably reasons of physical fitness and endurance, were the ones who did this and the ones who, I&#8217;m guessing, were young enough not to. Not to have the wool growing over their brains, thinking that there was a chance of of getting out of out of the Holocaust alive unless they did something. Do you think that there is a. That there&#8217;s an appetite in this country to really dig into the problem of white nationalism and neo-Nazi ism. Julia Mintz: Well, I can speak to my own appetite of wanting to build bridges and. And I think that by understanding each other&#8217;s stories and by empowering people that don&#8217;t feel empowered. By helping. Each of us to understand that we can. Create some balance by finding our own voice and our own strength and our own way to participate in. Making the world a better place. I think that that&#8217;s a really important step in terms of what we face. You know. It&#8217;s, you know, people. Can come together and we can change the course of history. We know this if we commit to it. And I think that those of us that want to be activists want to. Come together as a voice against. Nazism, neo-Nazism, supremacist ideology. This kind of hate and bigotry that we. Don&#8217;t want to feed. I think the best way to. Starve. This. I don&#8217;t know, this sort of growing piece of our country, which is very sad to me and growing in the world is to grow. To grow. To grow the goodness. I mean, I think that there has to be a level of activism that you&#8217;re speaking about on a deeper level politically and on a governmental level. But I think that I need to leave that to the folks that really understand how and what that would entail would entail. But as an art activist, as a documentarian, as a filmmaker, I do believe that this film speaks to the true and real dangers of what we&#8217;re seeing. And I think for people to understand that what we are seeing is truly a threat, truly in its roots and its ideology is deeply dangerous to our country, to our democracy. It is my hope that we can look back and understand what the worst scenario we&#8217;ve known could be. But we can also recognize that there could be a future that if we are not adamantly and consciously being a part of creating. That we could lose control over the. Will Call: There&#8217;s no question that this. You don&#8217;t have to do anything else except the work that you do as a as an artist, as a documentarian. And that is powerful activism right there. So I certainly would. Julia Mintz: But with that said, sorry. But I do want to say, with that said, you know, as artists, as activists, as documentarians, we do need help. You know, we need help from the communities that are out there to take the initiative, to see our work, to support our work, and to take the initiative to help us show our work and get it out into the world in every way possible. I mean, being on your show is really important. I mean, you&#8217;re giving us me the partisans an opportunity to speak to another audience that otherwise we wouldn&#8217;t have the opportunity to speak to. So thank you. Thank you for taking your time and finding us and asking me to join with you today. And thank you to all your listeners for coming out and giving this a listen. I mean, this is a huge part of it, right? I mean, just to engage in the conversation and to learn about it and to help spread the word, you know, is really important. I mean, people need to have an opportunity to see these kinds of films and to engage in this content. And I think what&#8217;s so wonderful about our film is that it&#8217;s told only, only no voiceover, no narration. Julia Mintz: The whole thing is just the partisans themselves. They are telling the audience, they are telling you, the viewer, what happened to them. And I got to share this little story. One of the best things that happened, we premiered the film at Lincoln Center. And as we were in the hallway and people were coming out, one woman kind of grabbed me by the arm and she was like, I just want to tell you, that was that was like a movie. And I laughed, you know, and she said, it was wonderful. I forgot I was watching a documentary. I was like a movie. And then she said to her friend, Wasn&#8217;t that like a movie? And they were like, Yes, it was like a movie. And, you know, that resonated with me. And I keep thinking about that because I was so happy that she recognized that these were the people, these were the real people, these were the characters of this history and that their story was real. It was them. And so even though I know what she meant, I think what what the feeling was right. I think it&#8217;s Maya Angelou. I can&#8217;t remember who says it, but people don&#8217;t remember what you say. Julia Mintz: They remember how you make them feel. And so I felt like, oh, good. She felt connected. She felt emotionally connected. She didn&#8217;t feel like she was watching a didactic kind of film. I mean, I think the film really I think one of the quotes that was said about the film is shockingly funny at times. Only at times I will say, you know, stirring and an exciting, engaging, you know, because it&#8217;s really them. They are stirring and exciting and engaging and fascinating. And and I&#8217;m really glad at the end of the day, you know, that we crafted the film solely through their voices because, you know, for the next decades, years and years, we&#8217;ll have an opportunity for the scholarship to continue to inform. But this was and is has proven to be the final opportunity that our partisans in the film got to tell their story. Michael, as I said, I believe is I feel very honored as one of the last living partisans who can share with us on this really special, special, special. Once in a lifetime screening, it feels like a ticket to a miracle that we&#8217;re having the chance to be a part of on August 2nd. Will Call: Right. Well, I&#8217;ll tell you, there is. There is going to be a buyer. Your bio in the show notes to this to this episode. I always have fairly extensive show notes. And because you provided such great copy about this, this documentary and the various people involved, there&#8217;s plenty for people to to produce. You have a. You have a such a long list of credits to your name. It would be probably embarrassing to hear all of the great things that you&#8217;ve done. If there isn&#8217;t an award that you haven&#8217;t either nominated for or won. I can&#8217;t think of it because you&#8217;ve just been. Everywhere, all over the world. You&#8217;ve been on PBS, you&#8217;ve got Netflix under your belt, you&#8217;ve got Sundance, you have Peabody Awards, Emmys. What? What is it about this piece not as a piece of history, but as a piece of filmmaking? And this is probably my last question, because it&#8217;s the one that I&#8217;m as an art appreciator. I&#8217;m not an artist myself, but I&#8217;m an art appreciator. I always try to figure out how this fits into the longer story of Julia Mintz. What about this film artistically made it the logical choice for you? Julia Mintz: Hmm. Well, first of all, the the films that I&#8217;ve worked on over the years have been. Just it&#8217;s been wonderful. Wonderful. I definitely was on the producing team of many of these incredible films and was able to be part of such an extraordinary journey and contribution to the work. This particular film actually was the first time I had the chance and I&#8217;m really glad actually it. Came and has come out at this time in my career because for years I had kind of. Been intrigued and fascinated with lots and lots of stories that evolve in one way or another in social justice and individuals who, against extraordinary odds rose up, and individuals, ordinary people who rose up and did incredible things, including the partisans. And so to have the chance to delve deeply, I am Jewish into my ethnic, historical, religious history provided an incredible opportunity for personal exploration and understanding and understanding and seeing myself as a minority and what that history entailed and how that history has affected me. And so many, many, many people who were orphans, who had to resettle across the world and start anew. It is quite fascinating to take a deep dive into what was my history, my story, my people&#8217;s story. And it&#8217;s been fantastic. It&#8217;s really been both a fantastic filmmaking experience and a fantastic personal experience, although I think for a lot of documentarians, that&#8217;s a blurry line. Now also, this film is most unique in my resume in that I&#8217;ve actually directed, written, produced and been at the helm of the executive directing of this film as well. Julia Mintz: So this has really been a passion project since it began over a decade ago. Covid put everything on hold, so this is our relaunch. We were slated actually to go theatrical. Before COVID hit. And so on September 16, we are actually launching our film theatrically in New York City at the Film Forum, and we will be there for two weeks to start out starting September 16th. And then we go out to LA, to the Lumley, and this will be my very first time as the writer, producer and director. At the helm of a film that&#8217;s taking this journey. So in that respect, it&#8217;s incredibly new and. I&#8217;m thrilled. I&#8217;m thrilled. And I&#8217;m really happy that the world wants to see our film. And right now, I just. I guess I&#8217;m put on my seatbelt and I&#8217;m about to take off. Yeah, it&#8217;s a little scary. You know, I&#8217;m learning. It doesn&#8217;t just take, like, a shtetl. It doesn&#8217;t take a village. It takes a it&#8217;s going to take it&#8217;s going to take a lot it&#8217;s going to take a lot of people and a lot of different corners deciding that they want to help us get the word out and be a part of this. And ultimately, you know, I&#8217;d love this film to live on college campuses across the United States and around the world and be a part of not not what one would think as solely the agenda. Julia Mintz: I mean, I really want this to be part of the gender studies programs with women in combat, women in war, our understanding of women in history. I want it to be part of the psych departments to understand PTSD and trauma and war. I want it to be part of genocide studies with along with Rwanda and the atrocities that we&#8217;re facing today. I mean, I think that we have an opportunity to understand through these tellings the partisans, the way they&#8217;ve told their story, the way they shared, the way someone shares a story when they know it&#8217;s for the final turn is very different. I&#8217;ve been making documentaries for a couple of decades and these interviews were like no other. I mean, we laughed together, we cried together. They went on for days sometimes and people told us things that they had never shared before, that their families, their friends hadn&#8217;t known. Because I think, you know, when people come to you at a certain time in their life, they&#8217;re in a different they&#8217;re just in a different place. And so I think that the film has this intimate and important place in how we can move forward. And integrate. The victims of this genocide and. What has happened with how we can move forward as a country and what we can learn from them? Will Call: Well, I&#8217;ll tell you, I don&#8217;t know how you I don&#8217;t know how you talk about it. My voice hitches in my throat just trying to ask you questions. So powerful. And I cannot imagine. Well, everyone who knows me knows that I&#8217;m I&#8217;m just a big marshmallow inside, so that&#8217;s not too much of a surprise. But, boy, this is it would have been terrifying. And I know myself. Had I been presented with an opportunity to to delve this deeply into my personal history, my ancestors history at the age of, say, 20, I wouldn&#8217;t have been able to do it. It would have been much, too. It would be too monumental. And I wouldn&#8217;t have had the skills to to really conquer that task. So I&#8217;m glad that you&#8217;ve you&#8217;ve had the time to work on so many projects that were successful and groundbreaking that you were able to take those skills that you picked up over the years and apply them to this really well at this moment. The capstone piece in your career, hopefully not the last capstone piece. Do you have anything on the horizon or are you just going to take a break from filmmaking and and push this? Julia Mintz: No, no, no breaks. Yeah, there&#8217;s a couple of things, but I can&#8217;t announce them quite yet because we&#8217;re launching this. But the. Yes. Let&#8217;s do a stay tuned after this. Out of the gate. I&#8217;d love to come back and talk about what&#8217;s next. But right now, I can promise you this. For the next six months, we&#8217;re going to be doing everything we can to get this film out into the world. And. And. Will Call: Fair enough. Fair enough. Julia Mintz: Yeah. Will Call: But you are welcome, Julia. Any time with any any nugget, any kernel of information you&#8217;re willing to share, you are welcome back on the show. For now, people can check it out August 2nd at 4 p.m. at the Mahaiwe Theater in South County in Great Barrington. Hopefully we&#8217;ll be able to convince images cinema here in Williamstown to which our our local arthouse film up here to to run it as well because as you may or may not know, there are really two Berkshires, there&#8217;s North County in South County, and some people have never been to the other. It&#8217;s crazy. Julia Mintz: So we&#8217;d love to bring the film up there. We should definitely make that happen. Will Call: So I would I will put you in touch with anyone you need to to try to get that to happen there. All right. Julia Mintz: Well, yeah, I felt really grateful. The Berkshire International Film Festival is actually the presenter at the Mahaiwe for this special screening. And we are going to be in theaters, I hope, near and far. And I would love to be up there in that theater and in your community there, too. That would be. Will Call: Fabulous. That would be great. All right. Well, for now, thank you so much for your generosity and your patience in this interview. We&#8217;ll get it up and plenty of time for people to to reserve tickets and stay cool and break a leg in all of your openings. Julia Mintz: Thank you. Thank you so much. It&#8217;s a pleasure to be on your show. The post Will Call #74 — NTRVW: Julia Mintz, on &lt;em&gt;Four Winters&lt;/em&gt; appeared first on The Greylock Glass.

Jason Velazquez: Today is Sunday, February 27th, 2022, and this is Episode number 74 of Will Call. I&#8217;m your host, Jason Velazquez, and I do thank you for tuning in to this episode, which has been a long time coming. For some reason, the Winter months tend to make the production of Will Call a problematic process. There&#8217;s no reason for there&#8217;s so much going on in and around the Berkshires when it comes to performing arts. I could have a weekly show, and I still wouldn&#8217;t be able to keep up with everything going on in the area, when it comes to dance theater, music — you name it. I should probably find somebody else who can do it and really crank it out because they&#8217;d never run out of material. But this particular episode is exciting because it&#8217;s going to launch a sort of a mini series. I&#8217;m not going to call it an investigative series because the stuff is right out there in the open, but we&#8217;re going to start with a conversation that I just had with Michael Bobbitt, who, as the new executive director of the Massachusetts Cultural Council, takes over from Anita Walker, who had left some really big, very stylish, shoes to fill. And I think he&#8217;s doing a fine job. And I say this because in Anita Walker&#8217;s farewell address, she begins by saying: &#8220;Endings are beginnings as we wrap up our 13 years together, masked and digitized and buildings closed by COVID and wrestling with how to shut down once and for all the structures of systemic racism, we face the daunting task of recovering, rebuilding and renewing the cultural landscape of Massachusetts.&#8220; Michael Bobbitt, Executive Director of the Massachusetts Cultural Council Jason Velazquez: And in an interview her final interview on WAMC with Josh Landis, she she brought up racism as the thing that the new director, whoever it was going to be at the time, should focus on was racism and and bringing equity into the arts. And so Michael Bobbitt is going to be discussing it with me the racial equity plan that is brand new and that attempts to bring equity not just to the stages, not just to the gallery walls, but throughout the the Commonwealth&#8217;s cultural landscape. And it&#8217;s an ambitious plan and it is, again, an overdue plan. And I think that it&#8217;s very important that that it begin with an incoming director who can who can make decisions and push for priorities that are not encumbered by a lot of baggage, if you know what I mean. So this is a conversation that is going to kick off, for us, a series that will take a look at racial equity in the Berkshires and probably more than racial equity. We&#8217;ll just say diversity in the Berkshires cultural sector. Now there&#8217;s a lot of lip service that&#8217;s been given to it in the last couple of years, and we&#8217;re going to find out exactly what&#8217;s really being done behind the scenes. In some cases, I think we&#8217;re going to find out that we&#8217;re impressed and what organizations are doing in terms of bringing up and combating discrimination racism. I think in other instances, we&#8217;re probably going to be kind of disappointed. But we&#8217;re going to find out, and it&#8217;s going to be ugly in some places and it&#8217;s going to be less so in others. So with that, let&#8217;s begin with our interview with Michael Bobbitt here on Will Call. The Greylock Glass: And with me on the line is Michael Bobbitt, director of the Mass Cultural Council. Good morning, Mr. Bobbitt. Thanks so much for coming on the show. Michael Bobbitt: Thanks for having me, I&#8217;m excited to talk to you, all your constituents. The Greylock Glass: It&#8217;s a great show because Will Call was one of the first things we ever did at the Greylock Glass and it makes sense. Berkshires is a huge arts and culture mecca. It&#8217;s not the only part of our economy, but it&#8217;s sure has sort of stepped up to help make up for some of the losses of the post-industrial world. And it&#8217;s also bringing in quite a quite a a lot of change into our area because it attracts people from so many places. So we don&#8217;t have the sort of inflow and outflow of people that you do in a large city like Boston or New York. But but it&#8217;s nice to have that influx of new ideas. Do you do you get out to the Berkshires much? Michael Bobbitt: Yeah, I think I&#8217;ve been out there about four times since assuming this job, and I have fallen madly in love with every single arts organization and artists that I&#8217;ve met out there and I can&#8217;t really wait to get out there and spend quite a significant amount of time out there to really sort of get to know them on a deeper level. A lot of my visits have been quick in and out to get to know them to get a tour of the space and to find out where the pain points are and how mass cultural counselor can help. But I really enjoyed my visits out there and to your point, one of the things that the arts and culture sector can do is to help drive the economy and make the places we live just more vibrant and more exciting. And and it also expands our mind to the creative process, making our areas more attractive to businesses and to residents and to tourists and to students and all kinds of things. Racial_Equity_Plan_FY22_24Download The Greylock Glass: Right, right. Yeah, it&#8217;s I love the fact that you can be walking through, say, Mass MOCA, and on a busy weekend you can hear four or five different languages, which I think is is the hallmark of a place that is is getting a recharge from from new, new ideas, new opinions. Because these are people who, well, you know, they they may decide to. As one family I know did, they&#8217;re from Belgium and they sent their kids to the Shakespeare and Company Varieties youth camp every summer. They came here just on vacation and they saw a show during the summer, found out about the program, and the kids fell in love with it. And they decided to send them from Belgium to the United States to Lenox every summer to to take part in the the summer camp so it can have a huge effect. Let&#8217;s talk. Michael Bobbitt: Yeah, yeah. You know, one of the things I think is so great about people of color or ethnicities, whether or not it&#8217;s a European ethnicity or what it is. If you ask someone to describe their culture or their ethnicity, one of the things that is prevalent if it&#8217;s not at the top of the list is art. You know, it&#8217;s baked into the sounds and the music and the way they dance and the language and the food and the in the fashion art is kind of baked in. So to your point. Arts and culture can do a lot to sort of bring a group of people together from diverse backgrounds. The Greylock Glass: Right, right. And that&#8217;s and you brought up the main issue of this conversation, but I know that your predecessor, Anita Walker, was asked in her, I guess, really pretty much the last interview she did as director with Josh Landis at WMC. He asked her what, what the new director, what her replacement should consider doing. And she said one of the first things that I think any new leader should do is take some time, take some time to learn about the organization, to know the organization, to understand the programs and initiatives and take time to travel. And then she goes on to discuss why it&#8217;s important to to go around the state. So mono quiz and the Berkshires was was to see if you followed her advice and you obviously did. And and because we get forgotten about by so many other organizations at the state level, it&#8217;s nice to know that the arts hasn&#8217;t forgotten about us. But the other thing that she said during that interview was at the very end of the interview. She said right next to that is this is the same question, you know, what should her what should her successor focus on? She said right next to that is the issue of racial injustice. There&#8217;s a legacy of white privilege in our organizations, and as long as we&#8217;re rebuilding, this is like after COVID and after her departure. This is the perfect time to look to look at and it&#8217;s square in the eye and defeat it. So that was on her mind on her last week as director, the issue of racial injustice in the arts. This is a. A source subject out here, I&#8217;m sure it is in Boston. Give us your sense of historically who has owned the arts in Massachusetts and the United States at a broader level. Michael Bobbitt: Well, it depends on what perspective or what angle you&#8217;re coming to it from a funding perspective, and I will say not just state funding, but philanthropic funding, corporate funding, individual funding, absolutely most of the philanthropic dollars in this country has gone to white organizations. There are multiple hundreds of studies out there that have proven this. And you know, in fact, I think it&#8217;s an oversight, even based on what I just said, that people of color and people of different ethnicities. One of the things that is baked into who they are is arts and culture. So there are many organizations that are losing out on large groups of patronage and even contributions because they haven&#8217;t diversified their work. One of the things I&#8217;ve said before many times before predominantly white institutions were designed to be that way. I don&#8217;t mean to suggest that it was designed out of malice. Maybe some were, but most were designed. Just the business model was designed by white people for white people because the perspective of the people creating the organization was was wasn&#8217;t diverse. It was little homogenous. And so even with the intention of building a diverse patron base, if you only have white people or one demographic in a room making the decisions about the business model, then unfortunately, that&#8217;s what&#8217;s that&#8217;s what you&#8217;re going to get. You&#8217;re going to get one perspective as patronage and donors. And so one of the things I tell people, if they want to diversify, they have to go back and look at who&#8217;s making the decisions about how the organization is run. So who do you have on your boards? Who do you have on your staff? You have to diversify those perspectives so that you can build a new business model by multicultural people for multiple people. So, I mean, to sort of answer your question briefly, if you look at the historic funding that most of it has been gone to predominantly white institutions, yes. And I needed advice was great. Now&#8217;s the time to sort of look at racial equity from a funding perspective and figure it out. The Greylock Glass: Yeah, it&#8217;s you know, I realize the question was loaded to begin with and it was intentionally so obviously, you know, when you asked the question who who owns the arts, that suggests that, you know, people of color don&#8217;t have their own long, long histories of cultural expression, but the the arts in the Berkshires mirror the the population. And that has been true until recently when as the the brochures are beginning to get more diverse and and of course, also there are there are groups of folks who are not willing to put up with being silenced any longer. They want there, they want a seat at the table and they they don&#8217;t just want to be trotted out as a token exhibit or a token performance because we have artists of color represented in the galleries and on the stages. But it&#8217;s the administrative buildings and offices that are really tough to change. The hiring doesn&#8217;t happen as diverse a way as the as the art. What do you think is the disconnect there that they have been aware that they need to have diversity represented in the in what&#8217;s what&#8217;s presented to the public versus what&#8217;s going on behind the scenes? Michael Bobbitt: Well, it&#8217;s it&#8217;s in many ways, I think. You know, we&#8217;ve been people have been called out on performative gestures that, you know, for us and I think and this may be the case in the whole country that, you know, policies and programs and actions that don&#8217;t change the culture of the organization to make it the culture to make sure the culture, values, diversity. You&#8217;ll have those kinds of things happen where there&#8217;s just the onstage aspect of the of the organization that is diverse. It&#8217;s not the backstage aspect. And I think what people have to do is really go back and look at how are we changing the full culture of our organization to make sure that our organization automatically embraces the diversity of of the place we&#8217;re living? The other thing I will say is that what are we missing out on by by only showcasing one culture or only showcasing diverse cultures once in a while in my own sort of family microcosm? My husband is white and Jewish. Our child is Vietnamese. So what if I chose to like only, you know, only expose them to black cultural art? Are they missing out on all the joys that they can learn from in the Jewish art art&#8217;s expression and Vietnamese art that expands our minds to the creative process? It builds empathy. Michael Bobbitt: It shows us there are different ways of doing things and experiencing life, and so there are so many benefits of being diverse. They are no bad things that come from not being diverse. There&#8217;s not one, the more diverse you are, the more benefits you have. And so I want people to understand that this is not there&#8217;s no sort of threat to the world and to culture. By being more diverse, it&#8217;s actually a good thing, a very good thing. I also think that all of this work that we&#8217;ve been doing anything that has to do with diversity, anti oppression, anti-racism, all of that are acts of love, so in love to people that maybe have never been loved by this country before. And I hope that sort of thing motivates people to do this more to not just do this in front, but do this in the back as well. You need the perspective in order to be diverse, you have to have the perspectives of people of color. You can&#8217;t do diversity without people of color. So it&#8217;s important to look at your boards and your staff and everything about your organization with varying perspectives in the room. The Greylock Glass: Amen. And then I was also going to bring up the fact that you had a A in the plan that we&#8217;re going to talk about in a minute the racial equity plan. Twenty two, you have a quote in there where you discuss, you know, the the experiences that you have as a as a black, gay, cis gendered man married to a white man and the father of a Vietnamese child? Did you? I mean, obviously, you have an open mind and you have probably for quite some time, did you understand the extent to which that was not always accepted? You know, 10 years ago, 20 years ago, did you did you think that the that we&#8217;d be so long in getting to the point where that was even as accepted as it is in some parts of Massachusetts? Michael Bobbitt: Well, I can&#8217;t remember a day in my life when I became aware of racism at a very young child. I didn&#8217;t experience it. So I&#8217;ve, you know, even today, every single day of my life, I experienced some form of discrimination or racism. And so the awareness of it is ever present for me. Certainly when I became a dad and I tried to be a dad with my ex, the ability for a gay couple to adopt was difficult. The Greylock Glass: Yeah. Michael Bobbitt: And so we were successful going internationally, but we were living in D.C. at the time and we were looking to move to the suburbs and we we we had limited options if we were to move to Virginia. One of us would have had to give up our parental rights, so we chose to move to Maryland. So and this is law. So that&#8217;s that&#8217;s one of those sort of weird, weird, strange things. You know, and Massachusetts has this history, you know, it&#8217;s not it&#8217;s not a secret. The first slave ship was built and designed in Massachusetts. It has a history of racism. It very much participated in the slave trade. A lot of generational wealth that exists in Massachusetts came directly from that industry. So Massachusetts has a record name. You know, in my in my job as an arts leader, I&#8217;ve experienced a lot of people embracing me, and maybe that&#8217;s because I&#8217;m a funder. And so there comes a power dynamic with that. But I think everyone is trying very hard to sort of start becoming more diverse. Some people are stuck in education. Some people are stuck with, I don&#8217;t know what to do, and Mass Culture Council is going to try to help them through that process. The Greylock Glass: I think I think that is the I think there are a lot of good intentions out there and I and I think there are a lot of people who genuinely do want to see change, though you bring up slavery in Massachusetts and that actually is is an issue that sort of flared up just this month. There was a letter in the Berkshire Eagle. I&#8217;m sorry, and it actually a couple of different organizations mine included from the NAACP, Berkshire&#8217;s branch. And it was a lament that there was a statue erected of Elizabeth Freeman, who was a former slave who had won her freedom through the court system in Massachusetts and the the people who were in charge of this apparently didn&#8217;t think to involve. Um, African-Americans and that sort of decision making process until, I guess, a very late stage and and did not locate a, say, a black sculptor and did not, it was a letter. It was a it was an opinion piece in the Berkshire Eagle that they were writing about and they centered the entire I mean, both the people who who were in charge of this statue and the people writing about it sort of center the experience around white people. And that&#8217;s a new that&#8217;s sort of a new concept that it isn&#8217;t just what you say, it&#8217;s where you centering the conversation, where you centering your efforts. Tell me about what this strategic plan has in it that will do a better job that will help organizations do a better job censoring the arts experience around a more diverse group of people. Michael Bobbitt: Yeah, so our racial equity plan, which is somewhat was prompted by the 2018 strategic plan that was approved prior to my getting there, where diversity, equity and inclusion was a focus area. There&#8217;s the racial equity plan that we designed that was put out to the world in November, took all, took that work and deepened it. I think the plan has maybe 30 different action steps that we&#8217;re going to be taking over the course of the next three years to do what you just said to make sure we&#8217;re censoring people who have been historically underfunded in general about philanthropy and also to make sure the way we&#8217;ve crafted the action steps. They all have measurables, but they all are intended to change the culture of Massachusetts Cultural Council, but also hopefully help to start changing the culture of the cultural sector in the state as well. So we&#8217;re looking at our we&#8217;re revising all of our grant making from soup to nuts, looking at making sure that we&#8217;re looking at the most marginalized and underfunded people and redesigning it from their perspective so that they have a strong chance of applying and getting the grant, as well as people that have grant makers that have had years and years and years of grant training. One of the things we know about the grant making process from the past and this is sort of in general about philanthropic grant making that there was a strong desire to fund well written grants. Michael Bobbitt: Which meant that you had to have a mastery of the English language, and so if you&#8217;re if you&#8217;re if you&#8217;re an immigrant or English is not your first language, then you&#8217;re already at a deficit going into this application process. So what do we do to take away the value of mastering English language and having technical grant writing skills to be successful? Can we also offer audio or video submissions for the narrative portion of the grant? What about the length of time to fill out a grant? If you are small BIPOC organization or even small, rural or just a small organization in your executive director has multiple titles because they are the choreographer and executive director and the grant writer and the marketing person and the plus the cleaning, the toilets. You don&#8217;t have eight hours to sit down to write a grant. You maybe have a couple. So can we look at that? Some of the other things we&#8217;re offering to support organizations to help them sort of center people of color is we&#8217;re going to be building this diagnostic cultural equity exam. This would be an internal document where you can actually sort of do your own self audit, self assessment. It would be a qualitative and quantitative exam. Michael Bobbitt: Hopefully, it&#8217;ll once you get your score, that might be accurate steps you can take to improve your score. I&#8217;m hoping that will support people. We&#8217;re also next. Some are going to be launching a through our partnership with the Cultural Equity Learning cohort. We&#8217;re going to be launching free racial equity training. It&#8217;ll be a thousand people at a time can take this course work. So the main thing is to eliminate any excuse that organizations may have for not doing racial equity work. And again, I tell people it&#8217;s a benefit. When I was running a new repertory theater, one of the things we focused on was recruitment and new acquisition of new patrons and building relationships with new patrons that went beyond transactions but went to transformation. And we were able to bring on so many new patrons that year and a half that I was there, and partly because we focus a lot on multicultural people. So if you want to grow your or your your organization, that is one of the surefire ways you will get. New patronage is by diversifying your program and diversifying your admin, diversifying your board, diversifying your operations. So a lot of it was going to look at leading by example, but hopefully that racial equity plan I hope people will check it out will inspire other people to build their own. The Greylock Glass: Yeah, I I think it&#8217;s exciting, especially the idea that you&#8217;re you&#8217;re turning the the transforming the grant application process from a. And almost intentionally exclusionary process into one that assumes that you. Deserve funding if you are making it so technical and you disqualifying people from, you know, forgetting to dot the i&#8217;s and cross their t&#8217;s. It really becomes sort of a blood sport. I actually was during the early pandemic, I was applying for a lot of grants, journalism grants, and there were so many of us applying. I came up with a meme. It was the the the, you know, The Hunger Games. They called the funding the funder games because it felt like it felt competitive in a sort of ruthless way. And what happened essentially was that most of the money went to larger and larger organizations anyway, who have the ability to to hire somebody, you know, or to have somebody on staff who who can devote the time, as you said, eight hours, sometimes much longer to get these these grants Britons. So that&#8217;s that, I think is a huge step right there. I want to talk about. Go ahead. Yeah. Michael Bobbitt: Yes, sir. If I can add a point to that, you know, the data is there and we and we grant makers and we philanthropists have to look at what we are putting in place that prohibit people from being successful. The truth the matter is Mass Cultural Council is everyone. State Arts Agency. We&#8217;re here to support the cultural sector, not just the cultural sector that has really great grant writers. And so we have to do everything we can to make sure that everyone has a has a fair shot. And that means and the good thing about this is if I simplify the grant and I make the grant like an hour, two hours, three hours, everyone benefits from that. Like even the large organizations would benefit from still not having to sit down for eight hours and write a check. So I think it&#8217;s all really very a very good thing, and I&#8217;m looking forward to us getting through that process. The Greylock Glass: Yeah, even the large organizations can focus more on what it is that they&#8217;re trying to get across that they want to do, rather than the technical aspects of applying. I do want to. I want to shift a little bit to to kind of the ugly side of of this. Obviously, we wouldn&#8217;t need a racial equity plan if there weren&#8217;t some folks who are not necessarily actors with goodwill. There there is. There is discrimination, there is racism and classism too. I don&#8217;t want to leave a classism because that is very much, I think, a part of the exclusive exclusivity of the arts as well. But in the construction trades, for example, there is a mechanism in place which doesn&#8217;t always work perfectly well, but mostly works if you&#8217;re hiring subcontractors and you&#8217;re doing work for the state. You have to you have to try to get some subcontractors of color. If you&#8217;re buying materials that you&#8217;re going to be using on a state job, you have to try to source them, you know, from, you know, contractor suppliers of color or women. You have to go out of your way to try to to meet these goals, these diversity goals and hiring and in material sourcing. Or you don&#8217;t get or you don&#8217;t get the job or you get kicked off the job. There has never been anything like that with the Mass Cultural Council. There has never been any you, you diversify or you don&#8217;t get the money and. I&#8217;m thinking that this racial equity plan is a chance to be a bit more assertive. What is the limit to? Of the mix sort of enforcement ability with this, this plan. What can you do? Yes. Michael Bobbitt: Yeah. You bring up a lot of good points and certainly being a state agency, there are lots of laws. I mean, to your point, so you know, one of my philosophies is that racism is a very creative tool, right? Someone has to sit down and come up with ideas and ideology that keeps one group of people down and one group of people getting a lot. And so it stands to reason that anti-racism and diversity equity inclusion requires a significant amount of creativity, maybe more creativity than racism, because racism had a 400 year head start. We&#8217;re just getting started on anti-racism. So some of the law, some of the rules you mentioned in the construction field are creative ideas to make sure that we&#8217;re being anti-racist and diverse and equitable. The only issue I see with some of those things is that if we don&#8217;t, if they don&#8217;t address the culture of which says that racism is not OK, then we&#8217;re still going to be battling this. And racism is so creative that it just morphs. It&#8217;s this virus that just mutates to find a new way to to oppress people. So we have to kind of like, have enough ideas, what math cultural counselor can do? Sometimes it&#8217;s a little bit limited based on the law. There are anti-discrimination laws out there that were written to protect people of color, but they can be used to also protect white people, right? Which stands to reason. So some of the things that we can do, some things I&#8217;d like to do, we maybe can&#8217;t do because there&#8217;s law that&#8217;s prohibiting it. You know, I can&#8217;t just say, because you&#8217;re you&#8217;re you&#8217;re a BIPOC organization, you get more money or you get bonus points for your grant that would open us up to some discrimination laws. Michael Bobbitt: And we are very careful about that, right? But one of the things we can do and one of the things we are doing is we are we are investing in recruitment. I think you noted in our last press release that we had 42 percent of our applicants for project grants were new to the agency. And some of that work has to do with our intentional the intentionality behind building relationships with people that aren&#8217;t in our portfolio and specifically BIPOC organizations that aren&#8217;t in our portfolio. So every single department grant department has recruitment goals that they need to meet to make sure they&#8217;re recruiting BIPOC organizations and new organizations, including the grant system we hired for BIPOC outreach coordinators one Asian, one Black, one Latinx and one Native American. To help make those introductions to those organizations, they have enough cultural understanding of their own race and ethnicity to understand how to make those introductions. And hopefully, as they make those introductions, we can start building those relationships with them. And then certainly, I imagine having a person of color as the executive director of an organization brings a lot of feeling of safety or or, well, it&#8217;s a little bit more welcoming than maybe it has been in the past. So we&#8217;re doing everything we can with all the laws that exist in this world, and hopefully we&#8217;ll continue to see our the new one, the new organizations in our portfolio expand, but also a lot more BIPOC organizations applying and getting grants. The Greylock Glass: Well, that&#8217;s yeah. And I did note that in an email. I think it&#8217;s very exciting that you&#8217;ve got so many new new people, new organizations on board. That&#8217;s a good sign. It&#8217;s it&#8217;s just challenging because, you know, there is I don&#8217;t know if you&#8217;ve seen this, this Instagram sort of group called Change Berkshire&#8217;s culture. Have you heard about that yet? Michael Bobbitt: I haven&#8217;t. The Greylock Glass: I&#8217;m curious, sends you a link. It&#8217;s it is a group of anonymous individuals who are running an Instagram account, and they have invited people to anonymously submit to a Google doc. A their tales of sexual harassment in the arts here in the Berkshires, racism being asked to work for free, all sorts of things that the arts should not be. And one of the one of the issues that has come up in the submissions and they post these these on Instagram as sort of text memes. One of the things that has come up is is the fact that there&#8217;s so much. There&#8217;s so much talk, so much public, you know, acceptance and embrace of diversity, but it&#8217;s it&#8217;s for show it&#8217;s not actually happening. And in fact, some of the people at the highest levels of the organizations here in the Berkshires are accused of saying and doing some of the most racist things. How do we deal with that, knowing that there are people who have spent decades in the arts and they have not been, or at least according to these these accusations that they have not been blessed with the Enlightenment that the arts ought to bring. Michael Bobbitt: Yeah. Well, again, the benefit of the arts is in the benefit of diversifying your arts, it&#8217;s something that I think people will hopefully can embrace right away, but it may take them a while to learn that there are great benefits to diversifying your arts. I remember I did a workshop with a car dealership that sort of the parent company of about a hundred different dealerships up and down the East Coast, and I walked into this racial equity workshop and I was surrounded by their C-suite, which was middle aged white men. And the first thing I said to them was, Oh my God, you&#8217;re all losing so much money. So they were like, What do you mean? Our projections for the next quarter are, like, really good. And I said, you all know how to sell cars to white people really, really well, but you have no idea how to sell cars to people of color. And so you are losing money, you are really losing money. And I think that&#8217;s the same philosophy that goes with arts organizations that if you aren&#8217;t really figuring out how to make sure perspectives are in the room that can help you diversify, you&#8217;re losing money or losing patronage. But the other thing I will say to your point is that and I love the idea of change culture, change your culture because that&#8217;s what it&#8217;s about. We have to change the culture of this country that allows oppression, that allows racism to racism to exist. We have to say no more, no more people and organizations and individuals or who have you that practice. Oppression or racism are not OK, it&#8217;s not allowed. I don&#8217;t want you to patronize, I don&#8217;t want your donations, and that kind of thing will hopefully have an effect because the thing is you can have action steps, you can do certain performative things. Michael Bobbitt: But if the end result is that the culture hasn&#8217;t shifted, then not much has been affected. So for example, if we want people of color to come to our organization, we&#8217;ll offer discount tickets or the discount tickets are going to fix the racism that that is contributing to why people of color aren&#8217;t coming in the first place. We can have outreach programs, but if the outreach program doesn&#8217;t address the cultural shift, it&#8217;s not going to fix the reason why people of color aren&#8217;t coming in the first place. It has to be a massive and institution wide cultural shift. If not, it&#8217;s like. Finding out there&#8217;s mold on your wall and pulling out a can of paint and painting over the mold, that mold will come back. And that problem will still be there. You have to rip that wall apart, figure out where the origin of the mold is coming from. Fix that and then rebuild it in order to really sort of get to the place you want to get to. And the reason why I say that is because we have so many laws and policies in this country. We have about 20 civil rights laws that have been existing on the books since the 1800s, and yet we still have racism. The 1968 Civil Rights Act did not fix racism. It only made it illegal to discriminate against black people, right? The affirmative action policy, which is about to be repealed, probably did not fix racism, in fact. Statistically, white women have benefited the most from affirmative action. Michael Bobbitt: So policies aren&#8217;t policies and programs by themselves will not fix racism. You have to address the culture. And so as people are making their actions deaf, they have to go look at the actions that to say how it is actions that&#8217;s going to fix the culture of the organization. And that culture has to be anti oppression, anti-racism people that practice that are not allowed. So it&#8217;s a lot of work. But if we don&#8217;t start somewhere and if we don&#8217;t have hope and we don&#8217;t really sort of take steps. The other thing I tell people is that many of us are in numerous anti-racism workshops or die workshops or mini conversations or reading the books. The way to make sure you&#8217;re moving forward so that you&#8217;re not stuck in education because there is no way any of us can learn everything there is to learn about racism in this country with a few workshops. You&#8217;d have to have a triple PhD to sort of learn everything you need to learn every time you leave a conversation or learning. Commit to one action, at least one action. That is going to help you center the people that need you to love them the most and not into your own education. Right? So one action every conversation after people listen to this podcast, commit to one action to help you move forward in fighting this. We need those ideas. Anti-racism needs more ideas. We need pioneers. We need. We need, like dozens of little anti-racist bricks, to be built every day so we can build a house of anti-racism while we&#8217;re taking down the bricks that exist on the House of Racism. The Greylock Glass: Hmm. Well, I love that that you you frame all of this work in acts of love and in a mentality of love, because that is that is what&#8217;s missing. I think it&#8217;s been I think people have even sung about it. It&#8217;s what the world needs now, right? Yeah. And I good. Michael Bobbitt: Now it&#8217;s continuing just to sort of to let go of that power and the stuff that people have that other people don&#8217;t have will require a tremendous amount of love and empathy and mentoring. And that&#8217;s honestly that&#8217;s the only way it&#8217;s going to go away. I remind people that those who made the rules have the power to change the rules. And so when we think about like women&#8217;s right to vote, it wasn&#8217;t women that got the right to vote. It was men that gave them the right to vote. They were willing to walk away. Same thing could be said for the enslavement. It was the people that made the rules that fought and pushed and made the rules to go away. We had power. We made noise. We fought. We tried to use our influence. But if they decided they didn&#8217;t want to change the rules, we would still be in the same place. The Greylock Glass: Yeah, yeah, that is. Ultimately, you&#8217;ve got to get people into those positions and you have to expect that it&#8217;s not going to happen overnight. And that is that is really hard to bear. Sometimes the incrementalism that I&#8217;ve seen in my own lifetime is hard enough to bear. And I feel like some days we&#8217;re making progress, you know, leapfrogging over over hurdles that that have been in our way. Other times, I just I just smacked my head and just smacked my forehead and say, Are we still having this conversation? Are we still dealing with this really? And so I it&#8217;s it&#8217;s it&#8217;s it&#8217;s good that you&#8217;ve got a reason for those of us who&#8217;ve been watching these issues for a long time now. It&#8217;s good that you&#8217;ve got something for us to sort of really focus on, and I&#8217;m going to put a link to this to this racial equity plan in the show notes to this episode. Any other resources that you&#8217;d like to direct people to? Michael Bobbitt: Well, no, I think that will give everyone a sense of all the work that we have been have been doing to sort of really build an anti-racist culture at Mass Cultural Council. Yeah, I mean, the main thing. The other thing too, if anyone out there is not in our system, please join our systems, reach out. The staff is amazing and the work that they&#8217;re doing is super amazing as well. The Greylock Glass: I think you&#8217;ve got a newsletter too, don&#8217;t you? You do have a newsletter, yes. Michael Bobbitt: So people should sign up for the newsletter because that&#8217;s where most of our postings about grant opportunities go. We also post on social media in affinity spaces as well. But the easiest way to find out about what&#8217;s coming up and what what free money exists from that cultural council is, is to sign up for our newsletter. The Greylock Glass: We&#8217;ll make sure we get a link to that. Michael Bobbitt. I want to thank you for the work you&#8217;re doing, and I want to thank you for the time that you have generously contributed to this show. And I&#8217;m looking forward to seeing where this all takes us. Michael Bobbitt: Thanks so much, Jason, really talking to you and really great talking to your listeners. The Greylock Glass: Take care. Thank you. The post Will Call #74 — NTRVW w/Michael Bobbitt appeared first on The Greylock Glass.

In this episode, the first of our sort-of post pandemic shows, we speak with the wise, witty, and very talented Robert Miller. A lot of people people launch a second Nact after they conclude one career. Most people don&#8217;t decide to grab an axe and take to the stage in pursuit of rock stardom. Fortunately for all of us, Robert did! His band, Project Grand Slam is a tight, rhythm-driven engine that cranks out one great track after another. Solid songwriting and heartfelt lyrics complete the sound, providing the answers about how this Jazz/Rock/Latin fusion act has risen so far so fast. After running down and catching a big life goal of his own, Robert Miller decided to share his own wisdom that he&#8217;s picked up along the way, as well as that of the artists and other guests he has on his own podcast, &#8220;Follow Your Dream.&#8221; He started this project at the height of the pandemic in 2020, and has had some amazing guests on that you&#8217;ll want to check out. Project Grand SlamAugust 17, 2021; 8:30 p.m.Shakespeare &amp; CompanyTina Packer Playhouse70 Kemble Street, Lenox Mass.Project Grand Slam (PGS) is the brainchild of acclaimedleader/bassist/composer Robert Miller.PGS is a celebrated fusion of Rock and Jazz witha twist of Latin and a New York City groove.Be sure to listen to our interview with Allyn Burrows,artistic director of Shakespeare &amp; Co.!TICKETS Robert Miller; submitted photo. Robert Miller is the creative force behind Project Grand Slam (PGS), as the band’s leader/bassist/composer. PGS plays a fusion of Jazz/Rock/Latin music with a NYC groove. Plus Robert’s reimagined versions in PGS’s style of iconic ‘60s British Invasion hits by artists such as Jimi Hendrix, The Kinks and The Beatles. In just over the past 5 years PGS has released 10 highly acclaimed albums including a Billboard #1, has over 4 million video views, over a million Spotify streams, played festivals and concerts around the world, and opened for Edgar Winter, Blues Traveler, Boney James, and Mindi Abair, and an after-show for YES. PGS today consists of Robert supported by a group of young, extremely talented, mainly foreign born musicians from places like Mexico, Venezuela, Cuba, Puerto Rico and Canada. Beginning in 2015 Robert began transforming the band’s music, initially mainly contemporary jazz instrumentals, and now consisting almost entirely of original vocal songs. Robert’s songs channel his love for rock music, jazz fusion, and ‘60s British Invasion hits. With this eclectic mix, Robert has blazed a completely original path for PGS. The pandemic severely affected musicians and all artists. PGS was somewhat fortunate in that the band’s latest album, East Side Sessions, was release in January 2020 just before the world closed down. However, the band was unable to tour in support of the album, so Robert decided instead to release videos of four of the songs from the album, which collectively received about a million views. [broadstreet ad=&#8221;390646&#8243;] The post Will Call #73 — &lt;br /&gt;NTRVW: Robert Miller&lt;br /&gt; of Project Grand Slam appeared first on The Greylock Glass.

We speak with two artists who keep alive a musical pursuit born during the nascent sensation of cinema — the scoring of silent films, on location and in real time. Donald Sosin and Joanna Seaton spoke with Will Call by Skype prior to their appearance at Images Cinema in Williamstown for &#8220;An Evening with Charlie Chaplin.&#8221; About Donald Sosin and Joanna Seaton (courtesy http://silent-film-music.com/) &#8220;For twenty years Donald Sosin and Joanna Seaton have been among the only major performers in the US creating and performing music for classic silent films with vocals as well as instrumentals, and have won high praise from experts in the field, as well as enthusiastic supporters of all ages everywhere they appear. Their unique blend of keyboard, vocals, electronics and percussion delights a wide variety of audiences on both sides of the Atlantic. Their film scores incorporate original songs with Joanna’s lyrics and Donald’s music, as well as select songs from the early 20th century appropriate to the film, and even, in some cases, giving voice to the muted singing of the actors onscreen.&#8221; An Evening with Charlie ChaplinMonday, December 16, 2019; 8:00 p.m.Images Cinema50 Spring StreetWilliamstown, Mass.From Images Cinema&#8220;By 1916—the same year the Walden Theater opened in Williamstown—Charlie Chaplin had become the most famous entertainer in the world, a mere two years after appearing in his first motion picture. Buoyed by his enormous success and popularity, he was offered the largest contract ever extended to a movie star— $670,000 for a single year’s work—to make 12 short comedies at Mutual Film Corporation. For Mutual, Chaplin produced what many film historians believe to be his best works, including the three featured in this program: The Immigrant, The Adventurer and The Count.&#8221;MORE INFO Music heard on this show Orchestration for THE COUNT (1916) dir. Charles Chaplin. Music (2013) by Donald Sosin For String quartet, piano, and bass Orchestration for THE PAWNSHOP (1916) dir. Charles Chaplin. Music (2016) by Donald Sosin, orchestrated by Peter Breiner. Live at Cowell Theater, San Francisco, March 26, 2017. San Francisco Chamber Orchestra, Benjamin Simon, music director. 25 players with the composer at the piano. Musical examples from THE DOCKS OF NEW YORK (1927, von Sternberg), J. Seaton, D. Sosin Joanna Seaton and Donald Sosin were commissioned by the Criterion Collection to create a piano/vocal score for Josef von Sternberg&#8217;s silent drama, THE DOCKS OF NEW YORK (1927). These excerpts illustrate the use of the title song (lyrics and vocals by Joanna Seaton, music composed and performed by Donald Sosin) in several different contexts. The post Will Call #72 — NTRVW: Joanna Seaton &#038; Donald Sosin on scoring for silent film appeared first on The Greylock Glass.

In this episode, we speak with Jennifer Trainer, director of the documentary, Museum Town which released earlier in 2019, debuting at SXSW. Museum Town tells the story of MASS MoCA, arguably the United States’ most expansive contemporary art space, but it does a lot more besides. This flick situates the museum within the various contexts of history, culture, and economic development. With memories and observations contributed by political figures, local business owners, the general public, artists, and the architects of the original idea, Museum Town takes an unflinching look back at how their instincts were, in many ways, spot on, but at the same time missed the mark here or there. Podcast Player Thanks for tuning in to Episode #71 of Will Call here at the Greylock Glass, the Berkshire’s mightiest independent alternative newsthing. I’m your host, Jason Velazquez, and I’d like to remind you that if you like the programming and articles you find at the Greylock Glass, you can support our work by becoming a member for as little as a dollar per month. Find out more by going to greylockglass.com/membership. The film presents some of the most relevant and interesting history of the mill complex, from the days of Sprague Electric back to its inception as Arnold Print Works; still from Museum Town; image courtesy the filmmaker. Such a documentary, in part compiled of photos footage collected by the museum itself over the years, risks being overly promotional, yet Trainer stops well short of creating an overly self-congratulatory paean to an institution that has, at time generated intense criticism. The film makes its cinematic debut at Images Cinema in Williamstown, Friday, November 1 with a discussion featuring Jennifer Trainer, Representative John Barrett, producer Noah Bashevkin, producer Rachel Chanoff. Museum Town — showing 11/1 through 11/7Director: Jennifer TrainerRuntime: 1 hour 15 minutesImages Cinema50 Spring StreetWilliamstown, Mass.For showtimes, clique aqui.For more info, visit the documentary&#8217;s website. Jennifer Trainer, on Museum Town Jennifer Trainer at Hancock Shaker Village, where she serves as Director; submitted photo. My goal was really to tell what I knew. My goal was to tell the history of MASS MoCA and what MASS MoCA is today, and to tell a story about risk and taking risk, and what that means…To compress 30 years into 90 minutes is impossible, and, as my cinematographer said to me, you&#8217;re going to leave many of your babies on the cutting room floor, because they don&#8217;t serve the point, the purpose in the end, and that was so true. It killed me to leave out something that we had filmed. But, ultimately, we picked five characters, and they were an artists that we followed through an installation for 18 months, a curator and how the curatorial process works, because I also wanted to show what it&#8217;s like to work inside a museum. And then we picked the guy in the basement who&#8217;s actually fabricating some of these works, because so many of these massive contemporary pieces are not just made by one person in their studio — they’re really like a film their collaborative effort. Installation of Christoph Büchel’s unfinished Training Ground for Democracy; still from Museum Town; image courtesy the filmmaker. I also saw the buildings as a character, because the buildings inform so much of what is done there The buildings informed the whole idea. The buildings represent the New England before the Civil War, before World War I, after World War II, the post-industrial community. They are beloved by people who live in North Adams. Nick Cave completes Until, in 2016; still from Museum Town; image courtesy the filmmaker. And then I really wanted somebody from North Adams who could really act also as every man, you know, the guy who walks into a gallery and says “my kid could paint that — what is that?” Because I wanted the perspective of somebody who approached it from the outside, from the community. So then we braided all that together with historic footage and the soundtrack, which I felt was also really important, because I wanted really great music. The documentary make surprise some viewers unaware that musical performance has been part of MASS MoCA&#8217;s DNA long before the introduction of Fresh Grass, shown here in 2011; still from Museum Town; image courtesy the filmmaker. Again, Museum Town runs November 1 through November 7 at Images Cinema, 50 Spring Street, Williamstown, MA As always, we’ve provided links in the shownotes to all the important info mentioned on the show. Thanks for tuning in, and, until next time, get off the couch and go see something live. The post Will Call #71: Jennifer Trainer on &lt;em&gt;Museum Town&lt;/em&gt; appeared first on The Greylock Glass.

(Cover Photo) From left: Luke Haskell, Dara Silverman, Madeleine Rose Maggio; photo By Eloy Garcia. Lenox, Mass. — Shakespeare &amp; Company presents William Shakespeare’s comedy Love’s Labor’s Lost, directed by Kelly Galvin and performed outside in The Dell at The Mount, Edith Wharton&#8217;s Home. This family-friendly, open-air production featuring Shakespeare &amp; Company Education Artists runs from July 10th &#8211; August 18th. Today is Monday, August 13 and you’re listening to Episode #70 of Will Call. Luke Haskell, Dara Silverman, Madeleine Rose Maggio; photo By Eloy Garcia. We hear from director Kelly Galvin, who returns to Shake and Co. for her ninth season with the company after earning an MFA from Boston University this Spring. Her experience directing, with Shakespeare &amp; Company, WAM Theatre, Boston Playwrights’ Theatre, Southwest Shakespeare, and other companies really pays off in this faced-paced early Shakespeare comedy from the mid 1590s. This week’s show takes us to The Mount, Edith Wharton&#8217;s Home, in Lenox Massachusetts. Weather permitting, Shakespeare &amp; Company presents William Shakespeare’s Love’s Labour’s Lost under the open sky at The Dell, a sort of natural amphitheater that is a truly ideal place to experience this particular play, which is being performed until August 18. You don’t want to miss this immersive experience, so I’d encourage you to visit the company on the web at shakespeare.org for tickets and more information, Kelly Galvin directing Love&#8217;s Labor&#8217;s Lost at The Mount; photo by Eloy Garcia “One of Shakespeare’s very first plays, Love’s Labor’s Lost offers us a glimpse of an audacious young playwright delighting in his virtuosity,” says director Kelly Galvin. “Within his sparkling poetry we sense the young playwright coming into the fullness of his power. In doing so, he conjures a fantastical world of young luminaries who are coming into power in their own right. In The Dell, where the borders between our actors and audiences are most fluid, we find a perfect setting for Shakespeare’s rhapsody of language, laughter, and summer love.” Also with us are actors Luke Haskell and Madeleine Rose Maggio. Luke brings to life the irreverent knave Costard, while Madeleine portrays both the wanton country wench Jaquenetta as well as the somewhat vacuous nobleman Longaville, a member of the court of Ferdinand, King of Navarre. Historically one of the less frequently performed of Shakespeare’s works, Love’s Labour’s Lost yet has a solid, if simple, storyline that acts as a perfect vehicle to explore themes familiar to us more than 400 years after the works first publication. Director Kelly Galvin gives us an overview of this prototype of so many literary battles of the sexes to follow: Love&#8217;s Labor&#8217;s Lost begins with the King of Navarre dedicating himself and his country to a life of scholarship. The King and his courtiers have made an oath renouncing worldly pleasures and have commanded all the townsfolk of Navarre to do the same. But when the Princess of France and her ladies arrive on a diplomatic visit, the King and his friends find the enticements of summer love more powerful than they had imagined. A spoof of those who try to shun love and life, Love’s Labor’s Lost is full of witty wordplay, outrageous mishaps, and riotous comedy. Rylan Morsbach, David Bertoldi, Madeleine Maggio, Devante Owens; photo by Eloy Garcia. Luke Haskell and Madeleine Maggio are prime examples of how arts organizations like Shakespeare &amp; Company really do drive the economy of the region. Both actors grew up in the Berkshires, got involved with the company in their teens, and have managed to pursue their craft professionally right here at home. Director Kelly Galvin points out that there’s also something special about the Mount, which was Shakespeare &amp; Company’s first home in the late 1970s. The playwright set a number of his works either partially, or entirely in the open air, such as Love’s Labour’s Lost, and The Dell is a space seemingly engineered by Nature specifically for the benefit of this production. Actors Haskell and Maggio share Galvin’s appreciation of the space. Kelly Galvin explained that Love’s Labour’s Lost is masterpiece of language and wit, but that underneath the clever verbal sparring between the sexes, a timelessly tender question of the heart awaits an honest answer. &#8220;I fell in love with Shakespeare as a kid seeing the plays performed, so the opportunity to direct in this space for our widest ranging audience is really special for me,&#8221; continued Galvin. &#8220;As we create this play, we&#8217;re thinking about how the story will resonate for audiences of all ages, and it makes our storytelling more complex, imaginative, and nuanced knowing that we&#8217;ll have some audience members who are seeing Shakespeare for the first time, and some who already have a deep relationship with the playwright.&#8221; Haskell notes that the important characteristic of these exchanges is their overall comic lightness. Haskell’s character, Costard, is more than happy to engage in conversational duels with both men and women, however noble or common they may be. One gets the sense that his lack of education and refinement doesn’t blunt the edge of his own locutionary prowess. Another comedic figure, who might at first blush seem to have a disproportionate influence on the events of Love’s Labour’s in relation to her spoken presence is Jaquenetta. Galvin explains this curiously pivotal character, played by Maggio, who also breathes life into one of the king’s courtiers, Longaville. Maggio seems really to relish portraying this character, who manages to capture the heart of the larger than life visiting Spaniard, Don Armado, played by Thomas Reynolds. Despite his passionate avowal to join Ferdinand’s abstinence campaign, and his equally passionate rejection of the prolonged purification, it was not Don Armado who first took up the pledge and was the first to break under the weight of a lady’s charms. Longaville, played by Maggio, is something of a loveable lunkhead, whose personification presented the actor with an opportunity to plumb the depths of masculinity from a unique perspective. Madeleine Rose Maggio, Tom Reynolds; photo By Eloy Garcia. Beyond the fact that Love’s Labour’s Lost is over four centuries old, I think we can be forgiven any spoilers of which we’re guilty in this episode, based on the events of Act I, Scene I. Four young men, swearing off the company of the fairer sex, is bound to come crashing down ‘ere long in the company of the French princess and her entourage. It’s only natural. From Luke’s perspective, part of Shakespeare’s intent is encourage people to embrace a measure of surrender. For Maggio, the women in the play, and perhaps especially Jaquentta, don’t need to fight their femininity the way the men try first to squelch their masculinity, and then overcome the barriers imposed by norms of behavior. We shouldn’t be surprised that Shakespeare promoted the notion that feminine common sense is an inborn guiding instinct—many of the women who populate his works possess impressive strength of intellect and character, though not always simultaneously. Maggio says that she had a revelation about the men of the Kingdom of Navarre upon delving into Longaville—there may be a message from the 16th Century men of today would do well to absorb. So, no, Billy Shakes doesn’t treat us to a rollicking wedding banquet at the end of Love’s Labour’s Lost. No gods and goddesses kissing and making up. No mistaken identities resolving into renewed appreciation of commitment. You could say the shadows have offended and little’s been fixed when the play has ended. But Shakespeare doesn’t let us leave Navarre without a song in our hearts, though a pensive, melancholy song it may be. In a way, leaving the ending of the play slightly unresolved gives composer Deborah Morris​ the perfect opportunity to inject just the right sentiment into a production that invites us ponder as much as to laugh. Well that’s it for episode 70 of Will Call, here at the Greylock Glass. I’ve been your host, writer, editor, audio engineer, site administrator, and chief bottle washer. If you enjoyed this program, let me know. Shoot me an e-mail through our Contact page or directly to [email protected] It’s always good to hear from you. And you’ll hear from us again soon, so stay tuned. For now stay safe, be good to each other, and go easy on yourself. Kelly Galvin returns to Shakespeare &amp; Company for her ninth season having just received her MFA in directing from Boston University. The cast features David Bertoldi, Caroline Calkins, Emily Eldridge-Ingram, Lori Evans, Rory Hammond, Luke Haskell, Fiona Herter (Education Intern), Caitlin Kraft, Madeleine Rose Maggio, Rylan Morsbach, Devante Owens (Riotous Youth Intern), Bella Pelz (Riotous Youth Intern), Thomas Reynolds (Riotous Youth Intern), and Dara Silverman. The creative team includes Devon Drohan (Set Design), Elizabeth Magas (Costume Design), Deborah Morris​ (Composer), and Cindy Wade (Stage Manager).Tickets for Love’s Labor’s Lost are available online at shakespeare.org, or by calling Shakespeare &amp; Company’s box office at (413) 637-3353. The show is family-friendly, general admission, and tickets are $25 for adults and $10 for youth. Performances will run approximately 90 minutes with no intermission, and will be followed by short talk-back with the actors. The Mount is located at 2 Plunkett Street in Lenox, Massachusetts. The grounds open 90 minutes before each performance. Audience members are encouraged to bring chairs or blankets and a picnic; chairs are also available to rent for a fee of $2 per chair.  AT A GLANCEPRODUCTION: Love’s Labor’s LostPLAYWRIGHT: William ShakespeareDIRECTOR: Kelly GalvinSET DESIGNER: Devon DrohanCOSTUME DESIGNER: Elizabeth MagasCOMPOSER: Deborah Morris​VOCAL COACH: Gwendolyn SchwinkeSTAGE MANAGER: Cindy Wade CAST MEMBERSBEROWNE: David BertoldiROSALINE: Caroline CalkinsMARIA / DULL: Emily Eldridge-IngramHOLOFERNES: Lori EvansPRINCESS OF FRANCE: Rory HammondCOSTARD: Luke HaskellFORESTER: Fiona HerterBOYET: Caitlin KraftLONGAVILLE / JAQUENETTA: Madeleine Rose MaggioKING OF NAVARRE: Rylan MorsbachDUMAINE: Devante OwensMOTH: Bella PelzDON ARMADO: Thomas ReynoldsKATHARINE / SIR NATHANIEL: Dara Silverman SCHEDULE JULYTuesday, July 10 &#8211;  6:00 PM (preview)Thursday, July 12 &#8211; 6:00 PM (opening)Saturday, July 14 &#8211; 11:00 AMTuesday, July 17 &#8211; 6:00 PMThursday, July 19 &#8211; 6:00 PMSaturday, July 21 &#8211; 11:00 AMTuesday, July 24 &#8211; 6:00 PMThursday, July 26 &#8211; 6:00 PMSaturday, July 28 &#8211; 11:00 AMTuesday, July 31 &#8211; 6:00 PM AUGUSTThursday, August 2 &#8211; 6:00 PMSaturday, August 4 &#8211; 11:00 AMTuesday, August 7 &#8211; 6:00 PMSaturday, August 11 &#8211; 11:00 AMSaturday, August 18 &#8211; 11:00 AM (closing) About Kelly Galvin(Director, Love’s Labor’s Lost) ninth season. S&amp;Co Director: The Clean House (reading), Fall Festival of Shakespeare 2008-2013, Bankside Preludes. S&amp;Co Actor: A Midsummer Night’s Dream, King Lear, The Venetian Twins, The Winter’s Tale, The Learned Ladies, Les Liaisons Dangereuses. WAM Theatre: Artistic Associate (2012-2014), The Last Wifedirector, Blue Stockings (reading) director, Fresh Takes inaugural curator and producer. Other Directing: Southwest Shakespeare (Photograph 51), Boston Playwrights’ Theatre (Memorial, New Play Festival), The Theatre at Woodshill (As You Like It, Much Ado About Nothing), Boston University School of Theatre (The Cherry Orchard, The Caucasian Chalk Circle, Dancing at Lughnasa, The Duchess of Malfi, The Tall Girls). Assistant Directing &amp; Observerships: Asolo Rep, Bedlam NYC, Orlando Shakespeare Theatre, Boston Center for American Performance, Huntington Theatre Company. Directing Fellowship: Asolo Repertory Theatre. Artistic Development Internship: Arena Stage. Training: MFA, Boston University. BA, Wellesley College. kellydirecting.com. About William Shakespeare(Playwright, Love’s Labor’s Lost) He was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. His works, including some collaborations, consist of about 37 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. About Shakespeare &amp; CompanyLocated in the beautiful Berkshires of Western Massachusetts, Shakespeare &amp; Company is one of the leading Shakespeare festivals of the world. Founded in 1978, the organization attracts over 30,000 patrons annually. The Company is also home to an internationally renowned Center for Actor Training and award-winning Education Program. More information is available at www.shakespeare.org. The post Will Call #70: Love&#8217;s Labour&#8217;s perfectly Lost at The Dell. appeared first on The Greylock Glass.

WILLIAMSTOWN,&nbsp;Mass. — The Williams Theatre Department will present Purple Valley Plays,&nbsp;original works for the stage written, directed, designed, and performed by Williams students. Back for a third year, Purple Valley Plays continues the Theatre Department’s tradition of incubating new work and cultivating the next generation of theatre artists. Presented in two programs, Purple Valley Plays will premiere works by Terah Ehigiator ’18, Mia Hull ’17, Joseph Messer ’21, Chanel Palmer ’19, and Tom Robertshaw ’19. * Performances are on Thursday, April 26th to Saturday, April 28th. Program 1 will be in the CenterStage at 7 PM. Program 2 will be in the Adams Memorial Theatre at 8:30 PM. All performances will be located at 1000 Main Street, in Williamstown, MA. Tickets are $3. &#8220;The Theatre Department recognizes that some artistic works are provocative, and may be challenging for audience members—emotionally, intellectually, and personally.&nbsp; We wish to alert our patrons to the following specific content.&#8221; &nbsp; Program One (Adams Memorial Theatre) River Spirits&nbsp;by Terah Ehigiator &#8217;18, directed by Jack Romans &#8217;20. Emmett lives freely in paradise until the appearance of a strange new boy alters him forever. With playfulness and sincerity, this play explores tensions of boyhood, friendship, and (dis)belief. contains artistic representations of racialized violence and self-harm. Phaedra / Hippolytus / by Mia Hull &#8217;17, directed by Tom Robertshaw &#8217;19. A woman, in love with her husband, falls in love with his son. Clean lines and floors, stifled, enraged, undone. contains artistic representations of suicide. Program Two (CenterStage) Majesty in the Middle Realm by Chanel Palmer &#8217;19, directed by Caroline Fairweather &#8217;20. A fast-paced exploration of connection, belonging, displacement, and infinity. A young woman’s quest for family and for peace in a world of in-betweens turns out to extend well beyond her wildest dreams. alludes to racialized violence and police brutality. What if We Loved with our Radiated Bodies? by Joseph Messer &#8217;21, directed by Fiona Selmi &#8217;21. Three infected lovers attempt to find themselves, but as their environment falls apart, words fall apart, movement falls apart, and people fall apart as well. contains graphic sexual language. Chastens and Hastens by Tom Robertshaw &#8217;19, directed by Liam Ouweleen &#8217;19. Thanksgiving/family/generations/breach/a dongle/butterball/ritual hunt? references appropriation of indigenous cultures, and ignorance about sexual and gendered orientations. The Theatre Department works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year. For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425. For more information, please visit&nbsp;http://62center.williams.edu &nbsp; * This article was created, in whole or in part, using submitted officially released information. The post Will Call #69: Purple Valley Plays—A Festival of New Work for the Stage appeared first on The Greylock Glass.

David Eppel shares thoughts on apartheid, creativity in the shadow of oppression, and his 35 years as a professor of theatre at Williams College* David Eppel, professor of theatre at Williams College; photo by Jason Velázquez. WILLIAMSTOWN, Mass—The Williams Theatre Department is proud to present Molière’s classic comedy Tartuffe, translated by Pulitzer Prize-winning poet Richard Wilbur. Get ready for a Baroque romp, a minuet in rhyming couplets, and a wicked, hilarious satire, complete with keyhole peepers and eavesdroppers. First performed on May 12, 1664 at Versailles for Louis XIV, Tartuffe was instantly banned and had to be rewritten so as not to offend the church, the aristocracy, the king, and just about everyone else. Watch as the ruling classes are hoisted by their own hypocritical petard. All of the above, and much, much more, awaits…in thigh-slapping iambic pentameter, no less. There will be a post-performance Q&amp;A after the Saturday evening performance hosted by “Monsieur Tartuffe comes to America” author Emmanuelle Delpech and Costume Designer Deborah Brothers. Performances are on Thursday, March 8th to Sunday, March 11th at 7:30 PM and Saturday, March 10th at 2:00 PM on the ’62 Center’s Adams Memorial Theatre, located at 1000 Main Street, in Williamstown, MA. Tickets are $3. Tartuffe cast: Nadiya Atkinson &#8217;21 Tobias Delgado &#8217;21 Terah Ehigiator &#8217;18 Samori Etienne &#8217;21 Caroline Fairweather &#8217;20 Nicole Jones ‘20 Scott Lipman &#8217;18 Evelyn Mahon &#8217;18 John Murphy &#8217;21 Christine Pash &#8217;18 Thomas Robertshaw &#8217;19 Jack Romans &#8217;20 Jack Scaletta &#8217;18 David Eppel, Director Fiona Selmi &#8217;21, Assistant Director Jason Simms, Set Designer Deborah Brothers, Costume Designer Natalie Robin, Lighting Designer Bobby McElver, Sound Designer Julia Tucher &#8217;21, Assistant Sound Designer Paige Carter, Properties Master The Theatre Department works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year. For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425. &nbsp; *This article was created, in whole or in part, using submitted officially released information. The post Will Call #68: David Eppel bids farewell with Tartuffe appeared first on The Greylock Glass.

ADVISORY: Explicit content. Underground Railroad Game contains sexually explicit material, strong language, and mature themes, so is recommended for adventurous audiences ages 18 and up. Questions about what you’re in for? You can reach out to Producing Director, Randal Fippinger for more info. Created by Jennifer Kidwell &amp; Scott R. Sheppard, Directed by Taibi Mager Named one of the top ten theatre experiences of 2016 by the New York Times, Underground Railroad Game is a vivid, piercing piece of experimental performance from Philadelphia-based company Lightning Rod Special. Over its rapid-fire 75 minutes, the piece toes the line between sketch comedy show and excruciating American history lesson, set in a middle school classroom. Underground Railroad Game Thursday, March 1, 2018; 8:00 p.m. &#8217;62 Center for Theatre and Dance, MainStage 1000 Main Street Williamstown, Mass. Tickets: $10/$3 (students) At Hanover Middle School, two teachers get shockingly down and dirty with a lesson about race, sex, and power. The quick-witted duo goes round after round on the mat of our nation’s history in an R-rated, far-reaching, and absolutely unflinching comedy. Lightning Rod Special’s raucous performance earned them the 2017 Obie Award for Best New American Theatre Work, one of the highest honors in the field. By tearing down barriers of political correctness and challenging the contemporary liberal interracial dialogue, Underground Railroad excavates hidden—and often ugly—truths about race, identity, and historical memory. Production Design: Tilly Grimes Scenic Design Steven: Dufala Lighting Design Oona: Curley Sound Design: Mikaal Sulaiman Production Stage Manager: Lisa Mcginn Stage Manager: Natalie Hratko Post Show Q&amp;A with Assistant Professor of English Kimberly Love. “If we interrogate the mythos of the Underground Railroad we uncover an apparent need to make systemic exploitation, degradation and objectification palatable. Why is it that we love to narrativize ourselves in ways that propagate the very violence we proclaim to upend?” – Jennifer Kidwell &amp; Scott Sheppard Underground Railroad Game Trailer from Jennifer Kidwell on Vimeo. About Jennifer Kidwell Jennifer Kidwell Jennifer Kidwell is a performing artist. Most recently she has had the fortune to work with David Neumann/advanced beginner group (I Understand Everything Better), Robert Wilson/Toshi Reagon/Bernice Johnson Reagon (Zinnias), Pig Iron Theatre Company (Live Faster, 99 Break-Ups) and visual artist Joe Scanlan as Donelle Woolford (Dick’s Last Stand, Whitney Biennial 2014). With Scott Sheppard, she has created the original duet Underground Railroad Game (FringeArts 2015, ANT Fest 2014), and is currently at work on an original quartet, Those With Two Clocks, with Jess Conda and Melissa Krodman. She is a proud co-founder of JACK (Brooklyn). About Scott Sheppard Scott Sheppard is an actor, deviser, director and teacher from Philadelphia and he has co-created all of Lightning Rod Special’s performance works. He is also a member of the inaugural class at Pig Iron’s School for Advanced Performance Training (2011-2013) and most recently appeared in Pig Iron Theatre Company’s newest production 99 Breakups. In 2013-14 he was selected to be BRAT Productions’ Artist in Residence, and his most recent original production, Underground Railroad Game, appeared as a presented feature in the 2013 NOLA Fringe Festival and Ars Nova’s All New Talent Festival in New York City. In 2014 he also was a director in residence at Colgate University, where he led students in the creation of an original piece of theatre about deer overpopulation, ecological stewardship, and animal-human relationships. The post Will Call #67: Underground Railroad Game at &#8217;62 Center appeared first on The Greylock Glass.

Hey Greylock Nation— Today is Tuesday, January 16, 2018, and you’re listening to episode 62 of the Top Left Corner. I’m your host, Jay Velazquez, and, as always, I thank you for tuning in. All photos by Jason Velázquez. We’re coming up this week on the first anniversary of the Women’s March, the largest single-day protest in U.S. history, with half a million attendees showing up for the flagship event in Washington D.C., approximately 4 million participating in events around the country, and well over 5 million demonstrators world-wide. Although I haven’t talked much about it, I was fortunate, more than fortunate actually, to attend the Women’s March on Washington. At the last minute Meghan Whilden, Executive Director of the Osher Lifelong Learning Institute at Berkshire Community College, contacted me to let me know about an empty seat on one of several busses heading to the Capitol from Western Massachusetts. She wanted to send me down as one of the Berkshires’ own journalists on location at one of the most profound and powerful experiences on American soil of the 21st Century. My bus left from Northampton, Mass about 1:30 a.m. packed primarily with women from the Pioneer Valley, but also a good share of Berkshire residents. The buses leaving out of Pittsfield had all left earlier the evening before. Our bus arrived and parked in the lot of a stadium outside of the Capitol, and, keeping close to my Berkshires contingent, I made my way toward the National Mall, interviewing people along the way. Long before I saw the columns of the Supreme Court or any of the monuments, I knew that I’d been captured by history and marked in a way that would be almost painful for its permanence. I reported via Facebook LIVE video and through live audio broadcasts using the Mixlr Internet radio service. I posted photos and text updates until first the cellular service in D.C. got completely clogged, or intentionally disabled—we never found out— and then eventually my phone’s battery ran dry, and I had no way to charge it without finding my way through a rolling pink sea of determination. On the trip back to Western Mass, I tried to piece together some way to tell a story that was weightier and more expansive than I’d ever been tasked to convey. Harder still was knowing what to do with the strange distance I felt between myself as a man and a reporter at the scene and the women who were returning as victorious participants. There were so many women who’d attended not just the March on Washington, but also the sister events in the Berkshires and beyond, who had their stories and experiences to share as women with other women. Who was I to show up at their campfire and ask to be passed the talking stick? And with such really excellent coverage by so many distinguished national journalists, I couldn’t see what contribution I might make. I spent a good amount of time on both the way down and the way back talking with Emily Cutts, staff writer for the Daily Hampshire Gazette. I meant to ask her what it felt like to be a female journalist covering the story, and whether she felt she needed to try to keep a level of professional detachment from the events. I don’t know how any reporter, man or woman, could have kept their heart behind a fence, to be honest. But I never got to ask her. The bus stopped moving about 40 minutes south of Northampton and wouldn’t budge again. In a flurry of calls to family and frenzied tapping on Uber, the women and men who shared such powerful solidarity for the last 24 hours made their separate ways out into the pre-dawn darkness and frost. My lot, and that of my traveling companion, was looking more and more dire as Uber drivers started running out, and I couldn’t get my phone to install the damn app anyway. In an act of selflessness and generosity, charity really at that hour of the morning, my newly met colleague gave up her seat so that we could make it back to Northampton. She ended up waiting over an hour in the cold until a friend was able to get there and shuttle her back to Paradise City. Thank you. Thank you again, Emily Cutts. Your strength, exhibited through kindness and self-sacrifice was so…feminine. It didn’t take me long, sitting starting at the empty white screen of my computer, to realize that what Megan Whilden had done, intended or not, was not to dispatch me to the nation’s capitol to go get that story, but to send me there so that the devastating 24-hour transformation I underwent would inform my decisions on what topics I would cover and how I would cover them from that point on. If it seemed to you that the reporting coming out of the Greylock Glass was steeped in estrogen in 2017, well now you know why. I looked for stories not just about women in the Berkshires, but about how those women, through their own work and lives, reflected the growing realization that America was about to reckon with a women’s movement that was gaining in power, momentum, and political sophistication. The country would begin to come to terms with gender inequities and injustice not because it was convenient at the moment, but because women had decided they were done with gradualism. The Greylock Glass reported on many, many women achieving amazing things in education, literature, music, politics, and other areas. When searching for a source to talk to about a subject that wasn’t inherently masculine or feminine, I challenged myself to be sure to contact a woman with equal expertise or credentials if no reason existed not to feature a feminine voice. Finally, just as important to me as including women’s voices in our reporting was committing to give time to stories about issues that may have a veneer of gender neutrality, but which, in fact, affect women disproportionately, and often with strikingly unjust consequences. What did I learn pursuing this slight editorial tweaking in 2017 was that including women more often in news coverage, as vital actors on the many diverse stages of human experience, as agents of their own fortunes and as agents of change in their communities? I learned that it’s really no professional challenge. It’s just a personal habit. Plenty of men made appearances in our podcasts and in our pages last year, too—when it made sense, in the interest of the informing the audience, to talk with them. But never as the default gender. And while I haven’t analyzed stories and podcasts from 2015 or 2016 to see if last year rectified a gender disparity of which I wasn’t aware, I don’t think I have to at this point. And I don’t think I’m going to have to make any special effort in 2018 to ensure journalistic gender equity. If, as I hope, I’m in a position to hire a reporter this year, I’ll be looking forward to nurturing the habits of awareness in her or in him that took root for me, and for the world, during the first Women’s March on January 21, 2017. Although I never did come up with a satisfactory way to chronicle my trip to Washington, I did return home with a couple hours-worth of audio interviews. I’ve sifted through those conversations and pulled out a small collection of my favorite quotes. Except for the voice of Kamala Harris at the end, the speakers are going to remain nameless, though some of you will, doubtless, recognize one or two of the women I spoke with. So now, I’d like to share with you, as a small way the Greylock Glass can commemorate that historic demonstration, Ten Minutes of Voices on the Road to the Women’s March on Washington. The post TLC #62 — Remembering the Women&#8217;s March: Voices from the Road appeared first on The Greylock Glass.

Longtime Berkshire Bach Ensemble member Eugene Drucker takes on directorship of &#8220;Bach At New Year’s&#8221; Eugene Drucker takes the directorship of Berkshire Bach’s time-honored and celebratory &#8220;Bach at New Year’s&#8221;; submitted image. Today is Wednesday December 20, 2017 and you’re listening to Episode #66 of Will Call, our final episode of the show for the year. I’m your host, Jason Velázquez, and I thank you not only for tuning in today, but for being such a fine, fine audience throughout 2017. It has been my treat to share with you news and interviews from the performing arts universe here in the Berkshires. I don’t know about you, but I can’t wait to find out where 2018 will lead us. I am so pleased to announce that this episode is sponsored by one of the newest supporters of the Greylock Glass, The Spirit Shop of Williamstown, located at 280 Cole Avenue, purveyors of fine wines, a masterfully curated selection of domestic and imported beers, local hard ciders, and a full range of liquors—if you check your cabinet and find your holiday entertaining supplies lacking, a trip to the Spirit Shop, might just be the solution you’re looking for. &nbsp; ADVERTISEMENT &nbsp; At the top of the show, we heard a clip from Rondeau, one of six contradanses by Wolfgang Amadeus Mozart, performed by the Berkshire Bach Ensemble, at their 2015 extravaganza, &#8220;Bach at New Year&#8217;s — A Blast of Brass,&#8221; under the direction of Kenneth Cooper. This season inaugurates a season of change for the Berkshire Bach Society. Emerson String Quartet founder and internationally renowned soloist, Eugene Drucker takes the directorship of Berkshire Bach’s time-honored and celebratory &#8220;Bach at New Year’s&#8221;, as well as performing as featured soloist with the Berkshire Bach Ensemble. We’re joined this episode by Paula Hatch, Executive Director of the Berkshire Bach Society, to talk about this year’s Bach at New Year’s event and to look forward to 2018. A Christmas Carol First though, we had a brief conversation with Travis Daly of Berkshire Theatre Group who directs their beloved community production of A Christmas Carol again this year. And again, tickets are still available for this beloved staging of A Christmas Carol at berkshiretheatregroup.org. That was a portion of Bach’s Brandenburg Concerto No. 2 in F major, played by the Berkshire Bach Ensemble during their 2016 Bach at New Year’s. All six Brandenburg Concerto’s were performed for last year’s holiday spectacular, the final such with Kennth Cooper as director before his retirement. With me now is Berkshire Bach Society executive director Paula Hatch to describe this 2017 event and to fill us in about what’s known of the 2018 season. Head on over to http://berkshirebach.org/ for tickets and more information. Well, that’s our show for this week. I’ve been your host, Jason Velazquez, and again, I do thank you for listening today, and throughout 2017. I hope you’ll join me next year for another great season covering the performing arts in the Greylock corridor. Take care! &nbsp; Bach at New Year’s Program 2017-2018 Mozart: Divertimento in D Major, K. 136 William Boyce: Symphony No. 1 in B flat Major for oboes and strings. Purcell: Chacony and Fantasias; Cebell and Fanfare; The Faerie Queen Prelude and Celebration William Boyce: Symphony No. 1 in B flat Major for oboes and strings. Mozart: Violin Concerto in A Major — K. 219 (the Turkish – Drucker soloist) Bartok: Duos for Two Violins, Sz. 98: New Year’s Greetings Telemann: Concerto in D Major for Four Violins — TWV 40:202 J.S. Bach: Contrapunctus #9 from The Art of the Fugue. Mozart-Bach: Five fugues for String Quartet from The Well-Tempered Clavier J.S. Bach: Orchestral Suite No. 1 in C Major — BWV 1066 The post Will Call #66: Bach At New Year’s and Travis Daly on &#8220;A Christmas Carol&#8221; appeared first on The Greylock Glass.

Razor sharp a cappella and gospel group to give free performance The MCLA Allegrettos; photo courtesy the Allegrettos, via Facebook. &nbsp; from publicity materials Known for their powerhouse vocals, the MCLA Allegrettos are quickly becoming a name on the collegiate music scene. Focusing on complex vocals, rock solid technique, emotive nuances, and power; the Allegrettos deliver a sound that has no flats, avoids sharps, and only produces perfect harmony. ADVERTISEMENT Allegrettos A Cappella Performance Saturday, December 09 at 7:00 p.m. SereniTea Cafe and Bar 303 Ashland Street, North Adams, Mass. Free! More info. In three short years the Allegrettos grew from a 10 person Christmas caroling group, to a thirty member, award winning ensemble that has opened for the likes of Craig Harris, The Sweetback Sisters, Blitz the Ambassador, and Regina Carter. The purpose of the MCLA Allegrettos is to challenge its members in all aspects of performance, from learning vocals to developing a visually stimulating and entertaining performance to a variety of audience members. It also enriches the community by performing varying genres of music which therefore provides a sense of other musical cultures. The Allegrettos began in the winter of 2009 as the Hoosings. Freshman J. Cottle had always wanted to go caroling and for the first time, found himself in the position to do so. Together with 9 other freshmen (Jessica Jean-Charles, Kate Moore, Lizzy Mullen, Shavonne Brown, Chantel Baptista, Paul Miranda, Quincy Goodwin, Ryan Howard and Joel Siskin) the Hoosings caroled all around campus. Since then the group has tripled in size, and now focuses on Holiday, A Capella, and Gospel music, and has performed over 30 times across the state. In 2011 they were finalists in the first season of Together In Song, and won 2nd place in the first annual Lenox Caroling Festival. The post Will Call #65: The MCLA Allegrettos deep in a new season of harmony appeared first on The Greylock Glass.

PLUS a sneak peek (well, more of a sneak listen) to our 1st place storyteller Jennifer Holey telling her tale about &#8220;Little Creatures&#8221; at the inaugural batch of the new Berkshire Yarn Mill&#8217;s live story event! Sandy McKnight&#8217;s Pop Clique provided welcome acoustic tunage for the first storytelling event of the new &#8220;Berkshire Yarn Mill,&#8221; launched Wednesday night at SereniTea Café and Bar in North Adams. &nbsp; The Spirit Shop, 280 Cole Avenue, Williamstown, Massachusetts. Today is Friday, December 1st, 2017, and you’re listening to Episode 64 of Will Call, here at the Greylock Glass. I’m your host, Jason Velazquez, and I have to say welcome to all our listeners, and thanks for tuning in. I am so pleased to announce that this episode is sponsored by the newest supporter of the Greylock Glass, The Spirit Shop of Williamstown, located at 280 Cole Avenue, purveyors of fine wines, a masterfully curated selection of domestic and imported beers, local hard ciders, and a full range of liquors—if you check your cabinet and find your holiday entertaining supplies lacking, a trip to the Spirit Shop, might just be the solution you’re looking for. &#8220;Canon and Variation,&#8221; by Twin Musicom, is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) This episode features two great conversations about Berkshires theatre, both performances that are being staged right now as well as productions that are coming up in 2018. We speak first with Laura Standley, Associate Professor, Theatre &#8211; Acting and Directing at the Massachusetts College of Liberal Arts about the 2017 / 2018 Season entitled, “We the People.” We explore Molière’s “Tartuffe,” which enjoys a much-anticipated opening this weekend at the Venable Theatre on The MCLA campus. The link to tickets and more information is, of course, in the shownotes. We’re also thrilled to finally have our long-awaited conversation with Shakespeare &amp; Company’s artistic Director, Allyn Burrows, who is feeling pretty pleased with the outcome of the 2017 season, his first at the 40 year old Lenox institution. We talk about how the 2018 line-up of Shakespeare works came together, and how developments in staging locations have generated new enthusiasm for outdoor performance. No amount of prying would get him to reveal other titles from next year’s roster, but he assures us that we won’t have to wait too much longer. Some of you probably heard about the launch of the new Berkshire Yarn Mill storytelling project this past Wednesday, November 29th. Actually, I know some of you heard about it, because some of you were there. The Greylock Glass began this initiative to help promote live storytelling in North County, and our first monthly batch of yarns, spun at SereniTea Café and Bar in North Adams, was a huge success. We’ll hear a sampling from the winning story later, but right now, let’s go to our conversation with Laura Standley of MCLA’s Fine and Performing Arts Department. &nbsp; Affiliate Link. &#8220;Tartuffe,&#8221; by Molière Presented by the MCLA Department of Fine and Performing Arts December 1 –10 Tickets We speak about this complex work of satire with Laura Standley, Associate Professor, Theatre (Acting and Directing), who explained that this was a perfect choice for the 2017–2018 season, entitled, &#8220;We the People.&#8221; &nbsp; &nbsp; &nbsp; Laura Standley, Associate Professor of Theatre—Acting and Directing; photo by Dennise Carranza. &nbsp; Laura Standley holds a BA in Theatre from University of Central Oklahoma and an MFA in Acting from University of California Irvine. She has studied under master teachers Robert Cohen, Dudley Knight, Annie Loui, Catherine Fitzmaurice, Ragnar Friedank, Joanna Merlin, Barney O&#8217;Hanlon, Lenard Petit, Ted Pugh, and Fern Sloan. Recent collaborations include Passage (work in progress) with Kickwheel Ensemble Theater, as well as Howard Barker&#8217;s Scenes From an Execution and David Ives&#8217; The Liar with Oklahoma Shakespeare in the Park. New York directing credits include Reckless Season (New Works Reading Series), Pump Boys and Dinettes, Lobby Hero, and Burn This, all with Ground Up Productions. Favorite academic directing credits include bobrauschenbergamerica,Romeo and Juliet, Mud and The Successful Life of 3 by Maria Irene Fornes, Angels in America,Hedda Gabler, and the punk rock version of Steven Berkoff’s Agamemnon. &nbsp; Laura has taught at University of North Carolina &#8211; Charlotte, Stony Brook University, Chapman University, and University of California, Irvine. She is a member of the Society of Stage Directors and Choreographers, Actors Equity, Voice and Speech Trainers Association, Association of Theatre Movement Educators, and the Michael Chekhov Organization. Laura is fascinated with the intersection of movement, action and the theatre experience. Her work incorporates classical theatre, body-based disciplines, and the use of dance choreography techniques in preparing performance. Laura continues to be inspired by this work in meaningful ways and is constantly looking for new forms of making theatre. Thoughts on Shakespeare &amp; Co.&#8217;s 40th season with Allyn Burrows&#8230; &#8230;and a look forward to the 2018 line-up of Shakespeare works. &nbsp; About Allyn Burrows Allyn Burrows, Artistic Director at Shakespeare &amp; Company, photo by Olivia Winslow. As Artistic Director of  Shakespeare &amp; Company, The Tempest, God of Carnage, T.S. Eliot and his Love of Shakespeare, Or, King John, Much Ado About Nothing, Henry V, A Midsummer Night’s Dream, Henry IV Pt 1, Measure for Measure, Betrayal, The House of Mirth, Love’s Labours Lost, Macbeth, and The Complete Works of William Shakespeare (Abridged). As Artistic Director of Actors’ Shakespeare Project, Allyn directed productions of Romeo &amp; Juliet, Pericles, Jon Lipsky’s Living in Exile, Richard II, and The Tempest, and performances there included The Winter’s Tale, Henry VI Part 2, Henry VIII, Twelfth Night, King Lear, and Richard III.  He recently performed in Can You Forgive Her (Huntington Theatre), Breaking the Code (Underground Railway Theatre), Shipwrecked (The Lyric Stage), Oceanside, The Seafarer, Pursuit of Happiness, and The Homecoming (Merrimack Repertory Theater), and Five by Tenn (Speakeasy Stage). The 2006 Elliot Norton Award recipient for The Homecoming, King Lear, and Five by Tenn, Allyn also received the 2011 IRNE Award for Breaking the Code. Off-Broadway credits include Bug, Killer Joe, Louis Slotin Sonata, Closetland, and The Widowing of Mrs. Holroyd. He has worked regionally at The Actors’ Theatre of Louisville, The American Conservatory Theatre, The Long Wharf Theatre, The Denver Center, and The Walnut St. Theatre. Television credits include The Broad Squad, Law and Order, Law and Order: Criminal Intent, Against the Law, and on film in The Company Men, Julie &amp; Julia, and Manchester by the Sea. Learn more about Rosalind and other women who populate Shakespeare&#8217;s works. Women of Will: Following the Feminine in Shakespeare&#8217;s Plays, by Tina Packer (affiliate link). &#8220;Rosalind: A Biography of Shakespeare’s Immortal Heroine,&#8221; by Angela Thirlwell (affiliate link). Macbeth By William Shakespeare Directed by Melia Bensussen July 3 to August 5 Tina Packer Playhouse A gripping tale of blind ambition and nefarious plotting by two of Shakespeare&#8217;s most notorious anti-heroes of all time, Macbeth is a deliciously shadowy thrill ride. When yearning and imagination collide in the darkest recesses of a passionate mind, there may be blood. If victims fall in the consumption of power, the conscience can devour itself from within. Peace and sleep do not come without a reckoning. Such is the eternal and towering reminder of this stunning classic. As You Like It at twilight By William Shakespeare Directed by Allyn Burrows July 10 &#8211; August 18 Roman Garden Theatre (Outdoors) Like the Roaring Twenties for this country, the Forest of Arden represented a world of possibilities for young Rosalind. Our brilliant adventurer escapes a threatening world of suppression, even death, and her exile represents a dramatic break between past and future as she traverses the forest and the prospect of new horizons. Menace gives way to hope, re-invention, poetry, and love, cooked up with a big dose of hilarious comedy! Love&#8217;s Labor&#8217;s Lost By William Shakespeare Directed by Kelly Galvin July 11 &#8211; August 20 The Dell at the Mount, Edith Wharton’s Home (Outdoors) &nbsp; &nbsp; &nbsp; &nbsp; The post Will Call #64: MCLA presents Tartuffe, Shakespeare &#038; Co.&#8217;s 2018 line-up of Billy&#8217;s works appeared first on The Greylock Glass.

5th Annual Whimsy at the Whitney Center for the Arts, with afterparty tunes provided by the Dust Bowl Faeries; AND a costumed, elaborately staged reading of Miss Bennet: Christmas at Pemberley at Shakespeare &amp; Company. Today is Tuesday, November 21st, 2017, and you’re listening to Episode 63 of Will Call, here at the Greylock Glass. I’m your host, Jason Velazquez, and I have to say welcome to all our listeners, and thanks for tuning in. I am so pleased to announce that this episode is sponsored by the newest supporter of the Greylock Glass, The Spirit Shop of Williamstown, located at 280 Cole Avenue, purveyors of fine wines, a masterfully curated selection of domestic and imported beers, local hard ciders, and a full range of liquors—if you check your cabinet and find your holiday entertaining supplies lacking, a trip to the Spirit Shop, might just be the solution you’re looking for. 5th Annual WhimsyDecember 1, 2017; 5–8 p.m.Whitney Center for the Arts42 Wendell Avenue, Pittsfield, Mass. Advertisement We speak with Leo Mazzeo, curator at the Whitney Center for the Arts in Pittsfield, who’ll tell us about the offerings at the 5th Annual Whimsy taking place December 1st. This art exhibition features a diverse collection of artists who all have in common an imagination that fits perfectly with the aspirations of this yearly delight. An after-party with entertainment by the Dust Bowl Faeries. This event, part of the First Fridays Art Walk, is definitely worth bundling up and heading out into December for. (from information submitted by the Whitney Center for the Art) Leo Mazzeo, curator at the Whitney Center for the Arts; image courtesy Leo Mazzeo, via Facebook. &nbsp; The 5th Annual Whimsy For four previous holiday seasons, and now a fifth, the Whitney Center for the Arts has presented a whimsical art exhibit for the months of December and January. This year, in spectacular fashion, “Fifth Annual Whimsy” will open @ the Whit, 42 Wendell Avenue, Pittsfield, MA with a very special evening beginning on December 1, 5-8PM during the First Fridays Artswalk. &#8220;Fecundity,&#8221; 2017, by Misa Chappell A not to be missed After Party will follow 8-10PM with a live multi-media musical performance by the Dust Bowl Faeries. This edition of Whimsy will feature an intriguing mix of artwork by Nancy Baumiller, Michael Boroneic, Misa Chappell, Ryder Cooley, Katherine Haig, Don Orcutt, and Marney Schorr. Nancy Baumiller is a multi-media collage artist based in the mid-west. This will be her first show @ the Whit, and her creations will be sure to dazzle. Michael Boroneic is well on his way to making a big impression beyond the regional art scene. His latest spiral series ceramics work is making an international impression in gallery shows, and major art fairs. Misa Chappell, as curator of the North Adams-based Common Folk artists collective, is a dynamic arts leader on the rise. Her artwork shows great command over a multitude of mark-making processes. EP Listening PartyThe Dust Bowl Faeries soon to be released EPJanuary 21, 2018; 7:00 p.m.Club HelsinkiHudson, New York &#8220;Dream,&#8221; by Ryder Coole Ryder Cooley is an interdisciplinary artist, musician, and performer. Cooley is an alumni of the Whimsy shows, and we are very excited to have her back for this edition. Her and her band mates comprise the Dust Bowl Faeries. She also emcees the Open Mic Night every Tuesday at Club Helsinki. You can check out an excellent chronicling of the October 2013 DownStreet Art event during Cooley&#8217;s tenure as MCLA&#8217;s Gallery 51 manager at&nbsp;Leo&#8217;s own site, arts indie. The Dust Bowl Faeries blew the minds of the assembled art enthusiasts at the Branch Gallery on Holden Street. His photos perfectly capture some of the energy of the evening. The Faeries show will be an absolute spectacle with sights, sounds, and performance unlike most anything most folks have ever experienced. Katherine Haig, also an important figure with the Common Folk artists collective, combines great technique with washes and line work to give vehicle to a most definite wry sense of narrative. Don Orcutt’s work reflects the human condition through symbolism, surrealistic satire, humor, and a bit of the dark side. “I have always had a fascination with the human psyche, and its relationship to science, deep space, and so on…” &#8220;Reminiscence,&#8221; by Katherine Haig. Marney Schorr is a highly prominent arts therapist in the region, and does invaluable work helping clients achieve their healing goals. Her work is an excitingly variable mix of styles and approaches. In the event you are unable to attend the brilliantly festive opening, “Fifth Annual Whimsy” may be viewed for the balance of December and January during gallery hours 12-4PM on Saturdays, during the Whit’s extensive performance schedule, or by contacting exhibit curator Leo Mazzeo at 413-281-6665 for an appointment. Miss Bennet: Christmas at Pemberley Lydia Barnett-Mulligan, as Mary Bennet in Miss Bennet: Christmas at Pemberley; photo by Olivia Winslow Miss Bennet: Christmas at PemberleyDecember 15 – December 17, 2017Elayne P. Bernstein TheatreShakespeare &amp; Company70 Kemble Street, Lenox, Mass.Tickets: Adult $22/Student $12 A costumed staged reading of the 2016 instant classic by&nbsp;by Lauren Gunderson and Margot Melcon that revisits your favorite Pride and Prejudice characters as they gather for the holidays. The ever-dependable Mary Bennet is growing tired of her role as dutiful middle sister in the face of her siblings&#8217; romantic escapades. When the family gathers for Christmas at Pemberley, an unexpected guest sparks Mary&#8217;s hopes for independence, an intellectual match, and possibly even love. But, is it meant to be? About Ariel Bock Ariel Bock, Producing Associate at Shakespeare &amp; Company; submitted photo. Ariel Bock is the current Producing Associate and longtime Company actor at Shakespeare &amp; Company. Recent credits include, S&amp;Co: Mom (Ugly Lies the Bone); Mistress Quickly (Henry IV pts 1&amp;2); Goneril (King Lear); Beatrice (Much Ado About Nothing); Elizabeth (Richard III); Audrey (As You Like It); Hippolyta (Midsummer Night’s Dream); The Nurse (Romeo and Juliet); Mistress Quickly (Merry Wives of Windsor); Paulina (The Winters Tale,) Ruth (Private Eyes), the Woman (Laughing Wild); Arlene (Off the Map). At Mixed Company: Ramona (Zara Spook and Other Lures) and Eileen (The Cripple of Inishmaan). With the Ensemble for the Romantic Century in NYC: Nadezhda VonMeck (None But the Lonely Heart), as well as Fanny Mendelsohn, Emily Dickinson, Sonia Tolstoy and Anna Akhmatova. A Designated Linklater Voice Teacher, she has been on the faculty of Dartmouth College and MIT. The post Will Call #63: Utter Whimsy and Dust Bowl Faeries, plus Miss Bennet: Christmas at Pemberley appeared first on The Greylock Glass.

The cast of the Williams Theatre Department production of &#8220;The Wolves,&#8221; written by Sarah DeLappe, and directed by Shayok Misha Chowdhury. The show runs November 9, 10, 11, 16, 17, and 18; photo by Jason Velázquez. This is Will Call, #62—We travel this episode to somewhere in the Midwest to meet high school women’s soccer team The Wolves. Rather we’ll speak with Misha Chowdhury, who directs this Williams Theatre Department staging of Sarah DeLappe’s 2017 Pulitzer Prize Finalist play, The Wolves, which runs Nov 9, 10, 11, 16, 17, 18 on the CenterStage. The Wolves Nov 9, 10, 11, 16, 17, 18; 7:30 p.m. CenterStage, &#8217;62 Center for Theatre and Dance 1000 Main St, Williamstown, Mass. Get Tickets: $3 We also chatted, separately, with cast members Caroline Fairweather and Isabel Ouweleen who discuss the process of melding into the characters as they simultaneously developed skills of the sport needed to perform these roles believably. And in a particularly good bit of luck, we got to bring Rob Livingstone into our conversation with Misha—as Head Strength and Conditioning Coach for Williams College Athletics, and with plenty of High School sports experience to draw on, Rob contributes some keen insights to the subject of team dynamics. Because, although this show is set during soccer practice, the audience will quickly discover that the fast traveling conversation between high-energy, competitive characters is where the action really is. The hyper-realistic script is the playing field upon which the players kick around subjects breezy or painful, thoughtful or frivolous, often with cringe-worthy authenticity. In order to be sure to give our guests as much of this hour as possible, I’ll only be joining in the discussion when absolutely necessary for a little context here and there. If we have a little time at the end, we’ll spin another track off Long Journey’s 2017 release, Fierce Folk,” which I can never get enough of. And for those of you who adore live local music, which is pretty much all of you, I’m happy to share the news that Long Journey’s Karl Mullen both performs at, and curates all the local local music that will be playing all day in North Adams on November 18 at Greylock Works event “Festive” or maybe Festeeve, I haven’t heard it pronounced yet…whatever the pronunciation, it’s a celebration of local food and design presented to the sounds of Long Journey, Sarah McNair, Norm Burdick, Rachel Laitman, Izzy Heltai, and Quincy. You can get all the details HERE. &nbsp; The Wolves The Williams Theatre Department is proud to present Sarah DeLappe’s 2017 Pulitzer Prize Finalist play, The Wolves. Somewhere in suburban America, a girls’ soccer team dribbles and scrimmages, their voices echoing off the high ceiling. They are claiming territory, cleats digging into the AstroTurf. This play is a shout; an all-female cast navigates the pitfalls and ferocious possibilities of adolescent womanhood. How do we speak our world into being? Director Shayok Misha Chowdhury, Arthur Levitt, Jr. ’52 Artist-in-Residence, transforms the CenterStage into an indoor soccer field, with scenic design by John Rodriguez (Williams class of ’18 ) and lighting design by Abigail Hoke Brady. A post-performance “Talk Back” with the director will be held on Saturday, November 11 and will also include Williams faculty members Kathryn Kent, Professor and Chair of English and Christina Simko, Assistant Professor of Sociology. Shayok Misha Chowdhury is a queer Bengali director and writer based in New York City. He is co-founder of the Lonely Painter Project, an interdisciplinary collaborative which looks to performance as the art of embodied inquiry. His work has been or is currently being developed at Soho Rep, Ars Nova, New York Theatre Workshop, SPACE on Ryder Farm, HERE Arts Center, the New York Musical Festival, the Hemispheric Institute of Performance and Politics, and the CATWALK institute. A Kundiman Fellow and recipient of awards from Fulbright and the Provincetown Fine Arts Work Center, Misha’s writing has been published in The Cincinnati Review, TriQuarterly, Hayden’s Ferry Review, Portland Review, Asian American Literary Review, Lantern Review, and elsewhere. He has co-authored four musicals with composer Laura Grill Jaye and was a vocalist on the Grammy-winning album Calling All Dawns. Misha has been a visiting artist at Stanford, Fordham, and Syracuse, and is currently a New York Theatre Workshop 2050 Fellow and the Levitt Artist-in-Residence at Williams College. MFA: Columbia University. www.shayokmishachowdhury.com The Wolves cast: Isabel Benjamin ’19 Valeria Baltodano ‘20 Maia Czaikowski ’20 Caroline Fairweather ’20 Maya Jasinska ’21 Julia Joyce-Barry* Evelyn Mahon ’18 Isabel Ouweleen ’21 Julia Tucher ’21 Harriet Weldon ’19 Save Save Save Save The post Will Call #62: The Wolves roam CenterStage in DeLappe&#8217;s 2017 masterpiece appeared first on The Greylock Glass.

Amy Holzapfel Chair, Associate Professor of Theatre at Williams College, moderates a discussion about the politics of participatory performance, and the lessons and practices it can share with democratic assembly in public space. She is joined by panelists, Bryan Doerries, Director, Antigone in Ferguson; Taibi Magar, Director, Underground Railroad Game, Rebecca Schneider, Professor in the Department of Theatre Arts and Performance Studies, Brown University. &nbsp; &nbsp; The hook is to connect theatre with the contemporary wave of engaged social activism. Joining In: Participatory Performance and Social Activism Panel Discussion Thursday, September 28, 2017; 5:00 p.m. Directing Studio, &#8217;62 Center for Theatre and Dance ’62 Center for Theatre and Dance The following information comes from released material provided to the Greylock Glass. &nbsp; CenterSeries presents Theater of War Productions Antigone in Ferguson featuring Tracie Thoms, Zach Grenier with  Duane Foster, Marjolaine Goldsmith, Willie Woodmore &nbsp; Amy Holzapfel, Chair, Associate Professor of Theatre; photo by Jason Velázquez. WILLIAMSTOWN, Mass.—The ’62 Center for Theatre and Dance’s CenterSeries is excited to kick-off the 2017/2018 season with a timely production of Antigone in Ferguson, directed by Bryan Doerries and composed by Phil Woodmore. Both compelling theatre and searing social justice project, Antigone in Ferguson is a radical and unlikely staging of Sophocles’s classic tragedy, conceived in response to the 2014 killing of Michael Brown in Ferguson, Missouri. Antigone’s themes of integrity and human folly, set down in the fifth century BCE, resonate through the ages, illuminating the recent clash between public authorities and American citizens as they call for justice in police brutality cases. At the end of the performance there will be a community discussion. There will be one performance only, on Saturday, September 30th, 2017 at 8:00 PM on the ’62 Center’s MainStage, located at 1000 Main Street, in Williamstown, MA. Tickets are $10/$3 students. &nbsp; A play that speaks to Ferguson’s tragedy and lets the audience speak back. &#8211; PBS News Hour &nbsp; Bryan Doerries, author of “The Theater of War: What Ancient Greek Tragedies Can Teach Us Today,” directs this timely adaptation. Performed by an all-star cast along with a gospel choir featuring police officers, educators, and community members from Ferguson, the play makes an appeal for the timelessness of Sophocles—and the urgency of grappling with his implications in our current political climate. &nbsp; Theater of War Productions (ToW) presents community-specific, theater-based projects that address pressing public health and social issues. Through the presentation of dramatic readings of seminal plays followed by public conversations, the company’s programs confront topics such as combat-related psychological injury, end-of-life care, police and community relations, prison reform, gun violence, domestic violence, sexual assault, and substance abuse and addiction. Using theater to build a common vocabulary for openly discussing the impact of these issues, events are designed to generate compassion, empathy, and understanding between diverse audiences. All events are free to the public and feature leading film, theater, and television actors. Notable artists who have led readings include Blythe Danner, Adam Driver, Jesse Eisenberg, Giancarlo Esposito, Jake Gyllenhaal, Alfred Molina, Frances McDormand, Tamara Tunie, Jeffrey Wright and others. &nbsp; Bryan Doerries is a Brooklyn-based writer, director and translator, who currently serves as Artistic Director of Theater of War Productions, which uses classic literature to help individuals and communities heal from trauma and loss. During his tenure at Theater of War Productions, the company has presented diverse projects across the country and internationally. Doerries’ book, The Theater of War: What Ancient Greek Tragedies Can Teach Us Today, was published by Alfred A. Knopf in September of 2015, along with a volume of his translations of ancient Greek tragedies, entitled All That You’ve Seen Here is God. His graphic novel, The Odyssey of Sergeant Jack Brennan, an adaptation of Homer’s Odyssey as told by an infantry Marine to his squad, was published by Pantheon in April of 2016. Doerries lectures on his work at cultural venues throughout the world and, in recent years, has taught courses at Princeton University, the Stella Adler Studio of Acting, and the Bard Prison Initiative. &nbsp; Doerries is a proud graduate of Kenyon College and serves as a board member of the Alliance for Young Artists &amp; Writers and Friends of the Young Writers Workshop. Among his awards, Doerries has received an honorary Doctorate of Humane Letters from Kenyon College, and in March 2017, he was named Public Artist in Residence (PAIR) for the City of New York, a joint appointment with the New York City Department of Veterans’ Services and Department of Cultural Affairs. During this two-year residency, he will bring more than 60 Theater of War Productions projects to diverse communities across all five boroughs. &nbsp; Related links: PBS Newshour “A Play that Speaks to Ferguson’s Tragedy and lets the audience speak back” by Jeffrey Brown http://www.pbs.org/newshour/bb/play-speaks-fergusons-tragedy-lets-audience-speak-back/ WYPR “Antigone in Ferguson Comes to Baltimore” by Sheilah Kast &amp; Andrea Appleton http://wypr.org/post/antigone-ferguson-comes-baltimore City Paper “What About Justice? Paul Giamatti and Sonja Sohn star in ‘Antigone in Ferguson’ at Coppin“ by Maura Callahan http://www.citypaper.com/arts/stage/bcp-012517-stage-antigone-20170125-story.html Continuing its mission to contextualize arts within scholarly inquiry, the Center presents an impressive body of work that sets student work side-by-side with that of professional artists.  We strive to challenge traditional forms, engage with a larger political dialogue and allow our audiences to explore diverse modes of expression.  Not content merely to present popular work, the Center’s professional performances, workshops and student productions are designed to invite the entire community to engage, debate, and celebrate the experience of both witnessing and creating live art. &nbsp; For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425. For more information, please visit http://62center.williams.edu Save Save Save Save Save Save Save Save The post Will Call #61: Antigone in Ferguson, Social Activism Panel Discussion appeared first on The Greylock Glass.

Tony Trischka and Territory brings some legendary American Roots cred to the Barn Music Summer Series at Hancock Shaker Village. This is Will Call, #60—I’m your host, Jason Velazquez, and I thank you for tuning in. This episode is sponsored by Headwater Cider, who believes that cider is best when you grow what you press and press what you grow. Tony Trischka and Territory Saturday, August 19, doors—6:00 / show—7:00 p.m. Final concert of the Barn Music, Summer Series Hancock Shaker Village 1843 West Housatonic Street Pittsfield MA, 01201 (413) 443-0188 | (800) 817-1137 Tickets: $20 Tony Trischka and Territory will perform songs from &#8220;Great Big World&#8220; and more at the Hancock Shaker Village 08/19. Click the image to buy the album via our Amazon affiliate link. I have to start out by saying that this was originally going to be a Top Left Corner episode. Then the opportunity to have a conversation with Tony Trischka dropped into my lap. No lover of American Roots music could pass up the opportunity to talk with one of the world’s most renown and emulated banjo players. I’d have to be a fool. Knowing he’d be busy, I figured on a 10 or 15 minute interview that would fit nicely into the middle of TLC. Then I looked at the clock towards the end of our talk and saw that over three quarters of an hour had passed. When I listened through the audio, I realized there was nothing to cut other than a few stray “ummms.” My solution? Fire up a new episode of Will Call, keep the whole conversation and play some great music. Tony Trischka and his band, Territory, close out the Barn Music, Summer Series at Hancock Shaker Village this Saturday, August 19, and if you’re still undecided about whether or not to grab one of the precious few remaining tickets, here’s one of my fave tracks from his 2014 release, Great Big World, “Single String Medley.” Be sure to check out his website to get access to photos, videos, info and more. Ready to start pickin&#8217; and a grinnin&#8217; yourself? Why not take some classes from Tony himself? Left to right, Earl Scruggs, Béla Fleck, and Tony Trischka; photo courtesy the artist. About Tony Trischka Trischka, 2012 United States Artists Friends Fellow, is considered to be the consummate banjo artist and perhaps the most influential banjo player in the roots music world. For more than 45 years, his stylings have inspired a whole generation of bluegrass and acoustic musicians with the many voices he has brought to the instrument. A native of Syracuse, New York, Trischka&#8217;s interest in banjo was sparked by the Kingston Trio&#8217;s &#8220;Charlie and the MTA&#8221; in 1963. Two years later, he joined the Down City Ramblers, where he remained through 1971. That year, Trischka made his recording debut on 15 Bluegrass Instrumentals with the band Country Cooking; at the same time, he was also a member of America’s premier sports-rock band Country Granola. In 1973, he began a three-year stint with Breakfast Special. Between 1974 and 1975, he recorded two solo albums, Bluegrass Light and Heartlands. After one more solo album in 1976, Banjoland, he went on to become musical leader for the Broadway show The Robber Bridegroom. Trischka toured with the show in 1978, the year he also played with the Monroe Doctrine. On Tony’s latest album Great Big World (Rounder Records &#8211; released February, 2014) his instrumental expertise and boundless imagination are as sharp as ever. One of the most ambitious and accomplished of his career, the album is a deeply compelling showcase for his expansive instrumental talents, far-ranging musical interests and distinctive songwriting skills, as well as his sterling taste in collaborators. With contributions from his band Territory, Steve Martin, Michael Daves, Noam Pikelny, Ramblin’ Jack Eliot and many other special guests the 13-track set finds Trischka embracing all manner of possibilities, while keeping one foot firmly planted in the traditional bluegrass roots that first inspired him to make music. Tony continues to maintain a national and international touring schedule with his band of extraordinary musicians. The post Will Call #60: Tony Trischka annexes the Berkshires into his Territory appeared first on The Greylock Glass.

Story Event at The Bennington Center for the Arts focus on &#8220;Stories About Us.&#8221; Story Night Review takes place August 18 at the Bennington Center for the Arts; artwork courtesy Vermont Stories. What is Story Night Review? The biggest Story Night yet at the beautiful Bennington Center for the Arts! Five storytellers put their lives on the line as we listen through the laughs and the tears. You&#8217;ve loved hearing intimate tales at Two Brews—now experience the playhouse edition. The Review brings together some favorite tellers and puts them on the stage for a night. Who knows, stories may ruffle some feathers, make us laugh or cringe but these are the stories of our neighbors, friends and perfect strangers. These are stories we all can understand and feel because it is from those closest to us The event, sponsored by Spirits of Old Bennington, supports the Bennington Murals project. &#8220;Homer,&#8221; told a pretty mean tale. by Jean-Baptiste Auguste Leloir [GFDL, CC-BY-SA-3.0, CC BY-SA 2.5-2.0-1.0 or FAL], via Wikimedia Commons&nbsp; &nbsp; &nbsp;  This episode is sponsored by our friends at Headwater Cider! &nbsp; &nbsp; Perched high atop a hill in Hawley, Mass., Headwater Cider raises happy apples. The view is gorgeous, the air is clean, and the cider mill blends an ancient art with contemporary efficiency.cyber You can find this delicious beverage at the Spirit Shop in Williamstown, West Liquors in North Adams, and plenty of other shops and restaurants in Massachusetts. A complete list is available in Headwater Cider&#8217;s listing in our directory! Check out their Facebook page for details about tastings and other upcoming events and &nbsp; &nbsp; What Is Bennington Murals? Bennington Mural Art Program is a community driven initiative to create professional art on our walls. Forest Byrd is an artist and illustrator who will be doing some of the work to get this off the ground and eventually work with many other artists to create dynamic art spaces. Many places are sited and in the planning stages. We are working on concepts that will tell interesting stories of Bennington and be a surprise for residents and visitors to see. For more information check us out on Facebook or after August 18th at BenningtonMurals.com. Save Save The post Will Call Episode #59: Vermont Stories through word and mural appeared first on The Greylock Glass.

Spirit and Song tie both this episode and much of the creative community. Anna &amp; Elizabeth appear at Hancock Shaker Village 7/26; photo by Brett Winter Lemon &nbsp; This is Will Call, #58—I’m your host, Jason Velazquez, and I thank you for tuning in. This episode is sponsored by the Williamstown Theatre Festival, which presents the brand new musical, “A Legendary Romance,” August 3rd through the 20th on the Main Stage. Tickets available at wtfestival.org. I don’t always know what thread that runs through each episode will be when I start planning, but by the time I start weaving together story, song, images, and information, the pattern always emerges. Art and Soul The Clark Art Institute, in conjunction with Pastor Mark Longhurst of the First Congregational Church of Williamstown, presents StorySLAM on Friday, July 28. This week, the magnifying power of community on creative expression revealed itself as our theme. We speak with Rev. Mark Longhurst of the First Congregational Church of Williamstown both about the seasonal “Art and Soul” series of sermons going on now, as well as the upcoming Story Slam taking place at the Clark Art Institute. “Art &amp; Soul” examines the intriguing intersection of creativity and spirit. This week, Mark recommends taking in the July 26th appearance of Anna &amp; Elizabeth at the Hancock Shaker Village in preparation for his sermon, “Spirit and Song” which will feature local favorite performing and recording duo, Long Journey. In between, Mark emcees an annual Story Slam taking place at the Clark Art Institute, who’s theme of Nature fits divinely with two Helen Frankenthaler exhibits now on view at the Clark. We also connected with Philippa Thompson via Skype in this episode to catch up with Bang on a Can, whose summer festival is going on now at MASS MoCA. Philippa describes how new interactions among an international collection of musicians breathe life and innovation into a curious species of musical organization now in its 30th year. Finally we welcome back one the Greylock Glass’ oldest friends, Michelle Daly. She also spoke via Skype to give us an overview of this year’s DownStreet Art celebration, and talks a little bit about her new role as director of the Berkshire Cultural Resource Center at the Massachusetts College of Liberal Arts. First though, let’s get in the spirit of things with a bit of song—From Anna &amp; Elizabeth’s self-titled 2015 release, here is “Poor Pilgrim of Sorrow” right now on Will Call. Rev. Mark Longhurst of the First Congregational Church in Williamstown will emcee the StorySlam at the Clark July 28; photo courtesy Rev. Mark Longhurst That was another one, “Troubles,” from Anna &amp; Elizabeth’s debut album. Anna &amp; Elizabeth are playing Wednesday, July 26, at the Hancock Shaker Village as part of the Barn Music Summer Series, which launched this year. Rev. Longhurst discusses the work of Anna &amp; Elizabeth and other artists in “Spirit and Song,” the next installment of the “Art and Soul” series of summer sermons exploring the creative landscape of the Berkshires through Scripture. Service begins Sunday at 10 a.m. All are welcome. The Story Slam happens at the Clark Art Institute in Williamstown Friday, July 28th at 7:00 p.m. The event is free, and would make a great pairing with the Helen Frankenthaler, open to members and the public at regular admission prices. Bang on a Can Ashley Bathgate performs the work of 2007 Festival alum Kate Moore; photo by W.S. Melnick. Now, on to discussion of a music event which is not new, but is, in fact, like a familiar bird that makes its home ever so briefly at MASS MoCA each Summer. Our guest is Philippa Thompson, program manager for Bang on a Can, who gives us an inside look into some of what makes this celebration of new composition so enduring. 16Th Annual Bang On A Can Summer Music Festival at MASS MoCA July 19 – August 5, 2017 • Daily Recitals in the Galleries at 4:30pm including Ghanian Drumming, Latin Music, and much more • The Bang on a Can All-Stars preview ROAD TRIP by Michael Gordon, David Lang, and Julia Wolfe • Mark Stewart and festival fellows perform on hundreds of spectacular original instruments of Gunnar Schonbeck • World Premiere Composer Concert – Over 40 young composers and performers from around the world debut nine new works written especially for the festival. • A tribute concert to Pauline Oliveros • Music from Central Asia &#8211; musicians from Kazakhstan, Kyrgyzstan, and Tajikistan • Festival fellows perform Philip Glass&#8217; Symphony No. 3 • Concert celebrating guest composer George Lewis • Concert celebrating guest composer Louis Andriessen • 6-hour Bang on a Can Marathon featuring music by Steve Reich, Louis Andriessen, Jeffrey Brooks, Michael Gordon, David Lang, Vanessa Lann, György Ligeti, Nicole Lizée, Julia Wolfe and more An astounding diversity of musical perspectives and geographic origins adds texture through powerful collaborations, such as that between Australian composer Kate Moore and Bang on a Can All-Stars cellist Ashley Bathgate. The two met in 2009 and have worked together on various projects including Moore’s debut with Cantalope Music and 2016’s Stories for Ocean Shells, to which this song, &#8220;Velvet,&#8221; belongs. In a 2015 Will Call video special presentation, Bang on a Can Program Manager Philippa Thompson discusses what makes the atmosphere of the Summer Festival so conducive to creativity; video capture by Jason Velázquez. And that was &#8220;Thorn,&#8221; composed by David Lang and performed by Molly Barth. Check the shownotes for information about where to go to make the music you hear on this episode your very own. You can also find links to Bang on a Can and MASS MoCA which has a full slate of events lined up for the entire season. DownStreet Art DownStreet Art, a production of the Berkshire Cultural Resource Center, continues with more music, more interactivity, and more, uhhh&#8230;art than ever, Well THIS season would certainly not be complete unless we checked in with Michelle Daly of the Berkshire Cultural Resource Center at MCLA. DownStreet Art is among the region’s premier events and just about the best excuse to shut down Downtown for a few hours. Michelle Daly, now the Director of the Berkshire Cultural Resource Center, explains some of the changes to this years festivities; photo by Jason Velázquez. I feel like we barely tread couple yards of all the ground I wished I could cover with Michelle. Alas! But, as always, links to DownStreet Art and the BCRC are in the shownotes, so you can explore on your own. Just don’t forget to find your way to downtown North Adams this Thursday. Well, I don’t always time it this well, but it looks like we do, in fact, have a little space here at the end of the episode to play a song we haven’t featured on any of our shows yet, and that’s “Rescue Me,” by Long Journey, the beloved Berkshires duo comprised of Karl Mullen and Amrita Lash. They’ll be providing some of the “song” portion of the “Spirit and Song” community worship service this Sunday at the First Congregational Church in Williamstown. Again I want to thank our sponsor for this episode, The Williamstown Theatre Festival, and encourage all of our listeners who are as crazy about musicals as we are to make haste to wtfestival.org to pick up tickets for A Legendary Romance, playing on the Main Stage August 3rd through August 20th. That’s our show for the week, I’ve been your host, Jason Velazquez, and I hope you’ll join me again for another episode of Will Call. Long Journey will provide some of the song in the &#8220;Spirit and Song&#8221; installment of the Art and Soul community worship series at the First Congregational Church of Williamstown on July 30th at 10 a.m. Save Save Save Save Save The post Will Call Episode #58: Bang on a Can, Story Slam &#038; DownStreet Art appeared first on The Greylock Glass.

(from released information) HANCOCK, Mass.—A native of Adams who majored in art history at Williams College, Stacy Schiff is a best-selling Pulitzer-prize winning author – most recently of The Witches: Salem 1692 &#8211; who will discuss the intersection of politics and hysteria at Hancock Shaker Village on Friday, July 14, 2017. Composite image of cover for The Witches: Salem 1692 and &#8220;Witches flying on broomsticks,&#8221; from The history of witches and wizards,&#8221; 1720; Wellcome Library, London; CC BY 4.0 &nbsp; ”The hottest biographer on the block,” according to Vanity Fair, Schiff is the author of numerous biographies, as well as essays and articles have appeared in The New Yorker, The New York Times, and The New York Review of Books. Schiff won the 2000 Pulitzer Prize for Vera, a biography of Vera Nabokov, wife and muse of Vladimir Nabokov, and her Cleopatra was #1 on The New York Times bestseller list. She was also a finalist for the 1995 Pulitzer Prize for Biography or Autobiography for Saint-Exupéry: A Biography of Antoine de Saint Exupéry.  “With The Witches Schiff is at her best,” continued Vanity Fair, “infusing a historical event with as much life, mystey, and tragedy of any novelist.” Stacy Schiff; photo by Elena Seibert. &nbsp; “She’s perhaps the most seductive writer of nonfiction prose in America in our time,&#8221; said novelist Brad Gooch. “Settlements were isolated and lit with only smoky fires, which fed vivid imagination. New Englanders lived very much in the dark, where one listens more acutely, feels most passionately, and imagines most vividly, where the sacred and the occult thrive,” writes Schiff.   The Witches entailed voluminous research, and Schiff conjures up late-17th-century New England with gripping detail. Come be seduced.   Meet the bestselling author over dinner, when she talks about the witch trials: what we know, what we think we know, and what we indeed should know. The evening includes a seasonal, neighborhood sourced, three-course dinner prepared by noted regional chef Brian Alberg, wine, and a copy of the author’s book. The Salem Witch Trials, by Unknown [Public domain], via Wikimedia CommonsTickets: Dinner with Stacy Schiff is part of a series of important authors talking about far-ranging subjects of relevance today.  Far ahead of their time, the Shakers addressed issues as far ranging as gender equality, sustainability, land renewal, racial equality, pacifism, and shared economies decades before fashionable, let alone there being a vocabulary to address such subjects. Hancock Shaker Village’s Food for Thought is a monthly dinner series with today’s best thinkers, who address topics of relevance to our world today.  The series is sponsored by October Mountain Financial Advisors. The next Food for Thought dinner in the series is Friday, August 11 with Elizabeth Kolbert, Pulitzer-prize winning author of The New York Times bestseller The Sixth Extinction: An Unnatural History. But don’t listen to us…Here’s what the critics say: &#8220;An oppressive, forensic, psychological thriller: J. K. Rowling meets Antony Beevor, Stephen King, and Marina Warner&#8230; Schiff&#8217;s writing is to die for.&#8221; The Times (London) &#8220;Schiff excels at finding fresh angles on familiar stories, carries out massive research and then weaves it into a dazzling social panorama.”  Elaine Showalter, The Washington Post &#8220;She writes with such spirit and agility that to read her books is something like watching a great dancer. To say that her latest book is fascinating and insightful is hardly sufficient. It&#8217;s brilliant from start to finish.&#8221; David McCullough, Favorite Reads of 2015 &#8220;Eerie and engrossing. Schiff is a proven spellbinder.&#8221; Maureen Corrigan, NPR &#8220;In this beautiful retelling of one of our ugliest tales, Schiff describes the sheer strangeness of the trials and the society from which they spring.&#8221; Boston Globe, Best Nonfiction Books of 2015 ABOUT HANCOCK VILLAGE Home to the Shakers for more than 220 years, Hancock Shaker Village is now an outdoor history museum dedicated to preserving the Shaker legacy and making that story relevant and illuminating for today’s visitors. Situated on 750 acres of picturesque farm, field, and woodland in the bucolic Berkshires of Massachusetts, the Village consists of 20 historic buildings, a working farm and heirloom gardens, and a premier collection of 22,000 authentic Shaker artifacts. Save Save Save Save Save Save The post Will Call Episode #57: Stacy Schiff — The Witches: Salem 1692 appeared first on The Greylock Glass.

(from supplied release) HANCOCK, Mass.—Blend a country band with early R&amp;B, throw in a hefty amount of vocal harmonies and witty one-liners, and rock out like The Band. That&#8217;s what you&#8217;ll get Thursday, July 13, when roots music maverick Western Centuries takes the 1910 hayloft stage at Hancock Shaker Village. With upbeat, bar room dance numbers, lilting, soulful tunes of heartbreak, and everything in between, the band is as tight they come. Western Centuries; photo by Brooke Warren. &nbsp; &nbsp; Comprised of Seattle-based country musician Cahalen Morrison, jam band veteran Jim Miller (co-founder of Donna the Buffalo), R&amp;B and bluegrass-by-the-way-of-punk rock songwriter Ethan Lawton, pedal steel player Rusty Blake, and bassist Dan Lowinger, Western Centuries is clearly a diverse bunch. The band is collaborative in nature, but they are – albeit subtly – helmed by Morrison. After years of performing in prominent roots duo Cahalen Morrison &amp; Eli West (whose music made fans of Tim O’Brien, Jim Lauderdale, Dirk Powell, and BBC Radio’s Bob Harris along the way), Morrison formed and led the band Country Hammer, made up of members who have mostly crossed over into Western Centuries. “If you enjoy country, honky-tonk music with hard floor dancing with scuffed boots on a Friday night, corn liquor, hand-rolled cigars with barbeque pork and beans on tin plates &#8211; take a deep breath &#8211; Western Centuries is salvation,” says No Depression. Hancock Shaker Village is committed to highlighting national acts and local talent.  Opening the evening is Pittsfield, MA, native and regional favorite Wes Buckley, a songwriter and multi-instrumentalist whose seven releases speak of love, quests, and sometimes even the economy. His grandfather snuck on stage to perform tenor sax with Stan Kenton and his father was momentarily a guitarist in Jefferson Starship &#8211; talk about shoes to fill. The concert is in a barn…literally.  Until June, it stored hay.  At last weekend’s performance, guests lolling around the fence waiting for Woodie Guthrie’s granddaughter to take the stage were startled to see a fox sneak into the barnyard nearby where chickens were ignoring the warm-up band and apparently the fox.  The fox won. Everyone knows the Round Stone Barn, built in 1826 with stones quarried from the site and now an icon on the National Historic Register, but few know the 1910 barn tucked behind.  On a knoll overlooking the hills of Richmond, the post-and-beam structure was the site of a cow barn that burned in 1879.  The Shakers rebuilt immediately – the barn where the music takes place was built in 1880 with a commodious root cellar and an expansive loft.  On August 2, 1910 the barn was struck by lightning, and burned down.  It was full of hay and wagons, and the loss was estimated at $6,000.  Fortunately (and amazing for 1910) the building was insured, and the Shakers built a new barn immediately – the 1910 Barn, which still uses the stone foundations laid in 1880.  Its architecture has close ties to a church, with the points of visual affinity being the lofty peak, which happens to provide ideal acoustics.  Come hear for yourself. Shaker Barn Music series, which runs through September (when we need the barn to store hay again), features American roots music that incorporates elements of various styles, including country, roots-rock, folk, bluegrass, R&amp;B and blues, resulting in a distinctive sound that lives in a world apart from the pure forms of the genres upon which it draws.  The series is curated by Karl Mullen who has run legendary music venues for 30+ years including World Cafe Live in Philadelphia and Club Cafe, Rosebud, and Metropol in Pittsburgh. All performances in the Shaker Barn Music series take place in the hayloft of the 1910 Barn. The July 13 concert begins at 7pm. Doors and the Barn Bar open at 6pm. Seeds Market Cafe at Hancock Shaker Village serves dinner before every show. The cafe’s fresh-picked menu items celebrate Shaker-inspired, neighborhood-sourced food, prepared by regional farm-to-table chef Brian Alberg. His menu highlights produce from the museum’s gardens just steps away, which have been continuously cultivated using practices of the original Shakers, including an all-natural approach to fertilizing and pestcontrol. Enjoy your supper in Seeds or grab a picnic and dine on the ample lawn space of Hancock Shaker Village. Tickets are $15 ($20 day of).  For tickets or information call 413.443.0188 x115 orhttps://shop.hancockshakervillage.org/product-category/experiences/concerts/ Western Centuries debut release, Weight of the World. The worn floor of an old honky­tonk is not usually a place you’d think of as welcoming to bold new experimentation. If you’ve got something new to say, you’d better say it in the form of a brisk two­step that keeps the dancers moving. So it’s doubly impressive that Seattle country band Western Centuries is able to meld wildly disparate influences into an original honky­tonk sound that won’t make dancers miss a step. Formed originally under the name Country Hammer by Americana songwriter Cahalen Morrison, known for his innovative work as an acoustic duo with Eli West, Western Centuries revolves around three principal songwriters–Morrison, Ethan Lawton, and Jim Miller–each with a totally different perspective. Here, Cahalen Morrison channels his New Mexico roots–he grew up exploring lost arroyos and playing drums in a conjunto band–into a kind of blood­red Western drawl. His songs are as influenced by cowboy poetry or his great­grandfather’s Scottish Gaelic poetry as much as his love of George Jones. Ethan Lawton came out of the rough, working­class streets of Seattle’s South end, working in hip­hop and punk before losing his heart to bluegrass. His bone­dry vocals meld intensely with the rocksteady back­beat of his country songs, born from his love of old Jamaican 45s mixed with early bluegrass. Jim Miller comes from the jamband circuit, where he ruled for decades as a founding member of the much­loved band Donna The Buffalo. Throughout, the dancefloor was his temple, and he cribbed ideas from Louisiana Zydeco all the way to the The Band. Western Centuries’ debut album, Weight of the World, released by Free Dirt Records on June 3, 2016, introduces a band of roots music mavericks bringing refreshingly new ideas to their country roots. Produced by Bill Reynolds (Band of Horses) and recorded in his Nashville studio, Weight of the World features powerful musicianship from all members, including special guests Rusty Blake (pedal steel), Rosie Newton (fiddle), and Dan Lowinger (bass). With songs that have been road-tested on actual dance floors throughout the Pacific Northwest, the bedrock of American honky-tonk on this album was hard­earned. The progressive, almost psychedelic nature of Weight of the World’s lyrics, however, infuses the 12­ track record with a distinctly modern sensibility. Sure, there’s plenty of country telecaster twang, but Western Centuries elevate these neo­traditional two­stepping tunes into transcendental, rootsy rock­‘n­roll­doused think­pieces. With each songwriter’s distinct approach, and the strict dictums of the dancefloor ruling the sound, Western Centuries deconstructs the world of country dance. But it’s also marked with a profound ingenuity – the type that feels instinctual rather than intentionally labored for, the kind that continues to flourish and snake into new realms as time wears on. This is just the beginning for Western Centuries, and it’s not likely their creative well is going to dry up any time soon. Save Save Save Save Save The post Will Call Episode #57: Western Centuries appeared first on The Greylock Glass.

until / UNTIL WordXWord and Lift Ev’ry Voice collaborate in a poetic response to Nick Cave’s UNTIL Nick Cave&#8217;s &#8220;UNTIL&#8221; will be on display at MASS MoCA until September 4, 2017. &nbsp; Pittsfield, MA &#8211; WordXWord and the Lift Ev’ry Voice Festival have collaborated to invite poets to participate in a performance response to artist Nick Cave’s massive installation &#8211; UNTIL &#8211; at MASS MoCA on July 14 at 7:30P. The performance is free (does not require Museum admission fee) and is open to all. &#8220;When Nick Cave conceived UNTIL, he intended it to be more than an exhibition; his vision was a space that would serve as a platform for dialogue and expression.&#8221; until / UNTIL is both a collective response and a dialogue featuring spoken word artists whose work spans a wide range of poetic styles. Participating poets include Curtis Asch, Alex Hicks, Ashley Wonder, Donna Motta, Stan Spencer, Epiphany Thomas, Tristan Alston, Seth Brown, Mariah Barber, Elizag, and Kori Alston. “Cave&#8217;s UNTIL addresses issues of gun violence, gun control policy, race relations, and gender politics in America today.” Parents are cautioned that this program may contain material that raises more questions than it answers. until / UNTIL WordXWord and Lift Ev’ry Voice in poetic response to Nick Cave’s UNTIL July 14, 7:30 p.m. Mass MoCA, 1040 Mass MoCA Way, North Adams, MA Free For more information about WordXWord, visit WordXWordFestival.com. For more information about Lift Ev’ry Voice, visit LiftEvryVoice.org Signature Events / Lift Ev’ry Voice 2017 June 16, 8P Carl Hancock Rux Mass MoCa, 1040 Mass Moca Way, North Adams, MA MASS MoCA presents Carl Hancock Rux spoken word and poetry created in response to Nick Cave’s expansive installation UNTIL. [Tickets: MassMoca.org] June 17, 1P Workshop with Carl Hancock Rux Mass MoCa, 1040 Mass Moca Way, North Adams, MA Lift Ev’ry Voice and Mass MoCA present a poetry/spoken word workshop with Carl Hancock Rux. [Free. Pre registration required: LiftEvryVoice.org] June 27 &#8211; 30 Camille A. Brown &amp; Dancers Community Residency Pittsfield, TBD Jacob’s Pillow Dance presents a series of dance workshops and events for youth, teens, and adults with Camille A. Brown &amp; Dancers. All experience levels welcome. [Free. JacobsPillow.org] June 29, 3:30P Camille A. Brown &amp; Dancers Lecture Demonstration Pittsfield, Location TBD [Free. JacobsPillow.org] July 14, 7:30P until/UNTIL Mass MoCA, 1040 Mass Moca Way, North Adams, MA Lift Ev&#8217;ry Voice in collaboration with the WordXWord Festival presents a multi-generational cast of poet/performers who will share work created in response to Nick Cave&#8217;s UNTIL. [Free. WordXWordFestival.com] July 22,  10A &#8211; 6P The Gather-In Durant Park, Columbus Ave, Pittsfield, MA Sponsored by the Berkshire Branch of the NAACP, In celebration of community, the Gather-In features activities for all ages, including games for children, musical performances, dance, food, a variety of vendors and informational booths, and a spirited a basketball tournament. [Free. NAACPBerkshires.org] August 5, 5-8P Struttin’ with Wanda Houston The Mount, Edith Wharton’s Home, 2 Plunkett St, Lenox, MA The Mount plays host to Lift Ev’ry Voice in a celebration of community with the Wanda Houston Band. Enjoy delicious food from the Terrace Café and Lucia’s Latin Kitchen, available for purchase, or bring your own picnic. [Free. EdithWharton.org] August 12, All DayLift Ev’ry Voice Day at Jacob’s Pillow Dance Jacob’s Pillow Dance, 358 George Carter Rd, Becket, MA Jacob’s Pillow Dance invites the Lift Ev’ry Voice community to spend a day and enjoy all that the Pillow has to offre. The day’s activities include free and ticketed performances, tour of the historic grounds, the opportunity to observe classes, picnic and more. [Free and TIcketed Events. JacobsPillow.org] August 20, 3P Walkin’ with LEV The Mount, Edith Wharton’s Home, 2 Plunkett St, Lenox, MA Enjoy the SculprtureNow exhibition at the Mount as never before when Lift Ev’ry Voice takes you for medley of music, dance and poetic responses to the grounds and sculpture. [Free. EdithWharton.org] August 25, 1-4P Beaded Hope Mass MoCA, 1040 Mass Moca Way, North Adams, MA In conjunction with Highland Free Day at Mass MoCA, Lift Ev’ry Voice presents a family-friendly beading making workshop with Marla Robertson. [Free.] Schedule updates and additional events, including events presented by friends of the festival can be found on line at LiftEvryVoice.org. ### *************************************************************************** The history of the African-American community in the Berkshires stretches from the War of Independence, which dozens of blacks from this region fought in, to the present day’s diverse community, including the second African-American female astronaut, Stephanie Wilson. Famous Berkshire natives include such historic figures as the legendary writer and activist W.E.B DuBois; Elizabeth “Mumbet” Freeman, the first American slave to successfully sue for her freedom; and the Reverend Samuel Harrison, who served as the chaplain to the legendary African-American 54th Regiment of western Massachusetts in the Civil War and successfully fought for and won equal pay for black soldiers. Lift Ev’ry Voice celebrates this rich tradition of the African-American community, arts and culture, history and heritage, while acknowledging the larger global context in which this community exists. The post Will Call Episode #57.3: WordXWord / Lift Ev’ry Voice — until / UNTIL appeared first on The Greylock Glass.

Breaking the Glass Grid: Gender and Transgender Bias Across the Performing Arts Industry This is Episode #56 of Will Call, here at the Greylock Glass, released Tuesday, February 28, 2017.&nbsp; I’m your host, Jason Velazquez, and I hope you’ve been enjoying our opening music, “Dark Sky Day,” by pianist and composer Lisa Hilton. We’ll play more from Ms. Hilton later in the show. Well, we had a grand time covering the 10X10 Upstreet Arts Festival, with our unauthorized submission of 10 Micro-casts over the course of the event, didn’t we? Now, though, it’s time to focus our attention on North County, as we speak with Amy Holzapfel about a panel discussion being held on the Campus of Williams College as part of its “CenterSeries” on Thursday of this week: Our teaser trailer for this episode, featuring Amy Holzapfel, produced by Jason Velázquez. Ms. Holzapfel will moderate this conversation among some of the most respected personalities of American theatre today. The evening is CERTAIN to unflinchingly dissect some of the most troubling aspects of gender disparity plaguing the arts. The glacial pace of withdrawal of white male dominance on both sides of the curtain, as well as in the board rooms and administrative offices, has given rise to increasingly frequent and vocal dialogue in recent years. Hosted by the Williams Theatre Department, the event occurs March 2nd&nbsp; at the ’62 Center for Theatre and Dance’s Adams Memorial Theatre, located at 1000 Main Street, in Williamstown, Mass. The event is free and open to the public, but due to the immense interest, the audience is advised to arrive early to secure a seat. And now, let’s welcome to the show Amy Holzapfel, who manages to make contemplation of this weighty topic as refreshing as it is thought provoking. Amy Holzapfel Amy Holzapfel, Chair and Associate Professor of Theatre at Williams College; photo by Roman Iwasiwka. Amy Holzapfel is Chair and Associate Professor of Theatre at Williams College, where she teaches courses in theatre history and literature, performance studies, and dramaturgy. She also serves as dramaturge on Theatre Department productions and on the advisory committees of the Departments of Comparative Literature and Women’s, Gender &amp; Sexuality Studies. Her principal research interests include: nineteenth-century theatre, theatre and visual art, dance-theatre, and contemporary performance. Her monograph, Art, Vision &amp; Nineteenth-Century Realist Drama: Acts of Seeing (Routledge, 2014) explores how modern theories of vision in art and science impacted the rise of the realist movement in theatre. She has published articles in Contemporary Theatre Review, PAJ: A Journal of Performance and Art, The Journal of Dramatic Theory &amp; Criticism, Modern Drama, and Theater, as well as chapters in the anthologies Spatial Turns: Space, Place and Mobility in German Literary and Visual Culture (Rodopi 2010), The Oxford Handbook on Dance &amp; Theatre (Oxford 2015), The Routledge Companion to Scenography (Routledge 2017), and August Strindberg &amp; Visual Culture (Bloomsbury 2018). She is currently at work on two research projects: the first exploring the lost chorus in modern performance and the second theorizing a post-Recession genre of “subprime critique and performance.” She received her M.F.A. (2001) and D.F.A. (2006) in Dramaturgy &amp; Dramatic Criticism from the Yale School of Drama. She is the recipient of a Fulbright Award, a Hellman Fellowship, a Lehman Fellowship at the Oakley Center for the Humanities &amp; Social Sciences, and a Research Fellowship from the American Society of Theatre Research, as well as two Honorable Mentions for her published essays. Helga Davis Helga Davis is not only a performer, but also a podcaster at 105.9 WXQR, New York Public Radio, where she hosts her own show, Helga; photo by Michal Hančovský. Helga Davis served as a principle actor in the 25th-anniversary international revival of Robert Wilson and Philip Glass&#8217;s seminal opera Einstein on the Beach. Her appearance in You Us We All by Shara Nova (My Brightest Diamond) and Andrew Ondrejcak marked her fifth at the Brooklyn Academy of Music&#8217;s Next Wave Festival. Among the many works written for her are Faust&#8217;s Box, written and directed by acclaimed Italian contemporary music composer Andrea Liberovici; Oceanic Verses by Paola Prestini, with libretto by Donna DiNovelli and video by Ali Houssani; Elsewhere by Missy Mazzoplli and Maya Beiser; and The Blue Planet, a multi-media theater piece written by Peter Greenaway and directed by Saskia Boddeke. She was also the co-star of The Temptation of St. Anthony directed by Robert Wilson, with libretto and score by Bernice Johnson Reagon of Sweet Honey in the Rock.&nbsp; Recently, Davis performed Yet Unheard by Courtney Bryan at Cooper Union, a work based on the poem by Sharan Strange and performed on the first anniversary of Bland&#8217;s death. Her work First Responder was conceived and performed at MassMoCA this fall after an invitation to respond to Nick Cave&#8217;s Until. Mandy Greenfield Mandy Greenfield, artistic director of the Williamstown Theatre Festival; photo courtesy of Williamstown Theatre Festival. Mandy Greenfield is the Artistic Director of Williamstown Theatre Festival, one of the most influential American theater institutions for over six decades. In 2015, she expanded the New Play Development initiatives of WTF with the establishment of a New Play Commissioning Program and the creation of a Playwright-in-Residence position at the Festival.&nbsp; Prior to joining WTF, Mandy served as Artistic Producer of Manhattan Theatre Club where she produced more than seventy-five world and American premiere plays and musicals both on and off Broadway. The plays she has commissioned, developed, selected and produced have garnered every major theatrical honor including the Pulitzer Prize, Tony Award, Lucile Lortel Awards, Drama Desk Awards, Obie Awards, and the Kleban Prize in Musical Theatre.&nbsp; Mandy is a member of the Broadway League, she serves on the Advisory Board of the Drama League and The Relentless Award. She has been a judge and director of The Susan Smith Blackburn Prize. She is a graduate of Yale University. Kristen Van Ginhoven, Founding Director WAM Theatre; photo courtesy WAM Theatre. Kristen Van Ginhoven Kristen Van Ginhoven’s WAM Theatre credits include directing the New England Premiere of&nbsp; “In Darfur” by Winter Miller (beneficiary: 13 Housemothers at the Mother of Peace Orphanage in Illovo, South Africa); Northeast Regional Premiere of “Emilie: La Marquise Du Chatelet Defends Her Life Tonight’ by Lauren Gunderson (beneficiary: The Rites of Passage and Empowerment for Girls Program); World Premiere of “The Old Mezzo’ by Susan Dworkin (beneficiary: Shout Out Loud Productions); ‘The Attic, The Pearls and Three Fine Girls’ by Martha Ross, Ann-Marie MacDonald, Jennifer Brewin, Alisa Palmer and Leah Cherniak (beneficiary: Berkshire United Way Teen Pregnancy Prevention Initiative);&nbsp; ‘Melancholy Play’ by Sarah Ruhl (beneficiary: Women’s Fund of Western MA) and ‘The Last Standing Protestor’ by Lydia Styk for ‘A WAM Welcome’ (beneficiary: Women for Women International). She is a participant of the Michael Langham Workshop for Classical Direction at the Stratford Festival of Canada, where she will assistant direct the 2015 production of “The Physicists”. Additional directing credits include “The Whale” (Adirondack Theatre Festival), “10×10 Festival” (Barrington Stage Company, 2013/2014), “The Cabbage Patch” (Majestic Theatre), “Petticoats of Steel”(Capital Repertory Theatre). Kristen has also directed at Sienna College, Emerson College and Cohoes Music Hall. Selected assistant directing: 42nd Street (Stratford Festival of Canada) Two Men of Florence (Huntington Theatre) Sleuth, Absurd Person Singular (Barrington Stage Company,). She is an associate member of the Society of Stage Director’s and Choreographers, a member of the Canadian Actor’s Equity Association (CAEA) and was a member of the 2013 Lincoln Center Theater Directors Lab. As a theatre educator, Kristen has worked as an artist in residence and adjunct faculty at various colleges and universities, including Emerson College and Queen’s University. She is a freelance artist and consultant for ISTA (International Schools Theatre Association), an association devoted to international youth theatre education who hold events and festivals worldwide where young people, teachers and artists come together to explore theatre through intense collaboration. Kristen has a Masters in Theatre Education from Emerson College, where she received the Presidential Fellowship, a Bachelor of Arts from Dalhousie University and a Bachelor of Education from Queen’s University. www.kristenvanginhoven.com Alexis Soloski, theater critic; submitted photo. Alexis Soloski Alexis Soloski is a theater critic for the New York Times and the Guardian and a contributor to the New Yorker. She formerly worked as the lead theater critic at the Village Voice and has served on the Obie Committee, the Drama Critics Circle, and the Pulitzer Prize Drama Jury. She is a lecturer in Literature Humanities at Columbia University, where she earned her doctorate in English and Comparative Literature, and has also taught at Barnard College. Her academic writing has appeared in Theater, Theatre Journal, Modern Drama, and Literature and Medicine, among others, and she has contributed a chapter to Experiencing Liveness in Contemporary Performance from Routledge. Basil Kreimendahl Basil Kreimendahl’s play Sidewinders won the Rella Lossy Playwright’s Award and had its world premiere at The Cutting Ball Theater in San Francisco. Orange Julius was developed at the 2012 O’Neill National Playwrights Conference and was included in La Jolla Playhouse’s DNA new work series. Basil was commissioned by Actors Theatre of Louisville for Remix 38 at the 2014 Humana Festival of New Plays. Basil&#8217;s plays have also been developed by New York Theatre Workshop, About Face Theatre, Inkwell, Rattlestick, WordBRIDGE, The LARK, and The Oregon Shakespeare Festival. Basil has been a Jerome Fellow and is a current McKnight fellow. Basil Kreimendahl; submitted photo. A recipient of an Arts Meets Activism grant from the Kentucky Foundation for Women for theatre work with the trans community in Louisville, Basil has taught playwriting to elementary, high school, and college students, founded and ran a playwrights group for queer youth in Louisville called Out On The Edge, and was the Provost’s Visiting Writer at the University of Iowa 2013/2014. Basil’s work has been published by Dramatic Publishing and was included in Xlibria’s Becoming: Young Ideas on Gender and Identity. The Cost of a Goat won a National Science Award at KCACTF in 2012. MFA University of Iowa, 2013. Natalie Robin Natalie Robin is a NY-based lighting designer whose design work focuses on new American plays, contemporary dance and site-specific work. Natalie has taught at New York University, Williams College, Brooklyn College, and the University of New Haven.&nbsp; She has also been a guest designer and student mentor at several universities. Natalie Robin; submitted photo. Currently, she is the Visiting Assistant Professor of Performance Design and Technology at Alfred University. Natalie is the Associate Producer of Polybe + Seats and an Associate Artist of Target Margin Theater. Natalie is a contributing writer for both Live Design and Stage Directions. BA: Columbia. MFA: NYU/Tisch. Member USA 829. Lisa Hilton Nineteen albums in, after working with the top-drawer jazz masters, like Antonio Sanchez, Christian McBride, Nasheet Waits, Sean Jones, and many others, Lisa Hilton strips her music down to the essentials and returns to the solo format with DAY &amp; NIGHT, released just last month on the Ruby Slippers Productions label. Hilton was last heard in this setting with her acclaimed 2010 release, NUANCE, which All About Jazz said was “a recording that focuses and captures the exquisite subtleties of life”. Lisa Hilton&#8217;s 2017 &#8220;Day &amp; Night&#8221; is a return to a solo landscape. Hilton is considered one of the most distinctive composers and pianists in jazz today, her compositions drawing on classical traditions, twentieth century modernists, and the avant-garde as much as they look back to icons of American jazz and blues. Hilton’s blues inflected trans-genre or poly-genre style influences extend beyond jazz legends Thelonious Monk, Count Basie, Horace Silver and Duke Ellington, to include bluesman Muddy Waters and Robert Johnson, minimalists like Steve Reich, current rockers Black Keys or modernists Prokofiev, Stravinsky and Bartok.&nbsp; Originally from a small town on California’s central coast, Hilton studied classical and twentieth century piano formally from the age of eight, where she was inspired by her great uncle, Willem Bloemendall, (1910-1937), a young Dutch piano virtuoso. In college though, due to the lack of creativity in the program, she became a music school drop out, switching majors and receiving a degree in art instead.&nbsp; Ever since becoming a professional musician, this background in the fine arts has well informed Hilton’s composition process. “While Louis Armstrong was performing, Monet was painting water lilies and French composers like Debussy were using harmonic ‘impressionism’.&nbsp; As a composer today, I explore music as art, building the composition with musical elements then ‘painting’ texture and color through various jazz approaches,” Hilton explains. “I might apply Seurat’s pointillism ideas to improvisation, creating new ways of expressing our life today.” Save Save The post Will Call Episode #56: Amy Holzapfel on Gender, Transgender, and Breaking the Glass Grid appeared first on The Greylock Glass.

This episode is number 55.10, which means that it concludes our special coverage of the 10 X 10 Upstreet Arts Festival going on in Pittsfield lo these many days. We have had such a wonderful time, talking with great artists of all stripes. From Kate Abbott’s insightful and at times emotion-filled conversations to images we’ve been able to share to music contributed by performers in the festival, our scandalous and highly unauthorized entry into the event has been one of our finest projects here at the Greylock Glass. Thank you so much for tuning in. dysFUNKcrew We focus in this episode on Dance 10—an increasingly popular spectacle that wows audiences with the work of 10 dance companies on one stage. The event takes place Sunday, February 26, at 3:00 p.m. at Barrington Stage Company at 30 Union Street, Pittsfield, Mass. We could only squeeze representatives from two of the troops into the episode, but I think you’ll enjoy the conversations immensely. First, we speak with Jamal Ahamad of dysFUNKcrew, a company originally comprised of a group of friends from MCLA who couldn’t escape the gravitational pull of the bonds they’d formed dancing together as undergrads. Cantarella School of Dance &nbsp; Then, Deirdre Swindlehurst explains what’s in store from the Cantarella School of Dance, the official training institution to the Albany Berkshire Ballet. Both the school and Ballet have been artistic landmarks for decades, and have been first home to generations of young dancers, as well as beloved home to return to as instructors. About Cantarella School of Dance from the official website The Cantarella School of Dance is known for its outstanding balanced dance curriculum. Director Madeline Cantarella Culpo founded the School of Dance in 1955 with the goal of providing personal attention and training for students and professional dancers. Graduates have gone on to dance with the Albany Berkshire Ballet, Joffrey Ballet, American Ballet Theatre, Jacob’s Pillow and the Pennsylvania, Ohio, Portland, and Washington Ballets. The School teaches the Cecchetti method of ballet developed by Enrico Cecchetti, world renowned teacher of the Ballet Russes and ballet master of Diaghilev Ballet Russes, who trained such dancers as Pavlova, Fokine, and Nijinsky. Among his proteges was English ballerina Margaret Craske who later taught at the Juilliard School and Jacob’s Pillow. From Miss Craske, Madeline Cantarella Culpo developed her technique. At the Cantarella School, the welfare of our young dancers is paramount. The program provides inspiration and progressive physical development in a professional friendly atmosphere. Classes are offered at all levels and are held Monday through Saturday. Modern, Jazz, Tap, Hip Hop and Lyrical classes are offered to complement classical ballet training. Students at the Intermediate and Advanced levels are encouraged to take a minimum of two classes per week; discounted rates apply for those taking multiple classes. It is the mission of our school to provide ballet training that is exact and disciplined, but with an atmosphere of accomplishment and fun. Ballet is the foundation of all forms of dance and will develop strength, poise, discipline and grace which enriches a students life. Whether you wish to attain professional perfection or you just want to keep moving and have fun, the Cantarella school of dance is the place to be. In addition to developing coordination, posture and strength, dancing develops self confidence. Serious students are encouraged to audition for acceptance into the Academies of the School or the Junior Company of the Albany Berkshire Ballet. This comprehensive training program for advanced students is designed for those who want to commit more time to the art of dance. Classes accelerate talented students, exposing them to nationally known teachers in a preprofessional instructional setting. In addition, both the Academies and the Junior Company perform frequently throughout the Berkshires and in the Capital Region. See More from The Greylock Glass Save Save Save Save The post Will Call Episode #55.10, BONUS: Feel the final beats of 10X10 at Dance 10 appeared first on The Greylock Glass.

The 10&#215;10 Upstreet Arts Festival returns to Dottie&#8217;s in 2017! You’re listening to micro-episode 55.9, in which I have speak with very special guest Tom Attila Lewis about the 10X10 Comedy Show. Are you anxious to find out if I managed to keep this episode to ten minutes? Spoiler alert: I missed it by 200 percent. Oh well. Tom was such an awesome guest with so many great insights on the event, comedy in the Berkshires, and the artform itself, that I had a feeling this would end up almost being a full-length show. So I won’t add any more to the overrun and instead I’ll launch us into our conversation with Tom Attila Lewis here on Will Call at the Greylock Glass. Saturday, February 25, 2017 Dottie&#8217;s Coffee Lounge 444 North Street, Pittsfield Tickets for the show are $10 in advance at the Dottie&#8217;s service counter, wait until the day of the show and you will pay $15. Dottie&#8217;s will again be offering amazing food and drinks, seating for a special dinner designed for the show begins at 7:00 p.m., but make sure you get there early so that you can reserve a good spot near the stage! The headliner this year is Mike Lebovitz who has appeared on NBC&#8217;s &#8220;Last Comic Standing,&#8221; performed at the world-famous Just For Laughs Festival, and at festivals and venues across North America! Starting off our show with some musical entertainment during the dinner hour will be Ragliacci Rags. The show will also feature guest spots from Berkshire-based Alyssa Sequioa and Ryan Shea! Save Save Save The post Will Call Episode #55.9, BONUS: Laughter Is Art at the 10X10 Comedy Show! appeared first on The Greylock Glass.

We speak in this micro-cast with Danielle Steinmann, president of the Berkshire Art Association, and Sara Clement, a photographer who is one of the many artists who have contributed to this much anticipated tradition of the 10X10 Upstreet Arts Festival. &#8220;Stained Glass Windows,&#8221; by Sara Clement; image courtesy Berkshire Art Association. &#8220;Winter&#8217;s Wings,&#8221; by Julie Street; photo courtesy Berkshire Art Association.Berkshire Art Association is at it again! Artists from the Berkshires and beyond are contributing 10&#215;10 inch original works of art to be given away for just $25 each during the 10&#215;10 RAP (Real Art Party) at the Berkshire Museum on Thursday, February 23, 2017. A $25 ARTtix guarantees the buyer to a work of art to take home the night of the party. ARTtix may be purchased starting February 11th at the Berkshire Museum admissions desk through the night of the 10&#215;10 RAP (or until tickets sell out). The doors open at 6 pm and the drawing begins at 7pm sharp! Tickets will be chosen in a random order and the bearer will be able to choose any work of art that is still on the wall. Admission for the evening is free. &#8220;Birdhouses,&#8221; by Geoffrey Coelho; image courtesy Berkshire Art Association. The art show and party will benefit Berkshire County through BAA Fellowships for college art students, art field trip awards to Berkshire high school art departments, and free admission for art students to the Berkshire Museum. The 10&#215;10 RAP is a collaboration of the Berkshire Art Association, Storefront Artist Project and Berkshire Museum. The 10&#215;10 RAP is being presented as part of the Pittsfield’s 10&#215;10 Upstreet Arts Festival coordinated by the City of Pittsfield&#8217;s Department of Cultural Development and sponsored by Berkshire Gas. Save Save The post Will Call Episode #55.8, BONUS: No FAKE Art Parties at 10X10! Just Real Ones. appeared first on The Greylock Glass.

This is a special bonus episode connected with our coverage of the 10X10 Upstreet Arts Festival taking place in Pittsfield now through February 26. We’ll be airing 10 episodes running 10 minutes each throughout the duration of the Festival. To hear Kate Abbott’s overview of the events and interviews with a selection of this year’s participants, listen to Episode #55 of Will Call, which you can find right on our homepage at greylockglass.com Danny Dollar, Millionaire Extraordinaire, will be playing throughout the 10X10 Upstreet Arts Festival at the Berkshire Museum; photo by Emma K. Rothenberg-Ware Danny Dollar, Millionaire Extraordinaire, a presentation of the Berkshire Theatre Group Education Program, has been delighting audiences of all ages with its intensely original story, upbeat message, and uncompromising production values. This offering within the 10X10 Festival is a double whammy of sorts, being based on the story by local author Ty Allan Jackson. Danny’s just an ordinary kid, who happens to have multiple odd jobs, visits the bank every week to deposit his earnings, and aspires to be a millionaire! We speak with director Travis G. Daly about the story, the staging and about Berkshire Theatre Group’s education program and community theatre mission. Save Save The post Will Call Episode #55.7, BONUS: Danny Dollar, Millionaire Extraordinaire from Berkshire Theatre Group appeared first on The Greylock Glass.

This is a special bonus episode connected with our coverage of the 10X10 Upstreet Arts Festival taking place in Pittsfield now through February 26. We’ll be airing 10 episodes running 10 minutes each throughout the duration of the Festival. To hear Kate Abbott’s overview of the events and interviews with a selection of this year’s participants, listen to Episode #55 of Will Call, which you can find right on our homepage at greylockglass.com Atla and Matt DeChamplain will perform &#8220;10 Flavours of Jazz&#8221; February 25 at 8:00 p.m. at Flavors of Malaysia. This micro-cast features Jazz duo Atla and Matt DeChamplain. Through a 10X10 presentation of Berkshire Jazz, the two will perform a collection of “10 Flavours of Jazz.” This melodic tour of “America’s music” takes place Saturday, February 25, at 8:00 p.m. at Flavours of Malaysia, 75 North Street, Pittsfield. The story of their journey together, both musically and personally, is sweet to listen to, and, unsurprisingly, goes a long way toward explaining their remarkable ability to find sweet synthesis in song. Atla and Matt will be playing February 26 Be sure to check out the show notes at greylockglass.com for dazzling images and links to all the info we talked about in the show. Limited seating, advance purchase strongly advised: $25 in advance ($30 at the door&#8230;if any still remain on the day of the event). Dinner available separately starting at 7:45pm, when the doors open for jazz. Save Save The post Will Call Episode #55.6, BONUS: Berkshire Jazz Serves up 10 Flavours of Jazz at 10X10 Festival appeared first on The Greylock Glass.

Running In Stillness Boston-based Danza Orgánica, a Boston-based Contemporary Dance Theater Company directed by choreographer Marsha Parrilla, will stage a free performance based on their project, “Running in Stillness,” on February 24 at the Boys and Girls Club; photo courtesy Jacob’s Pillow. On February 24, Danza Orgánica, a Boston-based Contemporary Dance Theater Company, will lead a free Dance for Social Justice Movement Workshop at the Boys and Girls Club and perform excerpts from their work, Running in Stillness. To create this piece, director and choreographer Marsha Parrilla, who is a current Jacob’s Pillow Dance Creative Development Residency Artist, talked with women who have been incarcerated, or have had close family members incarcerated. We talked with her about creating the work. The score to “Running in Stillness,” featured in this episode, was composed and performed by Shane Shanahan and Ricardo Gallo. Save Save The post Will Call Episode #55.5, BONUS: Jacob&#8217;s Pillow Introduces Danza Orgánica to 10X10 appeared first on The Greylock Glass.

Hend Ayoub and Donnetta Lavinia Grays in “Veils, written by Tom Coash and directed by Leah C. Gardiner,” at Barrington Stage Company, October 2015; photo by Kevin Sprague Tom Coash’s full-length play, “Veils,” set in Cairo at the beginning of the Arab Spring, played at Barrington Stage in the fall of 2015. He says an experience from “Veils” inspired him to write the shorter work that appears in this year’s 10&#215;10 Festival. He talked with us about both plays and what he has learned in writing them. Tom Coash, author of “Veils” and “Rag Head” &nbsp; &nbsp; You should definitely also check out our conversation in Will Call, #18, with playwright Tom Coash and director by Leah C. Gardiner,” from the play&#8217;s 2015 run at Barrington Stage Company. &nbsp; Save Save Save Save The post Will Call Episode #55.4, BONUS: Tom Coash on &#8220;Raghead&#8221; at BSC for 10X10 Upstreet Arts Festival appeared first on The Greylock Glass.

WordXWord presents &#8220;Ten New Voices,&#8221; a curated evening of poetry, as their entry into the 10X10 Festival. This is a special bonus episode connected with our coverage of the 10X10 Upstreet Arts Festival taking place in Pittsfield now through February 26. We’ll be airing 10 episodes running 10 minutes each throughout the duration of the Festival. 10 New Voices February 20, at 7:00 p.m. Berkshire Museum 39 South Street, Pittsfield, Mass. Cost: FREE To hear Kate Abbott’s overview of the events and interviews with a selection of this year’s participants, listen to Episode #55 of Will Call, which you can find right on our homepage. On Monday, February 20, at 7:00 p.m., WordxWord will present 10 New Voices, a free program of poetry and spoken word guest-curated by poets Doni Smith, Jadesola James and Sage, at the Berkshire Museum. We talked with all three poets as they planned the event. Save Save Save The post Will Call Episode #55.3, BONUS: WordXWord Lends 10 New Voices to 10X10 Upstreet Arts Festival appeared first on The Greylock Glass.

&#8220;Joe&#8217;s Violin,&#8221; directed by Kahane Cooperman and Raphaela Neihausen, with music composed by Gary Meister, earned a 2017 Academy Award nomination for Best Documentary Short Subject, will be screened by the Berkshire International Film Festival along with nine other shorts during the 10X10 Upstreet Arts Festival at the Beacon Cinema on February, 19th. &#8220;Tattoo You,&#8221; a film about bullying written and produced by Lisa Kenner Grissom, and directed by S.R. Bindler. Bacon &amp; God&#8217;s Wrath &#8211; excerpt from sol friedman on Vimeo. This is a special bonus episode connected with our coverage of the 10X10 Upstreet Arts Festival taking place in Pittsfield now through February 26. We’ll be airing 10 episodes running 10 minutes each throughout the duration of the Festival. To hear Kate Abbott’s overview of the events and interviews with a selection of this year’s participants, listen to Episode #55 of Will Call, which you can find right on our homepage. Best of Shorts at the 6th Annual 10×10 February 19, 2017; 2:30 p.m.–11:00 p.m. Beacon Cinema, 57 North Steet, Pittsfield, Mass. Cost: FREE This micro-cast features Lauren Ferin, executive assistant at the Berkshire International Film Festival. Lauren describes a little bit of the BIFF philosophy on cinema and explains why the organization finds the community connection with film, and filmmakers so important. The BIFF will be screening ten short films on Sunday, February 19th at the Beacon Cinema in Pittsfield. The event is free, so be sure to grab a seat early. Be sure to check out the show notes at greylockglass.com for dazzling images and links to all the info we talked about in the show. Bacon &amp; God&#8217;s Wrath &#8211; excerpt from sol friedman on Vimeo. From the BIFF&#8217;s site: The Berkshire International Film Festival “The BIFF” is a world-class festival that is an integral part of the cultural fabric of the Berkshires. BIFF showcases not only the latest in independent feature, documentary, short, and family films but also lively panel discussions and special events focusing on filmmakers and talented artists from both sides of the camera. Join the BIFF in celebrating the best in short films and passion for our community by attending the 6th Annual 10×10 UpStreet Winter Arts Festival February 16-26, 2017. BIFF is collaborating with the Beacon Cinema and Cultural Pittsfield to present a fun and fantastic array of some of the best shorts from its 10th Anniversary Festival. These screenings are FREE and open to the public. In &#8220;Six Letter Word,&#8221; written and directed by, Lisanne Sartor, an unlikely mother is forced to confront her young son’s autism after an unlikely encounter with one of her johns. The wonderful shorts that will be featured: JANUARY – Craip Pospisil, 9 min SIX LETTER WORD – Lisanne Sartor, 16 min EWE TOPIA – Ben Hillman BACON &amp; GOD’S WRATH – Sol Friedman JOE’S VIOLIN – Kahane Cooperman OASIS – Aidan Kahn TATTOO YOU – Lisa Kenner Grissom GOODBYE ALAN – John Whalan, Black Ice MASS Media Running Time is approximately 96 minutes Save The post Will Call Episode #55.2, BONUS: The BIFF Screens Ten Short Films Long on Artistry with Lauren Ferin appeared first on The Greylock Glass.

The 10X10 Upstreet Arts Festival Explodes into Its 6th Year. The 6th Annual 10×10 Festival is February 16-26, 2017. Participants and locations include Barrington Stage Company, the Beacon Cinema, Berkshire Athenaeum &amp; Berkshire Historical Society, Berkshire Art Association, Berkshire International Film Festival (BIFF), Berkshire Museum, Berkshire Running Center, Berkshire Yoga Dance &amp; Fitness, Dottie’s Coffee Lounge, Jacob’s Pillow Dance, Word X Word. *note You may begin with young poets curating an evening of spoken word — or with a rising comedian from New York — or with Brazilian jazz, bossa nova and blues. The sixth annual 10X10 Upstreet Arts Festival in Pittsfield is reason to celebrate! Photo by Keith Perry, courtesy of Jen Glockner, director of the Pittsfield Office of Cultural Development. You may begin with young poets curating an evening of spoken word — or with a rising comedian from New York — or with Brazilian jazz, bossa nova and blues. The 10×10 Upstreet Arts Festival festival keeps growing. This year, Jacob’s Pillow Dance Festival has joined in with a free workshop and performance by the Boston company Danza Orgánica. Peggy Pharr Wilson, pictured in &#8220;The Still Point Of The Turning World&#8221; from the 20016 10 x 10 plays at Barrington Stage, will perform in this year&#8217;s new plays festival; photo by Scott Barrow. Julianne Boyd, Artistic Director of Barrington Stage Company; photo courtest Barrington State Company And the 10 Spot art exhibit at the Lichtenstein Center for the Arts and at the Sohn Fine Art Gallery has drawn in photographers from New York to the West Coast. &nbsp; The sixth annual festival will return from Feb. 16 to Feb. 26, with more than 50 events in downtown Pittsfield. In this podcast, we have talked with directors and curators, a playwright, photographer and dancers about this year’s festival. To hear more, listen during the festival for a new short podcast from the Greylock Glass, each day. Barrington Stage Company According to Jen Glockner, director of Pittsfield’s Office of Cultural Development, the festival began in 2012 with an idea from Julianne Boyd, artistic director at Barrington Stage Company — to create an evening of short plays. Matthew Penn, producer, director, and cofounder of the Berkshire Playwrights Lab, will be directing five of the short plays presented by Barrington Stage Company for this year&#8217;s 10X10 Upstreet Arts Festival; photo courtesy the Berkshire Playwrights Lab. Barrington Stage’s New Play Festival has become central to 10&#215;10. This year, Boyd says, six actors will perform 10 new plays in one evening. They range from comic sketches about blanket forts and sand boxes to one-acts that touch deeply on the experiences of the the partner of someone with dementia, or Irish workers in the 1920s, or a young woman who wears a hijab in New York City today. Matt Penn This year, for the first time, she is co-directing the New Play festival with Matt Penn, the co-artistic director of the Berkshire Playwrights Lab. &nbsp; &nbsp; Tom Coash Tom Coash, author of &#8220;Veils&#8221; and &#8220;Rag Head&#8221; Tom Coash’s full-length play, “Veils,” set in Cairo at the beginning of the Arab Spring, played at Barrington Stage in the fall of 2015. He says an experience from “Veils” inspired him to write the shorter work that appears in this year’s 10&#215;10 Festival. To hear more about Tom Coash’s work, listen for a new short podcast from the Greylock Glass each day of the 10 X 10 Festival. Danza Orgánica &nbsp; On Feb. 24 at the Boys and Girls Club, Jacobs Pillow will bring Danza Orgánica, a Boston-based Contemporary Dance Theater Company. Boston-based Danza Orgánica, a Boston-based Contemporary Dance Theater Company directed by choreographer Marsha Parrilla, will stage a free performance based on their project, &#8220;Running in Stillness,&#8221; on February 24 at the Boys and Girls Club; photo courtesy Jacob&#8217;s Pillow. Director and choreographer Marsha Parrilla will lead a free Dance for Social Justice Movement Workshop, and her company will perform from her work, &#8220;Running in Stillness,&#8221; to music composed and performed by Shane Shanahan and Ricardo Gallo. &nbsp; 10 Spot An image by Robert Falk appears at the Sohn Gallery as part of 10 Spot, a joint exhibit with the Lichtenstein Center for the Arts. The Lichtenstein Center for the Arts and the Sohn Fine Art Gallery in Lenox are collaborating this year on 10 Spot, a group exhibit of 10 photographers showing 10 images each. Cassandra Sohn finds their work wide-ranging and timely. &nbsp; &nbsp; Photographer Ken Dreyfack takes his camera around the world and into city streets at night. &#8220;Selfie,&#8221; by Ken Dreyfack To hear more about the 10 Spot photographers, listen for a new short podcast later during the festival. To hear more about WordxWord poetry, jazz, theater, comedy and more, listen during the festival for a new short podcast from the Greylock Glass, each day. &#8220;Beaux Reves,&#8221; by Susan Evans Grove Note The score to Danza Orgánica&#8217;s “Running in Stillness,” which opened this episode, was composed and performed by Shane Shanahan and Ricardo Gallo. Atla and Matt DeChamplain&#8217;s &#8220;I Sent For You Yesterday&#8221; which played about halfway into the episode, is from their release, Pause. Save Save The post Will Call #55: 10X10 Upstreet Arts Festival hits Pittsfield for its sixth year! appeared first on The Greylock Glass.

We speak with artist and activist Diane Firtell about the &#8220;CHAIRity&#8221; exhibition and silent auction taking place at Dottie&#8217;s Coffee Lounge as part of the 10X10 Upstreet Arts Festival. Proceeds will benefit the Pittsfield Education Foundation. From CHAIRity release &#8220;This year we invited 17 local artists and 2 organizations, to use their creative genius and recycle chairs no longer being used in the Lounge. The only instruction was to take the chairs and bring them back in another form. Working in all mediums these artists have produced a fantastic and diversified show with wall hangings, table sculpture, planters, a toy box and more.&#8221; Participating Artists CHAIRity work by Diane Firtell Phil Bastow, Patricia Boissevain, Marguerite Bride, Berkshire Fabrications Jan Charbonneau and Wood craftsman Jon Charbonneau, John Clarke, Carrie Jean Converse, Zoë Doucette, Autumn Ni Dubhghaill, Diane Firtell, Betsy Gorman (Burnt Barn Studio), Kate Kimball (heykatekimball), Michael King, Lisa Merullo, Scott Taylor and Steve Sears, Nina Silver, Ellie Spangler, Kristen Tool, The Women Veterans from Soldier On and The Soldier On Men&#8217;s Program. About the Silent Auction Proceeds from the silent auction will benefit the newly formed non profit Pittsfield Education Foundation (PEF.) Bidding begins at $50 and increases in $10 increments (in keeping with the 10&#215;10 theme.) The silent auction ends at 8PM, 3/3. Please plan to be here to claim your item. Opening Reception Friday 2/17 and Closing Reception Friday 3/3 Please join us for receptions from 5-8PM. We’ll provide light refreshments; beer and wine available for purchase. CHAIR-ity work by Kate Kimball We’ll also be having informal artist talks both evenings beginning at 7PM. Come meet the artists and hear about their inspiration and have a last chance to bid on these awesome creations. Thanks for supporting the arts and education! Phil Bastow, Patricia Boissevain, Marguerite Bride, Berkshire Fabrications Jan Charbonneau and Wood craftsman Jon Charbonneau, John Clarke, Carrie Jean Converse, Zoë Doucette, Autumn Ni Dubhghaill, Diane Firtell, Betsy Gorman (Burnt Barn Studio), Kate Kimball (heykatekimball), Michael King, Lisa Merullo, Scott Taylor and Steve Sears, Nina Silver, Ellie Spangler, Kristen Tool, The Women Veterans from Soldier On and The Soldier On Men&#8217;s Program. Pittsfield Education Foundation “Impacting Achievement in Public Education” CHAIR-ity work by Scott Taylor and Steve Sears Mission To improve the achievement and success of the children and teachers in the Pittsfield Public Schools by enhancing educational opportunities and building broad-based  community support for quality public education. Core Values ● Provide o pportu nities for stu dents and teachers to achieve their greatest potential ● Literacy for all ● Support for innovative ideas and creativity ● Promote cultural equity ● Cultivate and sustain pride in the Pittsfield community &nbsp; &nbsp; Why is your support important? CHAIR-ity work by Kristin Tool Enrichment, Intervention &amp; Educator Empowerment: “In a study looking at gifted students who participated in talent development through  competitions, the researchers reported a long-term impact on these students’ post-secondary achievements, with 52% of the 345 students who participated having earned doctoral degrees.” (“A student not reading at his or her grade level by the end of the third grade is four  times less likely to graduate high school on time–six times less likely for students from low-income families.” “States use reading proficiency scores in third grade to project how many prisons they’re going to need twenty years down the road.” &nbsp; CHAIR-ity work by Betsy Gorman “For Fiscal Year 2014, the average cost per year to house an inmate in the Massachusetts DOC was $53,040.87.” “Teaching quality has been defined as &#8220;instruction that enables a wide range of students to learn,” ( Darling-Hammond, 2012 ), and it is the strongest school-related factor that can improve student learning and achievement.” Save Save The post Will Call Episode #55.1, BONUS: a 20/20 Look at 10X10—CHAIR-ity with Diane Firtell appeared first on The Greylock Glass.

In the wake of the November election, people across the country have seen fear and anger and exclusion become part of a national public conversation. Many people are sharing the experience of feeling that they do not belong in their familiar places. It&#8217;s called&nbsp;othering — making someone feel pushed to the edges, unwanted or different. It can happen in daily meetings and conversations,&nbsp;at work, at school, even at home. In the Berkshires, movements are growing in response,&nbsp;art and lectures and performances and rallies, to explain what othering means and what it looks like —&nbsp;and to draw people together instead. &#8220;Eyes Opaque With Terror,&#8221; by Marcelene Mosca and Freya Segal; Mixed Media, 2014; photo by David Edgecomb. People are saying in different ways, I feel threatened. I feel alone. And people are saying that hate is not mine. I want to stand with you. I want to live in a country where we can all live and love and work, pray or not, speak and play music. People are saying we need to talk to each other. In the Berkshires, efforts are growing to bring people together. In Pittsfield, on a November afternoon, young WordxWord poets and storytellers reflected on how it felt to be excluded or pushed to the edges, as part of “Othering,” a month-long show curated by the Berkshire Art Association at the Lichtenstein Center for the Arts. In Great Barrington, Asma Abbas, Associate Professor of Politics and Philosophy at Bard College of Simon’s Rock, invited Moustafa Bayoumi, American Book Award–winning&nbsp; writer and professor of English at Brooklyn College — who wrote one of the most re-tweeted tweets of the 2016 USA presidential debates, according to Twitter—to speak about Muslim American experiences in the last 15 years. In North Adams, Rabbi Rachel Barenblat, the spiritual leader of Congregation Beth Israel, joins Rabbi David Markus, her co-chair of Aleph, the central organization of the international Jewish Renewal movement, in a call for solidarity. If a national effort to register Muslims becomes real, they are calling on all Americans to register. Nick Cave&#8217;s &#8220;Until&#8221; And in December of 2016, MASS MoCA, offered free admission for Berkshire residents until the solstice, as Nick Cave’s installation, Until, opened to take a close look at the ideal of “innocent until proven guilty” — and what happens when it becomes “guilty until proven innocent.” Soprano Brenda Wimberly and organist Sereca Henderson&nbsp; perform at the opening of Nick Cave’s ‘Until,’ at MASS MoCA. His installation fills the Rauschenberg gallery, and everyone who walks in stops at the doorway. The room is as large as a football field. And it is full of light. It’s like walking into an optical mobile. It’s a maze of stars and spirals and suns on 16,000 strings. They spin like tops, and they transform from pinwheeling color to faint lines, until they become invisible. In some of them, at the core, he has set the image of a hand gun. Nick Cave is known for Soundsuits, wearable sculptures that cover the whole body, and he often performs in them. But here he has created something new. It’s a landscape. It’s a cloudscape made of chandelier crystal. It’s a place where he invites other people to perform. Benjamin Clementine gave a concert on opening night. Nick Cave&nbsp;created this installation holding in mind the lives and deaths of Eric Garner, Oscar Grant, Trayvon Martin, Tamir Rice, Yvette Smith and Michael Brown and more like them. Mass MoCA curator Denise Markonish speaks about his work. Moustafa Bayoumi and Asma Abas John Coltrane’s ‘A Love Supreme,’ a jazz classic from 1965 has echoes of Middle Eastern scales in its improvisation, and echoes of Islamic prayer in its inspiration, professor Moustafa Bayoumi writes in his 2015 collection of essays, “This Muslim American Life: Dispatches from the War on Terror.” Moustafa Bayoumi has explored the concept of Othering in both How Does It Feel to Be a Problem?: Being Young and Arab in America (2009) and This Muslim American Life: Dispatches from the War on Terror (2015); photo by Neville Elder, courtesy of Moustafa Bayoumi. Coltrane often performed with Muslim musicians, he says, and anyone with an ear attuned to Islamic influences can hear them in Coltrane’s words and music.He quotes Coltrane’s liner notes: “No Matter what … it is with God. He is Merciful. His way is in love, through which we all are. It is truly — a love supreme.”Moustafa Bayoumi is an internationally recognized journalist. He is a columnist for The Guardian; his writing has appeared in journals from the New York Times to the Nation; and he has appeared on CNN, FOX News, National Public Radio and many other media outlets around the world.He is an associate professor of English at Brooklyn College, and in 2008 he won an American Book Award for “How Does It Feel to Be a Problem: Being Young and Arab in America.” . Asma Abbas is an Associate Professor of Politics and Philosophy andEmily H. Fisher Faculty Fellow at Bard College at Simon&#8217;s Rock; photo courtesy Asma Abbas. . . . “How Does It Feel to Be a Problem?” takes its title from writer, Civil Rights activist and Great Barrington native, W.E.B. DuBois, who asks that question in Souls of Black Folk. In his book, Bayoumi tells the stories of seven young men and women in their 20s living in Brooklyn after 9/11.Rasha and her family were imprisoned without trial and without evidence; Sami served in the military in Iraq; Yasmin fought discrimination in her diverse high school — and won.In December, professor Bayoumi came to Bard College at Simon’s Rock in Great Barrington to talk with professor Asma Abbas, and her students and the community, about the experience of being Muslim American in the past, in the last 15 years and today.Many Americans misunderstand a great deal about what Muslim Americans believe and how they live their lives, he said. To begin with, Muslim Americans have lived in this country for almost 400 years. Aleph&nbsp;takes a stand against othering Rachel Barenblat of Williamstown is the rabbi and spiritual leader of Congregation Beth Israel in North Adams, and she will serve as the interim Jewish Chaplain at Williams College in the spring semester. She is also co-chair of Aleph, the central organization of the international Jewish renewal movement, with David Markus, associate spiritual leader of Temple Beth-El of City Island in the Bronx.&nbsp;He has Berkshire ties as well — like Rachel, he is a Williams College alum. (In full disclosure, I am also a Williams alum, and Rachel is an old friend.) Jewish Renewal, founded by Rabbi Zalman Schachter-Shalomi, is a movement across Jewish denominations. At its center, Aleph includes a rigorous liberal seminary and a growing network of congregations and communities around the world. &#8220;Arab Women Bonding,&#8221;by Muriel Angelil;Monoprint, 2014; submitted photo. In response to the U.S. president-elect’s campaign promise to require all Muslims to register with the government, Aleph has sent out a call to all Americans, if that day comes, to register as Muslim in solidarity. That call comes out of values central to Renewal, Rachel and David say, from a respect for all faiths, and a core Jewish value (Lev. 19:18), to love your neighbor as yourself. The experience of being treated differently — the ‘Othering’ that David Markus talks about — is also the name of the Berkshire Art Association’s biennial juried show. In November, it filled the Lichtenstein Center for the Arts in Pittsfield with abstract paintings, collages and drawings. The art association sent out a call for work reflecting on experiences of exclusion and separation. More than 30 artists from throughout the Northeast had work in the exhibit — from a twenty-year veteran of the U.S. military who served two tours in Iraq to an African-American Pittsfield High School graduate now studying art at Williams College. On Nov. 13, the Pittsfield organization WordxWord hosted an afternoon of poetry and storytelling on the same theme — WordxWord uses spoken word, poetry and storytelling to celebrate diversity and creativity and make connections. &#8220;Kylie Jenner,&#8221; by Merudjina Normil; Drawing, 2014; submitted photo. Four of those poets have given us permission to share there work here. We thank Izzy; our second poet, who has asked to remain anonymous; Sage; and Doni Smith. &#8220;This Is Normal: 4th grade,&#8221; by Dina Noto, Ink Drawing, 2016; submitted photo. Looking Ahead On Saturday, Jan. 7, on the 76th anniversary of Franklin Delano Roosevelt&#8217;s Four Freedoms speech, a new Four Freedoms Coalition will invite the Berkshire community to unite against hate and bigotry in all its forms. The Berkshire County branch of the NAACP, BRIDGE, Berkshire Immigrant Center, United Africans of the Berkshires, and the United American Muslim Association of the Berkshires and others will gather for a rally and march in downtown Pittsfield. The Four Freedoms Coalition is a non-partisan, diverse coalition of community organizations and people working together to unite the community and reaffirm the&nbsp; American values outlined in President Roosevelt&#8217;s speech: Freedom from fearFreedom from wantFreedom of speechFreedom of religion. All are welcome. To find out more, check out the Four Freedoms Coalition on Facebook or email [email protected] * On Jan. 29 at 3 p.m., Doni Smith and WordXWord will welcome the new year with a free poetry reading to celebrate sharing and caring and reflect on the consequences of greed at MCLA’s Gallery 51, at 51 Main St., North Adams. Nine days after the presidential inauguration, poets and spoken word artists will bear witness to a world where greed appears to have no limits, and yet every day holds moments of generosity and compassion. The event will accompay Josh Ostraff&#8217;s exhibition, OFA ATU, which opens Jan. 26. * Also in Pittsfield, Georgene Poliak has formed All Band Together as an initiative in compassion and solidarity. At the holiday Shindy at Shire City Sanctuary, she showed arm bands with a crescent and a star that she is making out of upcycled t-shirts and sweaters. They recall the bands that Jews in Europe were made to wear under the Nazi occupation. But these mean the opposite — they mean that people of many faiths can stand together. * And in the spring, new artists will come to Mass MoCA to create and perform work inspired by Nick Cave’s ‘Until.’ Internationally acclaimed dancer and choreographer Bill T. Jones will present a new solo work on March 4. And choreographer, writer, and actress Okwui Okpokwasili will create and offer a site-specific dance on April 7. Okwui Okpokwasili &#8220;Bronx Gothic&#8221; trailer from Peter Born on Vimeo. Grammy-winnter and living legend Mavis Staples, known worldwide as a voice in R&amp;B, Gospel, Soul, folk, rock and blues, will also perform at Mass MoCA on March 25. And Toshi Reagon and Dorrance Dance will return to the ’62 Center at Williams College with tap masters Derick Grant and Dromeshia Sumbry-Edwards. The post Will Call #54: Standing Together Against Othering in the Berkshires appeared first on The Greylock Glass.

Ensemble of five proves that It&#8217;s a Wonderful Life (yes, still!) The cast of It&#8217;s a Wonderful LIfe — Jennie M. Jadow, Sarah Taylor, David Joseph, Jonathan Croy and Ryan Winkles (photo by Enrico Spada). Today is Tuesday, December 13, and this is Episode #53 of Will Call. I&#8217;m your host and pretender to the Will Call throne, Jason Velázquez, and I thank you for joining us! Sarah Jeanette Taylor and David Joseph rehearse for &#8220;It&#8217;s A Wonderful Life: A Live Radio Play,&#8217; (photo by Ava G. Lindenmaier). &nbsp; On this edition of Will Call, we&#8217;re excited to be able to share a conversation that I had with two of the creative talents behind Shakespeare &amp; Company&#8217;s production of &#8220;It&#8217;s a Wonderful Life,&#8221; director Jenna Ware and actor Ryan Winkles. The show is playing for just one weekend in the Elayne P. Bernstein Theatre at their Lenox campus. In the interest of full disclosure, I joined the company for a year in 2012 in the communications department, and will forever have an enormous special place in my heart for this extremely talented and dedicated collection of artists. The production is crafted from Joe Landry&#8217;s adaptation of the original screenplay by Frances Goodrich, Albert Hackett, Frank Capra, and Jo Swerling, and employs only five actors to personify all the characters that America has come to love over the more than half century that the story was made famous by Frank Capra&#8217;s big screen version. . . &#8220;Its a Wonderful Life&#8221; Elayne Bernstein Theatre December 15–18, 2016 Thurs–Sat 7:00 p.m.; Sat &amp; Sun: 2:00 p.m. Post-Show Talk with Joe Landry: Friday, December 16 Get Tickets The story, though fanciful in some ways, contains powerful themes and poses at times uncomfortable questions about the lives we live and life as it might be if reality took just a slight turn. Ryan Winkles and Jonathan Croy rehearse for &#8216;It&#8217;s A Wonderful Life: A Live Radio Play&#8217; at Shakespeare &amp; Company (photo by Ava G. Lindenmaier). &nbsp; Save Save Save Save Save Save Save The post Will Call #53: It&#8217;s a Wonderful Life at Shakespeare &#038; Company appeared first on The Greylock Glass.

A Talk with Beryl Jolly You&#8217;re listening to 52 of Will Call, released on a brilliant and beautiful Saturday, November 19, 2016. I’m your host, Jason Velázquez, and I thank you so much for joining us. We just heard a snippet of Ghost Town Girl from the eponymous new release from California-based Roots band, Echo Sparks. Not because we’re featuring them on this show, but because I recently recorded a video interview with them and I’ve got that tune stuck in my head. Go to greylockglass.com and sign up for our newsletter to be the first to know when that episode of INDIEcent Exposure goes live. In the meantime, go to their website to find out more and to listen more songs from Ghost Town Girl. Beryl Jolly, executive director or the Maihawe Center for the Performing Arts (photo by Paul Shoul). My guest on the show this week is certainly no Ghost Town Girl—she’s Beryl Jolly, executive director of the Mahaiwe Center for the Performing Arts in Great Barrington, Mass., and she’s going to tell us not only about some of the great events coming up at the Mahaiwe, but also about some of the community programs that make the Center such a cornerstone of Great Barrington and, really, the entire region. But before we get to my conversation with Beryl, I’ve got to tell you that when I was checking out the Mahaiwe schedule for the weekend on their website, I saw that Hamlet, starring Academy Award nominee Benedict Cumberbatch, is being broadcast live in HD from London’s National Theatre on Sunday afternoon. You can grab tickets while you’re listening to this show, now that I think about it. And while I was reading about Hamlet, it occurred to me that this weekend marks the 28th run of the Fall Festival of Shakespeare, from Shakespeare &amp; Company. I can’t think of any Shakespeare staged with more energy and enthusiasm than the Fall Festival. If you haven’t been, the short description, from Shake &amp; Co.’S website is: The Fall Festival deeply engages over 500 students every year through personally meaningful, educationally rigorous and dramatically compelling experiences of Shakespeare&#8217;s classical dramas. The Festival is truly a celebration, never a competition. Students from multiple schools work collaboratively, exploring Shakespeare’s words, unpacking the humor and the heartbreak, the intensity and humanity of these unparalleled plays. The even shorter description is that it’s just powerful stage magic that you shouldn’t miss. High School’s yet to perform this weekend are: Saturday, November 19 1:30pm &#8211; Springfield Central High School | The Comedy of Errors 3:30pm &#8211; Berkshire Waldorf High School | Henry IV, pt.1 6:15pm &#8211; Monument Mountain Regional High School | As You Like It 8:30pm &#8211; Lenox Memorial High School | Much Ado About Nothing Sunday, November 20 1:30pm &#8211; Chatham High School | Julius Caesar 3:30pm &#8211; Taconic Hills High School | Romeo and Juliet And tickets are still available, at least at the time of this recording, so, why not make it a Shakespeare weekend, both at Shakespeare &amp; Company in Lenox and the Mahaiwe just down the road in Great Barrington. And with that, let’s get on with the show and our interview with Beryl Jolly, Executive Director of the Mahaiwe Performing Arts Center. About Beryl Jolly Beryl Jolly has been the director of the Mahaiwe Performing Arts Center since the rebirth of the century-old theater as a dynamic Great Barrington cultural destination in the spring of 2005. The Mahaiwe’s extensive historical restoration was completed in 2006 and the theater is now listed on the National Register of Historic Places. The Mahaiwe has become a flagship venue in Berkshire County, presenting world-class music, dance, theater and family events, as well as “Live in HD” broadcasts from the Metropolitan Opera and London’s National Theatre and classic movies on a year-round basis. In 2012, Great Barrington was named the #1 Small Town in America by Smithsonian Magazine, and the quality of arts programming at the Mahaiwe was referenced as a point of distinction in the town’s selection. Ms. Jolly leads a small, stellar team to create the presentation schedule of over 150 events per year. The theater operates on an annual budget of $1.7 million and the organization successfully completed a $2.2 million restricted campaign goal to eliminate the theater’s debt and establish a cash reserve in 2015. Prior to joining the Mahaiwe, Ms. Jolly served as the Director of Individual Giving and Development at BAM (Brooklyn Academy of Music), as a General Management Associate at the Public Theater/New York Shakespeare Festival and worked in several Broadway offices including the League of American Theaters and Producers. About the Mahaiwe Located in downtown Great Barrington, Massachusetts, the Mahaiwe Performing Arts Center is the year-round presenter of world-class music, dance, theater, classic films, Live in HD broadcasts, and arts education programs for the southern Berkshires and neighboring regions. The intimate jewel box of a theater opened in 1905. Since 2005, the performing arts center has hosted over 1,000 events and welcomed almost half a million people through its doors. The Mahaiwe has now welcomed over 15,000 students from 55 different schools for its school-time performances and residencies. Tickets A limited number of $15 tickets are available for audience members ages 30 and younger to the Mahaiwe’s live performances through the Mahaiwe ArtSmart Tix program. The Mahaiwe is located at 14 Castle Street in Great Barrington, Massachusetts. Box office hours are Wednesday through Saturday from noon to 6:00pm and three hours before show times. For tickets and information, see www.mahaiwe.org or call 413.528.0100. &nbsp; 14 Castle Street Great Barrington, MA 01230 Mahaiwe Box Office Hours: Tuesday through Saturday from noon to 6:00pm (and three hours before showtimes) Box Office: 413.528.0100 www.mahaiwe.org Save Save Save Save Save The post Will Call #52: Hot lights on chilly nights at the Mahaiwe appeared first on The Greylock Glass.

Pittsfield, Mass.—The Board of Trustees of Hancock Shaker Village announced Wednesday, September 14 the appointment of Jennifer Trainer Thompson as president and chief executive officer. Ms. Thompson will assume her new role at the end of the year from her current post as senior vice president of partnerships and external affairs at the Massachusetts Museum of Contemporary Art (MASS MoCA). The Board of Trustees of Hancock Shaker Village announced September 14 the appointment of Jennifer Trainer Thompson to the positions of president and CEO of the landmark institution (photo, Robert S. Colantuono). Ms. Thompson has over 28 years of experience in arts administration and culture in the Berkshires. One of a small team that developed MASS MoCA beginning in 1988, she has been integral to the evolution of the museum, having organized and developed several departments, including development, membership, public relations, and most recently partnerships and external affairs. As MASS MoCA’s director of development from 1988 to 2012, she helped raise some $70 million for operations and programs, including the Permanence Campaign that launched the museum’s endowment and Sol LeWitt building. More recently, she has focused on partnerships, where she worked closely with museum leadership, institutional partners, and other supporters to identify new ways to leverage an expanding network to further the museum’s core mission both regionally and nationally. If you missed our conversation with Jennifer Trainer Thompson this past Spring about her latest book, &#8220;Fresh Fish,&#8221; be sure to give it a listen. Warning—your mouth may water uncontrollably! In conjunction with an annual, highly successful New York gala for MASS MoCA that she created and branded, she has worked with performers ranging from David Byrne to Laurie Anderson, as well as artists such as Jenny Holzer, Darren Waterston, and others to develop unique limited-editions of their work for MASS MoCA’s benefit. Those in the Berkshires know her also as one of the models for photographer Gregory Crewdson’s work, most recently in his critically acclaimed show, “Cathedral of the Pines.” Richard Selzer, acting chairman of the board of Hancock Shaker Village, introduced Jennifer Trainer Thompson as the newly appointed President and CEO (photo, Jason Velázquez). “We are so pleased to have Jennifer join Hancock Shaker Village at this pivotal moment in its history. She has a keen understanding of the region and what is required to make a living history museum a robust, exciting place,” said Dan Cain, chairman of Board of Trustees. “She is a modern-day renaissance woman who possesses the intelligence, skills, style, and a passion for art and community that will propel Hancock Shaker Village into the next decade.” “There are few professionals in the museum world as multi-talented as Jennifer Thompson,” said Michael Conforti, former head of the Clark Art Institute and president of the Association of Art Museum Directors, as well as current MASS MoCA trustee. “Her expertise from fundraising to program development has been fundamental to the remarkable success of MASS MoCA over the years and those talents will make her an extraordinary leader for Hancock Shaker Village.” “I am honored to lead Hancock Shaker Village at this great time of opportunity and transformation,&#8221; said Ms. Thompson. “The Village is a jewel in the crown of Berkshire cultural organizations, and it is so many things: a museum, an historic village, a library, a working farm—not to mention an inspiration for innovation, design, and beauty. Tremendous opportunities exist to build upon the foundation and successes of the past, starting with the collection and the property, and identifying innovative approaches to presenting these with a special relevance to the region and today’s audiences.” Jennifer Trainer Thompson is expected to bring a wealth of arts/cultural institution experience to Hancock Shaker Village (photo, Jason Velázquez). Ms. Thompson is the author of 22 books, including ten acclaimed cookbooks, as well as articles on design, science, art, and lifestyle that have been published in The New York Times, The Boston Globe, Travel &amp; Leisure, Omni, and Harvard Magazine. In conjunction with her books, which range in subject from nuclear power to raising heirloom chickens, she has appeared on hundreds of talk shows, such as Good Morning America, CNN, National Public Radio, Live with Regis, and Fox News. Ms. Thompson will replace Linda Steigleder, who concludes her term as president and CEO in December 2016 after leading Hancock Shaker Village for five years. Ms. Steigleder was instrumental in raising $1.5 million to improve public access and visitor amenities at the historic site, adapt restrooms to handicapped standards, replace and repair roofs, repaint and restore the exteriors of 20 out of the 23 buildings in the Village, including the iconic Meeting House and Laundry and Machine Shop. Under her leadership, the Village energized its public program offerings, completed a partnership study with the Berkshire Museum, collaborated with four other museums on a major exhibition, The Shakers, America’s Quiet Revolutionaries, ramped up the exhibition of contemporary art at the site and programs delivered by living artists and makers, reconnected with lapsed donors, improved the museum’s fundraising event formats and net results, stabilized its finances with a balanced budget to fund all of its exhibits, programs, working farm, facilities maintenance and the presentation of its extensive collection of Shaker artifacts. About Hancock Shaker Village Centrally located in the Berkshires, at the intersection of Routes 20 and 41 in Pittsfield, Massachusetts, Hancock Shaker Village is a living history museum and farm. The 750-acre National Historic Landmark depicts daily life at the Shakers’ City of Peace through its 220 years. The fully restored Village includes 20 historic buildings, heirloom medicinal and vegetable gardens, 22,000 examples of authentic Shaker furniture, crafts, tools, and clothes, as well as heritage breed farm animals and hiking trails. There are tours, craft and cooking demonstrations, lectures and workshops, and a variety of activities for children and families, plus a museum store and café. An interactive audio tour is available in English, French, Italian, and German. Hancock Shaker Village is open for fall self-guided touring from 10:00am to 5:00pm daily through Sunday, October 30, 2016. Beginning on Monday, October 31 and continuing through Wednesday, November 23, guided tours will be offered daily at 11:00am, with additional tours at 2:00pm on Saturdays and Sundays. For more information, call 800.817.1137 or see www.hancockshakervillage.org. Save Save The post Will Call #50: Hancock Shaker Village Appoints Jennifer Trainer Thompson New President and CEO appeared first on The Greylock Glass.

LENOX, Mass. — If you’ve ever wanted to see Hillary Clinton belt a show tune, Donald Trump sing a rock song, or New Jersey Governor Chris Christie perform a classical ballet, The Capitol Steps might just be the show for you. No matter how quickly you&#8217;re burning out on politics this campaign season, you won&#8217;t mind seeing just a teensie bit more of &#8220;Bernie,&#8221; &#8220;Donald,&#8221; and &#8220;Hillary&#8221; this summer as incarnated in the Capitol Steps at Cranwell Spa &amp; Golf Resort (submitted photo). We were lucky enough to catch up with Capitol Steps (website, Facebook) writer and performer Bari Biern, who revealed the origins of the Capitol Steps , yet somehow managed to keep her own party affiliation a mystery (even off mic!). Turns out, Biern is a woman of many, many talents who&#8217;s voice you have probably heard before, even if you&#8217;ve never been to a Capitol Steps show. The Capitol Steps July 1 through September 2, 2016, except Tuesdays 8:00 p.m. nightly The Harvest Barn, Cranwell Spa &amp; Golf Resort 55 Lee Road, Lenox, Mass. $49.00, open seating; BUY TICKETS This week seems like the perfect time to air this episode, since politics are becoming so wild and wooly, even their madcap satire may not be able to keep pace with the craziness! But it may help us all stay sane! Cranwell Spa &amp; Golf Resort is offering a chance to laugh off some election-year stress throughout the summer, hosting the award-winning musical satire group The Capitol Steps for a limited run of performances, from July 1 to Sept. 2. The troupe will be the first to perform on Cranwell’s new Harvest Barn stage, a 220-seat venue. Capitol Steps member Bari Biern has played many, many characters, including former Alaska governor Sarah Palin (photo courtesy http://www.baribiern.com/). About the Capitol Steps The Capitol Steps began as a group of congressional staffers who set out to satirize the very people who employed them. Now in its 35th year, the show has since evolved to feature 26 actors and five pianists, who stage shows across the United States. This year’s show is largely based on songs from The Capitol Steps’ current album What To Expect When You’re Electing, featuring tunes that give a comedic nod to some of our most pressing political issues: “Ain’t No Pipeline, Now It’s Gone,” “Hello, Is it Mitt You’re Looking For?” and “We Warm the World” among them. The Capitol Steps’ 90-minute show will be performed nightly, excluding Tuesdays, at 8 p.m. Cranwell Spa &amp; Golf Resort offers pre-show dining starting at 5 p.m. at its Wine Spectator Award-winning restaurant in the Gilded Age Mansion, as well as casual fare at Sloane’s Restaurant and Bar. Show tickets and an optional dinner may be reserved directly by calling (413) 881-1636, or online at cranwell.com. For more information on Capitol Steps, visit capsteps.com. &nbsp; About Bari Biern Bari Biern has been Stepping since 1993 and has appeared in several Capitol Steps off-Broadway runs. A native of Cincinnati, Ohio, Bari has done both feature and training films, narrated audiobooks, reviewed theatre/films for WAMU-FM and freelanced as an off-camera announcer for C-SPAN. You may recall her breathtaking interpretation the announcement, &#8220;The Senate will now stand in recess for party lunches.&#8221; Fans of the video game Star Trek: Legacy will recognize Bari as the voice of T&#8217;Uerell, the evil Vulcan scientist. She is a two-time Helen Hayes Award nominee as a playwright/lyricist and also writes opera librettos. She&#8217;s had five successful productions in DC and Philadelphia, including a recent sold-out run of her English adaptation of Abduction from the Seraglio, in which she shifted the story from 18th century Turkey to 19th century Texas. Yee-hah! Someday, Bari hopes to create an opera with a living composer, but she adores collaborating with Mozart, who loves everything she does and never asks for a rewrite! About Cranwell Spa &amp; Golf Resort Cranwell Resort is a member of Historic Hotels of America, which preserves the authenticity of more than 200 of America’s most prominent historic hotels and inns, and is listed in Zagat’s Top U.S. Hotels, Resorts &amp; Spas, among other accolades. The resort is located just over two hours from New York City and Boston in the historic New England village of Lenox, Mass. The award-winning resort features 105 distinctive guest rooms and suites, three restaurants, banquet rooms, an 18-hole historic golf course set on 380 hilltop acres, and one of the largest resort spas in the Northeast. Cranwell is partnered with Stash Hotel Rewards®, a hotel rewards program that enables travelers to quickly earn free nights at distinctive, independent hotels without blackouts or expiration date restrictions. Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save The post Will Call #49: (Not) Tip-toeing Around the Issues with the Capitol Steps appeared first on The Greylock Glass.

William Shakespeare&#8217;s &#8220;The Tempest&#8221; brings together some very talented local flotsam. William Shakespeare&#8217;s &#8220;The Tempest&#8221; will be presented on Pittsfield&#8217;s First Street Common Thursday–Sunday, 8:00 p.m., July 21–August 7; photo by Enrico Spada. In this episode, we were lucky enough to catch Enrico Spada, founder and artistic director of Pittsfield Shakespeare in the Park, with a little time to to talk about the 2016 presentation of William Shakespeare’s “The Tempest.” Considering that today is the opening of the run, that’s no mean feat. Now in its third season, Shakespeare in the Park, is expected to draw an audience of 5,000 before it closes on August 7. I hope you enjoy this great conversation about one of the Berkshires’ newest great traditions. &#8220;The Tempest by William Shakespeare Pittsfield Shakespeare in the Park July 21–August 7; 8:00 p.m. First Street Common, Pittsfield, MA FREE Poster for &#8220;The Tempest,&#8221; 2016&#8217;s presentation for Pittsfield Shakespeare in the Park &nbsp; From pittsfieldshakespeare.org: About Pittsfield Shakespeare in the Park Pittsfield Shakespeare in the Park is committed to keeping the thrill of theatre alive with the artists and audience members who live in the Berkshires by presenting free, outdoor Shakespeare bringing together audience members, actors, designers, and technicians to our community. Founded by Berkshires-based theatre artist and educator, PSP was launched in the summer of 2014 with A Midsummer Night’s Dream in Springside Park. PSP returned in 2015 with Romeo and Juliet in a new venue, the performance pavilion on the First Street Common. More than 5,000 people have enjoyed PSP’s free productions since its inception, fast becoming an annual tradition. &nbsp; &nbsp; About Enrico Spada, Artistic Director of Pittsfield Shakepeare in the Park Artistic Director, Enrico Spada, of Pittsfield Shakespeare in the Park; submitted photo. &nbsp; Pittsfield Shakespeare in the Park founder and artistic director Enrico Spada holds a Bachelor of Arts degree in Theatre &amp; Education, and has taught, directed and performed at Shakespeare &amp; Company in Lenox, Massachusetts for nearly a decade. During that time, he directed in the Fall Festival of Shakespeare high school residency program plus other K-12 residency programs. Enrico also served as Marketing Manager and then Marketing Director at Shakespeare &amp; Company for several years and also runs his own business as a freelance graphic designer, actor and director. Donate to Pittsfield Shakespeare in the Park William Shakespeare&#8217;s &#8220;The Tempest&#8221; will be presented on Pittsfield&#8217;s First Street Common Thursday–Sunday, 8:00 p.m., July 21–August 7; photo by Enrico Spada. Our 2016 production will be presented for FREE to the public in Pittsfield this summer. Your support enables us to pay the artists and technicians, and rent the lights, microphones and other equipment required to make a magical outdoor theatrical experience like this possible. Please help us make this a reality by making a tax-deductible donation today! Pittsfield Shakespeare in the Park is a registered 501(c)3 public charity. Your contribution is tax-deductible to the extent permitted by law. Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save The post Will Call #48: &#8220;The Tempest&#8221; Sweeps Ashore at First Street Common appeared first on The Greylock Glass.

Governor Baker&#8217;s veto hacks approximately fifty five percent from the FY2017 budget of the Massachusetts Cultural Council Governor Charlie Baker issued a budget veto on July 8 that would slash funding for the arts, humanities, and sciences through the Massachusetts Cultural Council (MCC) by more than half. The cut would exceed the value of MCC’s two largest grant programs, reducing state cultural funding to levels not seen since 1994. In this episode, we speak with Van Shields, executive director of the Berkshire Museum, about some of the ways that programs supported by the MCC have had an impact on the lives of residents across the county and state. Shields points out the now universally understood link between early exposure to the arts and educational and personal achievement. Van W. Shields, Director of The Berkshire Museum in Pittsfield, Mass. (submitted photo) Governor Charlie Baker issued a budget veto July 8 that would slash funding for the arts, humanities, and sciences through the Massachusetts Cultural Council (MCC) by more than half. The cut would exceed the value of MCC’s two largest grant programs, reducing state cultural funding to levels not seen since 1994. Read the MCC&#8217;s Fiscal 2017 Budget request, with a detailed breakdown of expenitures. On July 1, the Legislature approved a state budget for FY17 that included $14 million in funding for the arts, humanities, and sciences via MCC. The veto would reduce that by $7.7 million, to $6.5 million. That funding level would put Massachusetts in league with states such as Nebraska and South Dakota in per capita support for arts and culture. The proposed cut of $7.7 million was included in a larger set of $256 million in vetoes. “If it stands, this budget would cut many of our core grant programs to the bone,” said MCC Executive Director Anita Walker, &#8220;and likely force us to eliminate some programs entirely. It would cost jobs in our nonprofits, choke off revenue from cultural tourism, and close arts education opportunities for thousands of kids in schools and youth programs across the state.” [gview file=&#8221;https://www.greylockglass.com/wp-content/uploads/2016/07/FY17_MCC_Budget_Proposal.pdf&#8221;] MCC’s two largest grant programs are its Cultural Investment Portfolio, providing core operating support for 384 nonprofits, at $4.6 million in the last fiscal year; and $3 million for 329 Local Cultural Councils, which support more than 6,000 public programs statewide. MCC will work with MASSCreative, Mass Humanities, the Mass Artists Leaders Coalition, and advocates statewide to encourage members of the House and Senate to override the veto when they consider responses to the Governor’s actions this week. Stay tuned for updates as the process unfolds. Van Shields, Executive Director Berkshire Museum Van Shields was appointed the Executive Director of the Berkshire Museum in September 2011. Since arriving, the Museum has completed a $2.4 million in facility improvements and launched several new initiatives including the WeeMuse early childhood education program, Learner’s Lab and BeMuse series for adult and family audiences, and increased collaboration with area cultural institutions. In 2013 the Museum became the ninth New England organization to join the Smithsonian Affiliations program. Before coming to the Berkshires, he was the founding CEO of the Culture &amp; Heritage Museums, created in 1997 by a consolidation of three cultural institutions serving the greater Charlotte, North Carolina metropolitan region. In 2009, the Culture &amp; Heritage Museums created the Main Street Children’s Museum to focus on early learners. Prior to his time in the Carolinas, he spent seven years at New York City’s Museum of the Moving Image and his experience includes stints in small business and serving as an Air Force officer. He has served on the boards of numerous organizations from planning to social services, tourism, economic development, media, and the arts. He currently serves on several local governing and advisory boards including Berkshire Visitors Bureau, 1 Berkshire Strategic Alliance, Downtown Pittsfield, Inc., Berkshares, and Pittsfield Promise, among others. He and his wife the artist Peggy Rivers live Pittsfield, Massachusetts. About the Massachusetts Cultural Council MCC is a state agency that promotes excellence, access, education, and diversity in the arts, humanities, and sciences to improve the quality of life for Massachusetts residents and contribute to the vitality of our communities. MCC pursues this mission through grants, services, and advocacy for nonprofit cultural organizations, schools, communities, and artists. MCC’s FY16 budget is $15.7 million, which includes a $14 million state appropriation and grants from the National Endowment for the Arts. MCC also runs the Massachusetts Cultural Facilities Fund (CFF) in partnership with MassDevelopment. CFF is supported separately via the state’s capital budget. About the Berkshire Museum Berkshire Museum offers a unique array of exhibitions, activities, and attractions for visitors of all ages. From fine art and ancient objects to fossils; from an aquarium of native and exotic creatures to Spark!Lab and the Feigenbaum Hall of Innovation, the Berkshire Museum is a community museum: a place where everyone, from toddlers to elders, can learn, play, explore, innovate, and be engaged. Founded in 1903, the Museum integrates art, history, and natural science in a wide range of programs and exhibitions that inspire educational connections between the disciplines. Finding Raven: Art and Stories of the Northwest Coast is on view through October 30. Tiny Titans: Dinosaur Eggs and Babies is on view through August 28. Living on Earth: The Work of Robert Hite, a solo show of sculpture and photography co-presented by the Berkshire Museum and Hancock Shaker Village, is on view at both venues through October 30. Little Cinema is open year-round. Berkshire Museum is located at 39 South Street in downtown Pittsfield, Massachusetts, and is open every day, from 10 a.m. to 5 p.m. Monday through Saturday and from noon to 5 on Sunday. For information on the many programs and events happening every week, visit www.berkshiremuseum.org or call 413.443.7171. In addition to their website, you can follow Berkshire Museum on Facebook and Twitter. Save Save Save Save The post Will Call #47 — Governor Slashes Arts Funding, Part 2 with Van Shields of the Berkshire Museum appeared first on The Greylock Glass.

Governor Baker&#8217;s veto hacks approximately fifty five percent from the FY2017 budget of the Massachusetts Cultural Council Governor Charlie Baker issued a budget veto on July 8 that would slash funding for the arts, humanities, and sciences through the Massachusetts Cultural Council (MCC) by more than half. The cut would exceed the value of MCC’s two largest grant programs, reducing state cultural funding to levels not seen since 1994. In this episode, we speak with Matt Wilson, exectuive director of MASSCreative, about the precarious fate of arts, culture, science, and humanities programs across the state. Wilson points out impacts of the arts on communities way beyond the aesthetic. Programs supported by the MCC have been shown to fuel the economy, reverse urban blight, and provide alternatives to self-destructive behaviors for youth. Former Governor. Deval Patrick (left) with MASSCreative Executive Director Matt Wilson on July 06, 2014 at Barrington Stage Company, Pittsfield announcing that he would allocate $15 million to the state’s Cultural Facilities Fund (photo courtesty MASSCreative via mass-creative.org). Governor Charlie Baker issued a budget veto July 8 that would slash funding for the arts, humanities, and sciences through the Massachusetts Cultural Council (MCC) by more than half. The cut would exceed the value of MCC’s two largest grant programs, reducing state cultural funding to levels not seen since 1994. Read the MCC&#8217;s Fiscal 2017 Budget request, with a detailed breakdown of expenitures. [gview file=&#8221;https://www.greylockglass.com/wp-content/uploads/2016/07/FY17_MCC_Budget_Proposal.pdf&#8221;] On July 1, the Legislature approved a state budget for FY17 that included $14 million in funding for the arts, humanities, and sciences via MCC. The veto would reduce that by $7.7 million, to $6.5 million. That funding level would put Massachusetts in league with states such as Nebraska and South Dakota in per capita support for arts and culture. The proposed cut of $7.7 million was included in a larger set of $256 million in vetoes. “If it stands, this budget would cut many of our core grant programs to the bone,” said MCC Executive Director Anita Walker, &#8220;and likely force us to eliminate some programs entirely. It would cost jobs in our nonprofits, choke off revenue from cultural tourism, and close arts education opportunities for thousands of kids in schools and youth programs across the state.” MCC’s two largest grant programs are its Cultural Investment Portfolio, providing core operating support for 384 nonprofits, at $4.6 million in the last fiscal year; and $3 million for 329 Local Cultural Councils, which support more than 6,000 public programs statewide. MCC will work with MASSCreative, Mass Humanities, the Mass Artists Leaders Coalition, and advocates statewide to encourage members of the House and Senate to override the veto when they consider responses to the Governor’s actions this week. Stay tuned for updates as the process unfolds. Matthew Wilson, MASSCreative Executive Director Hired as MASSCreative’s first Executive Director in March of 2012, Matt directs the advocacy campaigns and organizational development for the organization. For 30 years, he has run campaigns and organized volunteers and communities for the public interest on a local, state, national level. In 2011, Wilson directed environmentalist and social entrepreneur Bob Massie’s campaign for the U.S. Senate. Previously he coordinated Health Care for All’s campaign to monitor the takeover of the nonprofit Caritas Hospitals by a for profit private equity firm. As the National Director of the field staff for MoveOn.org from 2005-2006, Matt helped develop and implement the strategy behind MoveOn.org’s successful 2006 Call for Change, which recruited and trained more than 100,000 volunteers in 60 swing Congressional and Senate districts. As the Founder and Director of Toxics Action Center from 1989 to 2005, Wilson assisted more than 300 neighborhood groups address toxic pollution issues in their communities. He grew the organization from one staffer working in Massachusetts to a New England-wide organization with 11 staff. Wilson graduated from Dartmouth College in 1983 and also earned a Masters of Public Administration at the Harvard Kennedy School of Government in 2008. About the Massachusetts Cultural Council MCC is a state agency that promotes excellence, access, education, and diversity in the arts, humanities, and sciences to improve the quality of life for Massachusetts residents and contribute to the vitality of our communities. MCC pursues this mission through grants, services, and advocacy for nonprofit cultural organizations, schools, communities, and artists. MCC’s FY16 budget is $15.7 million, which includes a $14 million state appropriation and grants from the National Endowment for the Arts. MCC also runs the Massachusetts Cultural Facilities Fund (CFF) in partnership with MassDevelopment. CFF is supported separately via the state’s capital budget. About MASSCreative MASSCreative works with creative leaders, working artists, arts educators and arts and cultural supporters to empower creative organizations and the public with a powerful voice to advocate for the resources and attention necessary to build vibrant, connected, and creative communities. In addition to their website, you can find them on Twitter and Facebook Save Save Save Save Save Save Save Save Save Save Save Save Save Save The post Will Call #46 — Governor Slashes Arts Funding, Part 1 with Matt Wilson of MASSCreative appeared first on The Greylock Glass.

The god of Nature, Pan (Seth Foster, center), with his entourage (left to right) Michelle Nicole Brady Davis, Dwaynne Walker-Dixon, Brandon Weber, Michael Judson Berry, Grace Fojtik, , Hannah Leigh, Ann Dang, Billy Luce Jr, Ginna Doyle (in back), Cody Henderson, Jeff Wittekiend (photo by Daniel Rader) Ellen Haun, as the muse, Calliope, in &#8220;Orpheus in the Berkshires.&#8221; (photo by Daniel Rader) Like Summer itself, &#8220;Orpheus in the Berkshires&#8221; enters the scene with a flourish. A wildflower bouquet of textures and colors, the piece immediately charms, providing just the right touch at this season&#8217;s picnic of theatre offerings. In its creation, the production of &#8220;Orpheus,&#8221; from the Williamstown Theatre Festival, redefines the phrase, &#8220;community theatre.&#8221; Reframing the concept as an artistic mission to embrace an entire community as both inspiration and raw material, playwright Lucy Thurber and director Laura Savia create a fantastical world that is as familiar in its faces, strengths, and  problems as the whole of the Berkshires itself. We did something a little unusual for this episode—we went on location. That&#8217;s right, we loaded up our mobile studio (all laptop and microphone of it) and headed over to the &#8217;62 Center for Theatre and Dance at Williams College. It was so worth it. We got to speak to Obie Award-winning playwright Lucy Thurber and Williamstown Theatre Festival Associate Director Laura Savia about the World Premier of &#8220;Orpheus in the Berkshires,&#8221; being staged at the Greylock Mill (formerly known as the Cariddi Mill) on State Road in North Adams. . Also like Summer, the run of this show is desperately, heartbreakingly fleeting. See it now and see the next step in the evolution of community theatre.\\\ Community Engaged Theatre Williamstown Theatre Festival &#8220;Orpheus in the Berkshires&#8221; Greylock WORKS 508 State Road, North Adams, MA 7/14–16, 7:30 p.m. &amp; 7/17 5:00 p.m. From Williamstown Theatre Festival This summer, WTF brings together professional theatre artists with Berkshire residents to create and perform new work. Born of the belief that theatre is central to understanding, building and maintaining community, this initiative invites the people of Western Massachusetts to be a part of the Festival’s creative process — not just as audience members, but on stage! Obie Award-winning playwright Lucy Thurber puts a new spin on the Orpheus myth, set in Western Massachusetts. When Orpheus, a teenage girl, realizes that something is amiss in her neighborhood, she embarks on a treacherous journey to save her hometown. Helmed by Festival Associate Director Laura Savia, and developed in collaboration with community partners, this World Premiere features a cast of 75 Berkshire residents performing alongside Festival actors. About Williamstown Theatre Festival Under artistic director Mandy Greenfield, Williamstown Theatre Festival, recipient of the Tony Award for Outstanding Regional Theatre, creates renowned productions of both world premiere plays as well as revivals of some of the great works of the Western theatrical canon.  Since 1955, Williamstown Theatre Festival has brought together gifted emerging theater artists with our country’s finest theater professionals to produce a vibrant summer season in the Berkshires, while simultaneously running one of the country’s top training and professional development programs.  In 2015, the Festival launched a New Play Commissioning Program as well as a community-immersive theatre initiative, which unites professional theater artists with Berkshire residents to create new work.  Playwrights under commission include Fernanda Coppel, Melissa James Gibson (co-commission with Second Stage), Halley Feiffer, Matthew Lopez, Jiehae Park, Benjamin Scheuer and Lucy Thurber.  Additionally, each summer the Festival produces an array of unique cultural events including family-friendly theater, Late-Night Cabarets, music concerts and comedy.  The artists and productions shaped at the Festival each summer fill theaters in New York, around the country and abroad.  Recent critically acclaimed productions launched by Williamstown Theatre Festival include: Sam Shepard’s FOOL FOR LOVE directed by Daniel Aukin, starring Nina Arianda and Sam Rockwell; Bernard Pomerance’s THE ELEPHANT MAN directed by Scott Ellis, starring Bradley Cooper; John Kander, Frank Ebb and Terrence McNally’s THE VISIT, directed by John Doyle, starring Chita Rivera, among many others.  For more information, please visit www.wtfestival.org. Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save Save The post Will Call #45 — Rebirth of a Legend, Rebirth of a Landmark with Orpheus in the Berkshires appeared first on The Greylock Glass.

A Whimsical Fantasy Celebrating the Arts The Berkshire Mountain Faerie Festival makes its debut in Adams, June 25, with activities, music, arts, and magic for believers of all ages. Oberon, Titania and Puck with Fairies Dancing, by William Blake, 1786 [Public domain], via Wikimedia Commonsaaa When: June 25th, 2016 10:00am to 10:00pm Where:Bowe Field, Adams, Mass. (Adams Aggie Fair Grounds) Cost: $5 admission, children under 12 FREE Visit their Facebook page for more details. Berkshire Mountain Faerie Festival to be held June 25, 2016, Adams, Mass. &nbsp; Presented by: The Adams Arts Advisory Board with the Adams Agricultural Fair (non-profit 501c) being their fiscal agent Proceeds to: Public Art and Community Based Art within our region, including schools and libraries The Fairy Dance, Robert Alexander Hillingford, pre-1904 [Public domain], via Wikimedia CommonsMidsummer Eve, Edward Robert Hughes, 1908 [Public domain], via Wikimedia Commons Activities Performances throughout the day on the main stage Celtic &amp; Alternative Music, Bagpipes, and Dancers Faerie Vendors and Enchanting Foods Artists and Artisans Story Telling Tent with Noted Authors Embellish Faerie Wings Build a Faerie House in the Forest Puppeteers and the Fire Hula-Hoop Lady Entertainment Busker Stations The People-Powered Peddle Float The Dragon Mouth Fire Pit Artful Decorations and Whimsical Tents Family Oriented Event Faerie Dress Encouraged FAE fans, Gnomes, Sprits, Elf’s, Trolls and Beyond Welcomed Contact Info Facebook: Berkshire Mountains Faerie Festival Email: [email protected] Website: www.berkshiremountainsfaeriefestival.com Pat Fietta [email protected] 775-527-6143 Gail Sellers [email protected] 413-664-0197 Save Save Save Save Save Save Save Save The post Will Call #44 — First-Ever Berkshire Mountain Faerie Festival appeared first on The Greylock Glass.

We celebrate the Summer Solstice with one of the Summery-est passages we know. Enjoy! Cover illustration for &#8220;The Wind in the Willows,&#8221; by E. H. Shepard; Novel by Kenneth Grahame, 1908 &nbsp; The Wind in the Willows by Kenneth Grahame (Full text available at Project Gutenberg) VII. THE PIPER AT THE GATES OF DAWN The Willow-Wren was twittering his thin little song, hidden himself in the dark selvedge of the river bank. Though it was past ten o’clock at night, the sky still clung to and retained some lingering skirts of light from the departed day; and the sullen heats of the torrid afternoon broke up and rolled away at the dispersing touch of the cool fingers of the short midsummer night. Mole lay stretched on the bank, still panting from the stress of the fierce day that had been cloudless from dawn to late sunset, and waited for his friend to return. He had been on the river with some companions, leaving the Water Rat free to keep a engagement of long standing with Otter; and he had come back to find the house dark and deserted, and no sign of Rat, who was doubtless keeping it up late with his old comrade. It was still too hot to think of staying indoors, so he lay on some cool dock-leaves, and thought over the past day and its doings, and how very good they all had been. Visit Shakespeare &amp; Company online at shakespeare.org for details about all this season&#8217;s performances! The Rat’s light footfall was presently heard approaching over the parched grass. “O, the blessed coolness!” he said, and sat down, gazing thoughtfully into the river, silent and pre-occupied. “You stayed to supper, of course?” said the Mole presently. “Simply had to,” said the Rat. “They wouldn’t hear of my going before. You know how kind they always are. And they made things as jolly for me as ever they could, right up to the moment I left. But I felt a brute all the time, as it was clear to me they were very unhappy, though they tried to hide it. Mole, I’m afraid they’re in trouble. Little Portly is missing again; and you know what a lot his father thinks of him, though he never says much about it.” “What, that child?” said the Mole lightly. “Well, suppose he is; why worry about it? He’s always straying off and getting lost, and turning up again; he’s so adventurous. But no harm ever happens to him. Everybody hereabouts knows him and likes him, just as they do old Otter, and you may be sure some animal or other will come across him and bring him back again all right. Why, we’ve found him ourselves, miles from home, and quite self-possessed and cheerful!” “Yes; but this time it’s more serious,” said the Rat gravely. “He’s been missing for some days now, and the Otters have hunted everywhere, high and low, without finding the slightest trace. And they’ve asked every animal, too, for miles around, and no one knows anything about him. Otter’s evidently more anxious than he’ll admit. I got out of him that young Portly hasn’t learnt to swim very well yet, and I can see he’s thinking of the weir. There’s a lot of water coming down still, considering the time of the year, and the place always had a fascination for the child. And then there are—well, traps and things—YOU know. Otter’s not the fellow to be nervous about any son of his before it’s time. And now he IS nervous. When I left, he came out with me—said he wanted some air, and talked about stretching his legs. But I could see it wasn’t that, so I drew him out and pumped him, and got it all from him at last. He was going to spend the night watching by the ford. You know the place where the old ford used to be, in by-gone days before they built the bridge?” “I know it well,” said the Mole. “But why should Otter choose to watch there?” “Well, it seems that it was there he gave Portly his first swimming-lesson,” continued the Rat. “From that shallow, gravelly spit near the bank. And it was there he used to teach him fishing, and there young Portly caught his first fish, of which he was so very proud. The child loved the spot, and Otter thinks that if he came wandering back from wherever he is—if he IS anywhere by this time, poor little chap—he might make for the ford he was so fond of; or if he came across it he’d remember it well, and stop there and play, perhaps. So Otter goes there every night and watches—on the chance, you know, just on the chance!” Looking for a scholarly read on the role of Pan in The Wind in the Willows and literature in general? We recommend &#8220;A (Pagan) Wind in the Willows,&#8221; by Jason Mankey They were silent for a time, both thinking of the same thing—the lonely, heart-sore animal, crouched by the ford, watching and waiting, the long night through—on the chance. “Well, well,” said the Rat presently, “I suppose we ought to be thinking about turning in.” But he never offered to move. “Rat,” said the Mole, “I simply can’t go and turn in, and go to sleep, and DO nothing, even though there doesn’t seem to be anything to be done. We’ll get the boat out, and paddle up stream. The moon will be up in an hour or so, and then we will search as well as we can—anyhow, it will be better than going to bed and doing NOTHING.” “Just what I was thinking myself,” said the Rat. “It’s not the sort of night for bed anyhow; and daybreak is not so very far off, and then we may pick up some news of him from early risers as we go along.” They got the boat out, and the Rat took the sculls, paddling with caution. Out in midstream, there was a clear, narrow track that faintly reflected the sky; but wherever shadows fell on the water from bank, bush, or tree, they were as solid to all appearance as the banks themselves, and the Mole had to steer with judgment accordingly. Dark and deserted as it was, the night was full of small noises, song and chatter and rustling, telling of the busy little population who were up and about, plying their trades and vocations through the night till sunshine should fall on them at last and send them off to their well-earned repose. The water’s own noises, too, were more apparent than by day, its gurglings and “cloops” more unexpected and near at hand; and constantly they started at what seemed a sudden clear call from an actual articulate voice. The line of the horizon was clear and hard against the sky, and in one particular quarter it showed black against a silvery climbing phosphorescence that grew and grew. At last, over the rim of the waiting earth the moon lifted with slow majesty till it swung clear of the horizon and rode off, free of moorings; and once more they began to see surfaces—meadows wide-spread, and quiet gardens, and the river itself from bank to bank, all softly disclosed, all washed clean of mystery and terror, all radiant again as by day, but with a difference that was tremendous. Their old haunts greeted them again in other raiment, as if they had slipped away and put on this pure new apparel and come quietly back, smiling as they shyly waited to see if they would be recognised again under it. Fastening their boat to a willow, the friends landed in this silent, silver kingdom, and patiently explored the hedges, the hollow trees, the runnels and their little culverts, the ditches and dry water-ways. Embarking again and crossing over, they worked their way up the stream in this manner, while the moon, serene and detached in a cloudless sky, did what she could, though so far off, to help them in their quest; till her hour came and she sank earthwards reluctantly, and left them, and mystery once more held field and river. Then a change began slowly to declare itself. The horizon became clearer, field and tree came more into sight, and somehow with a different look; the mystery began to drop away from them. A bird piped suddenly, and was still; and a light breeze sprang up and set the reeds and bulrushes rustling. Rat, who was in the stern of the boat, while Mole sculled, sat up suddenly and listened with a passionate intentness. Mole, who with gentle strokes was just keeping the boat moving while he scanned the banks with care, looked at him with curiosity. “It’s gone!” sighed the Rat, sinking back in his seat again. ‘so beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” The Mole, greatly wondering, obeyed. “I hear nothing myself,” he said, “but the wind playing in the reeds and rushes and osiers.” The Rat never answered, if indeed he heard. Rapt, transported, trembling, he was possessed in all his senses by this new divine thing that caught up his helpless soul and swung and dandled it, a powerless but happy infant in a strong sustaining grasp. In silence Mole rowed steadily, and soon they came to a point where the river divided, a long backwater branching off to one side. With a slight movement of his head Rat, who had long dropped the rudder-lines, directed the rower to take the backwater. The creeping tide of light gained and gained, and now they could see the colour of the flowers that gemmed the water’s edge. “Clearer and nearer still,” cried the Rat joyously. “Now you must surely hear it! Ah—at last—I see you do!” Breathless and transfixed the Mole stopped rowing as the liquid run of that glad piping broke on him like a wave, caught him up, and possessed him utterly. He saw the tears on his comrade’s cheeks, and bowed his head and understood. For a space they hung there, brushed by the purple loose-strife that fringed the bank; then the clear imperious summons that marched hand-in-hand with the intoxicating melody imposed its will on Mole, and mechanically he bent to his oars again. And the light grew steadily stronger, but no birds sang as they were wont to do at the approach of dawn; and but for the heavenly music all was marvellously still. On either side of them, as they glided onwards, the rich meadow-grass seemed that morning of a freshness and a greenness unsurpassable. Never had they noticed the roses so vivid, the willow-herb so riotous, the meadow-sweet so odorous and pervading. Then the murmur of the approaching weir began to hold the air, and they felt a consciousness that they were nearing the end, whatever it might be, that surely awaited their expedition. A wide half-circle of foam and glinting lights and shining shoulders of green water, the great weir closed the backwater from bank to bank, troubled all the quiet surface with twirling eddies and floating foam-streaks, and deadened all other sounds with its solemn and soothing rumble. In midmost of the stream, embraced in the weir’s shimmering arm-spread, a small island lay anchored, fringed close with willow and silver birch and alder. Reserved, shy, but full of significance, it hid whatever it might hold behind a veil, keeping it till the hour should come, and, with the hour, those who were called and chosen. Slowly, but with no doubt or hesitation whatever, and in something of a solemn expectancy, the two animals passed through the broken tumultuous water and moored their boat at the flowery margin of the island. In silence they landed, and pushed through the blossom and scented herbage and undergrowth that led up to the level ground, till they stood on a little lawn of a marvellous green, set round with Nature’s own orchard-trees—crab-apple, wild cherry, and sloe. “This is the place of my song-dream, the place the music played to me,” whispered the Rat, as if in a trance. “Here, in this holy place, here if anywhere, surely we shall find Him!” Then suddenly the Mole felt a great Awe fall upon him, an awe that turned his muscles to water, bowed his head, and rooted his feet to the ground. It was no panic terror—indeed he felt wonderfully at peace and happy—but it was an awe that smote and held him and, without seeing, he knew it could only mean that some august Presence was very, very near. With difficulty he turned to look for his friend and saw him at his side cowed, stricken, and trembling violently. And still there was utter silence in the populous bird-haunted branches around them; and still the light grew and grew. Perhaps he would never have dared to raise his eyes, but that, though the piping was now hushed, the call and the summons seemed still dominant and imperious. He might not refuse, were Death himself waiting to strike him instantly, once he had looked with mortal eye on things rightly kept hidden. Trembling he obeyed, and raised his humble head; and then, in that utter clearness of the imminent dawn, while Nature, flushed with fullness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humourously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter. All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered. “Rat!” he found breath to whisper, shaking. “Are you afraid?” “Afraid?” murmured the Rat, his eyes shining with unutterable love. “Afraid! Of HIM? O, never, never! And yet—and yet—O, Mole, I am afraid!” Then the two animals, crouching to the earth, bowed their heads and did worship. Sudden and magnificent, the sun’s broad golden disc showed itself over the horizon facing them; and the first rays, shooting across the level water-meadows, took the animals full in the eyes and dazzled them. When they were able to look once more, the Vision had vanished, and the air was full of the carol of birds that hailed the dawn. As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat. Portly woke up with a joyous squeak, and wriggled with pleasure at the sight of his father’s friends, who had played with him so often in past days. In a moment, however, his face grew blank, and he fell to hunting round in a circle with pleading whine. As a child that has fallen happily asleep in its nurse’s arms, and wakes to find itself alone and laid in a strange place, and searches corners and cupboards, and runs from room to room, despair growing silently in its heart, even so Portly searched the island and searched, dogged and unwearying, till at last the black moment came for giving it up, and sitting down and crying bitterly. The Mole ran quickly to comfort the little animal; but Rat, lingering, looked long and doubtfully at certain hoof-marks deep in the sward. “Some—great—animal—has been here,” he murmured slowly and thoughtfully; and stood musing, musing; his mind strangely stirred. “Come along, Rat!” called the Mole. “Think of poor Otter, waiting up there by the ford!” Portly had soon been comforted by the promise of a treat—a jaunt on the river in Mr. Rat’s real boat; and the two animals conducted him to the water’s side, placed him securely between them in the bottom of the boat, and paddled off down the backwater. The sun was fully up by now, and hot on them, birds sang lustily and without restraint, and flowers smiled and nodded from either bank, but somehow—so thought the animals—with less of richness and blaze of colour than they seemed to remember seeing quite recently somewhere—they wondered where. The main river reached again, they turned the boat’s head upstream, towards the point where they knew their friend was keeping his lonely vigil. As they drew near the familiar ford, the Mole took the boat in to the bank, and they lifted Portly out and set him on his legs on the tow-path, gave him his marching orders and a friendly farewell pat on the back, and shoved out into mid-stream. They watched the little animal as he waddled along the path contentedly and with importance; watched him till they saw his muzzle suddenly lift and his waddle break into a clumsy amble as he quickened his pace with shrill whines and wriggles of recognition. Looking up the river, they could see Otter start up, tense and rigid, from out of the shallows where he crouched in dumb patience, and could hear his amazed and joyous bark as he bounded up through the osiers on to the path. Then the Mole, with a strong pull on one oar, swung the boat round and let the full stream bear them down again whither it would, their quest now happily ended. “I feel strangely tired, Rat,” said the Mole, leaning wearily over his oars as the boat drifted. “It’s being up all night, you’ll say, perhaps; but that’s nothing. We do as much half the nights of the week, at this time of the year. No; I feel as if I had been through something very exciting and rather terrible, and it was just over; and yet nothing particular has happened.” “Or something very surprising and splendid and beautiful,” murmured the Rat, leaning back and closing his eyes. “I feel just as you do, Mole; simply dead tired, though not body tired. It’s lucky we’ve got the stream with us, to take us home. Isn’t it jolly to feel the sun again, soaking into one’s bones! And hark to the wind playing in the reeds!” “It’s like music—far away music,” said the Mole nodding drowsily. “So I was thinking,” murmured the Rat, dreamful and languid. “Dance-music—the lilting sort that runs on without a stop—but with words in it, too—it passes into words and out of them again—I catch them at intervals—then it is dance-music once more, and then nothing but the reeds” soft thin whispering.” “You hear better than I,” said the Mole sadly. “I cannot catch the words.” “Let me try and give you them,” said the Rat softly, his eyes still closed. “Now it is turning into words again—faint but clear—Lest the awe should dwell—And turn your frolic to fret—You shall look on my power at the helping hour—But then you shall forget! Now the reeds take it up—forget, forget, they sigh, and it dies away in a rustle and a whisper. Then the voice returns— “Lest limbs be reddened and rent—I spring the trap that is set—As I loose the snare you may glimpse me there—For surely you shall forget! Row nearer, Mole, nearer to the reeds! It is hard to catch, and grows each minute fainter. “Helper and healer, I cheer—Small waifs in the woodland wet—Strays I find in it, wounds I bind in it—Bidding them all forget! Nearer, Mole, nearer! No, it is no good; the song has died away into reed-talk.” “But what do the words mean?” asked the wondering Mole. “That I do not know,” said the Rat simply. “I passed them on to you as they reached me. Ah! now they return again, and this time full and clear! This time, at last, it is the real, the unmistakable thing, simple—passionate—perfect——” “Well, let’s have it, then,” said the Mole, after he had waited patiently for a few minutes, half-dozing in the hot sun. But no answer came. He looked, and understood the silence. With a smile of much happiness on his face, and something of a listening look still lingering there, the weary Rat was fast asleep. Music accompanying our Summer Solstice presentation String Quartet No. 6 in B Flat Major, Op. 18, No. 6 &#8211; IV. (Adagio) La Malinconia, by Ludwig Van Beethoven (Public Domian, made available by MUSOPEN) Concerto for Flute, Harp, and Orchestra in C major, K. 299, by Wolfgang Amadeus Mozart, played by Alexander Murray, flute and Ann Yeung, harp, with the Sinfonia da Camera of the University of Illinois, Ian Hobson, music director. (EFF OAL, made available by ibiblio.) Nocturne in D-flat Major Op. 27, No.2, by Frédéric Chopin, (Public Domain, made available by the Set Chopin Free Project &nbsp; Save Save Save Save Save Save Save Save The post Will Call #43 — Special Summer Solstice Episode: The Piper at the Gates of Dawn appeared first on The Greylock Glass.

FIGMENT, a free, family-friendly participatory arts event held in multiple cities and attracting tens of thousands of participants each year, has announced their inaugural North Adams event. Musical meandering at the 2015 FIGMENT event in Boston (photo/Drew Cook). FIGMENT is an explosion of creative energy, a celebration of participatory art and culture where everything is possible. For one day, attendees will transform Windsor Lake into a large-scale collaborative artwork — and then it’s gone. Visit their website to learn about it’s mission, principals, and to check out great photos and videos of past events. FIGMENT North Adams Windsor Lake April 30, 2016; 3:00 p.m.–9:30 p.m. FREE FIGMENT North Adams Executive Producer Krystal Henriquez (submitted photo). In this episode, we speak with Executive Producer of the the North Adams event Krystal Henriquez. In addition to providing much of the energy and enthusiasm required to get things off the ground, she has been working to complete her degree in Arts Management at the Massachusetts College of Liberal Arts at the same time. Work involved coordinating with various entities, including the City of North Adams. Detailed coverage of the stages leading up to the event and recent news is available at iBerkshires.com. &nbsp; About FIGMENT Olde-Time Mime Ben Warren at the 2015 FIGMENT event in Boston (photo/Drew Cook). Founded in 2007 on New York City’s Governors Island with a handful of projects and a few thousand enthusiasts, the network of community arts engagement happenings has grown exponentially into a multi-day, multi-city event that includes locations in over a dozen cities around the globe and continues its mission to offer free, inclusive and participatory art and creative culture to entire communities, removing the barriers of museum and gallery walls and entrance fees, and blurring the lines between those who create and those who enjoy art. About FIGMENT North Adams 2016 With over 50 registered projects in any conceivable medium, FIGMENT North Adams stretches the boundaries of creativity and community. The event welcomes visitors and participants to bring a game, an experiment, a request, a challenge, a guided meditation, a performance based on audience input, a sculpture that moves or responds, a heart-stopping technological innovation that changes the way we see the world…Anything that gets people working and playing and creating together. When you have something you want to share with the world, this gathering is the perfect place to start doing just that! FIGMENT is a 501(c)(3) not-for-profit organization entirely funded by grants and individual donations. The organization accepts no corporate sponsorship of any kind, and is supported by public funds from the National Endowment of the Arts and the New York City Department of Cultural Affairs, in partnership with the City Council, as well as by the Fund for Creative Communities, supported by the New York State Council on the Arts and administered by the Lower Manhattan Cultural Council. FIGMENT Boston is produced with support from the Rose Kennedy Greenway Conservancy, the designated stewards of the Rose Kennedy Greenway and site of the event in Boston. FIGMENT Jackson is produced with support from the Greater Jackson Arts Council. The post Will Call #42 — Though FIGMENT It May Be, Yet Just as Real as You Could Dream appeared first on The Greylock Glass.

Downstreet Art, now in its ninth year, begins againat the end of June; submitted photo. Berkshire Cultural Resource Center Program Manager Michelle Daly joins us for our first show after our Winter hiatus. And somehow she&#8217;s the perfect guest to have on this episode in which we celebrate Spring while we look forward to the Summer-long extravaganza that is DownStreet Art! She&#8217;ll be at MCLA Gallery 51 on Monday March 28 from 6-8pm to meet artists, answer your questions and introduce the THREE opportunities available this year. Here&#8217;s your chance to network, ask questions and learn about opportunities for artists and creative entrepreneurs or to sign up to volunteer. Full details and requirements for each of these programs can be found at DownStreet Art&#8217;s website. Submission deadline is April 15, 2016. Can&#8217;t make it? Another Info sessions is scheduled for 3/30 in Pittsfield at the Lichtenstein Center for the Arts. If you want to get started right away, you could go straight to the submission form. About DownStreet Art DownStreet art is a program of MCLA Berkshire Cultural Resource Center (BCRC) a non-profit organization that provides professional development, training, resources and support to the artists, art managers and creative workers of Berkshire County. Gallery 51 is the site of the first informational session on March 28; submitted photo. Designed as a creative place-making project to revitalize downtown North Adams, DownStreet Art exists to build economic and social capital and encourage the dialogue between our community and the arts. DownStreet Art does this by enlivening downtown North Adams using art and cultural activities to increase visitorship and enhance resident participation. The theme for 2016 is &#8220;Meet Your Neighbors,&#8221; and in an effort to highlight the amazing talent of local artists, we are limiting proposals to artists living or working within 20 miles of North Adams, MA. Check out the Facebook page for DownStreet Art, too! The post Will Call #41 — Now&#8217;s the Time to Start Getting Down with DownStreet Art! appeared first on The Greylock Glass.