As boating season ramps up, lake groups press lawmakers on hydrilla funding, response gaps

A sign at O’Hara’s Landing Marina warns about the hydrilla threat as the 2026 boating season ramps up.
Debra A. Aleksinas


A sign at O’Hara’s Landing Marina warns about the hydrilla threat as the 2026 boating season ramps up.
SALISBURY — Boat trailers are beginning to line up at launches, docks are going back in, and the Northwest Corner’s lakes are stirring to life for another season. But beneath the surface, a quieter threat remains — one that lake leaders say is far from contained.
That threat is hydrilla, an invasive aquatic plant known for its rapid growth and ability to form thick underwater mats that choke waterways, disrupt ecosystems, and hinder boating, fishing and swimming.
As hydrilla continues to shadow the region’s waters nearly three years after its discovery at East Twin Lake, two local lake associations are pressing lawmakers to act on a pair of measures they say could determine whether the region stays ahead of the plant – or falls behind it.
The Twin Lakes Association (TLA) and the Lake Wononscopomuc Association, which rarely weigh in on legislation, are backing both a federal and state bill aimed at strengthening Connecticut’s ability to fund and respond to aquatic invasive species.
The push reflects lessons learned since June 2023, when the aggressive Connecticut River variant of hydrilla was first identified at East Twin Lake –the first confirmed detection of the invasive plant in a Connecticut lake – triggering an expensive, multi-year containment effort that continues today.
The legislation targets two critical gaps: consistent funding and faster response to new infestations.
“The Twin Lakes Association is not a political body and rarely weighs in on proposed laws,” said TLA President Grant Bogle. “But the Twin Lakes stand to benefit from passage of both bills, which address water quality and funding for removal of harmful plants.”
The federal bill would allow states to collect aquatic invasive species (AIS) fees alongside annual boat registration – a system that ended after a legal challenge. Since then, boaters have had to purchase a separate AIS stamp, a change lake groups say has reduced participation and weakened funding.
Bogle said the current system creates unnecessary friction and the pending boating bill makes sense by bundling fees.
“I am in favor of the state being able to add on a fee whereby boaters are required to pay more money to protect the lakes,” Bogle said. “We don’t invest enough in protecting lake recreation and ecosystems.”
The issue has drawn federal attention.
Sen. Richard Blumenthal (D-Conn) joined environmental advocates to request $5.5 million in federal funding to fight hydrilla in the Connecticut River.
The request, part of a fiscal year 2026 appropriations push, would support research, eradication and long-term management of the invasive species.
Blumenthal has led similar efforts since 2022, urging full federal funding for hydrilla research and testing as the plant’s footprint has expanded.
“It is a creepy, creepy monster of a plant, probably the most invasive aquatic plant in the world, and it has invaded Connecticut,” Blumenthal said. “It is a plague on the Connecticut River and also our lakes and streams.”
For Twin Lakes, those dollars are critical.
The association has received three $75,000 state grants for hydrilla treatment, part of an effort that has already cost hundreds of thousands and pushed its annual budget to about $500,000.
Reintegrating AIS fees into boat registration, advocates say, would simplify the process and provide more reliable, predictable funding for lakes across the state.
The Connecticut Federation of Lakes underscored that point in a recent newsletter:
“Reliable funding is essential if we are going to prevent the spread of invasive species, support early detection, and respond effectively when new infestations are found,” the group wrote.
At the same time, lake groups are backing a state-level proposal aimed at ensuring faster action when new outbreaks occur.
The bill — HB 5525 — would require the development of a “rapid and science-based” response framework to address hydrilla and other invasive aquatic species before they become entrenched.
Advocates say that kind of structure is essential.
Twin Lakes has been relatively fortunate, leaders say, in detecting the plant early and mounting an aggressive response backed by grants and private support. Even so, the battle is expected to continue for years.
“If we don’t do it, the lakes are going to be sitting ducks,” Bogle said.
The concern now is what happens elsewhere. Without a rapid-response system, new hydrilla infestations in lakes may go undetected and spread within and between lakes, often via boats and trailers.
On Lake Wononscopomuc, also known as Lakeville Lake, where no hydrilla has been detected, prevention has already reshaped access.
The lake’s association has closed its boat launch to outside boaters since hydrilla was first discovered at East Twin — a precaution aimed at limiting the risk of introduction from contaminated watercraft.
“The Lake Wononscopomuc Association strongly supports both bills,” said Bill Littauer, the organization’s president. “We have registered our support with the relevant committees and urge our state representatives to support them. We regard the issues as essential to prevent the spread of hydrilla.”
Mary Close Oppenheimer
Renee Wilcox
If you’ve ever wandered through Paley’s Farm Market, you probably know Renee Wilcox. For thirty years, she has been greeting you with unmistakable warmth—always ready with a smile. Renee grew up in Millerton, but it was in Salisbury that her family found something they’d never had before: a true sense of home. In 2003, she and her husband Bill were living in Millerton, but Bill—a volunteer with the Lakeville Hose Company—was already part of Salisbury life. When the Salisbury Housing Trust finished eight new homes on East Main Street (Dunham Drive), Renee and Bill were the first to sign on.
The story of those houses is really a story about the best parts of our community. Richard Dunham and his wife, Inge, along with the Housing Trust board, poured years of energy and hope into the project. Renee can’t help but light up when she talks about the people who helped her family settle in. Digby Brown came by to install appliances and bathroom cabinets; Barbara Niles spent hours painting; Carl Williams assembled bunk beds for the kids. Rick Cantele, at Salisbury Bank, helped them with their finances so they could qualify for a mortgage, while neighbors arrived at their door with fruit baskets and welcoming words.
For the Wilcox family, owning a home in Salisbury changed everything. The house gave them more than just a roof; it was a dream come true. Renee says, “My son—now thirty-three—was slipping through the cracks at school. He is now an avid reader. The schools have made all the difference.” When Bill suffered a serious workplace injury in 2023, the community they’d come to love rallied around them. Local businesses, friends, and neighbors showed up, offering help in big and small ways. “We are so grateful to live in this community,” Renee says, “I can’t even put into words how much it meant to us.”
But not every family is so lucky. Renee hears all the time from people from all walks of life who are upset that their kids can’t afford to live here. The numbers tell a tough story—sky-high home prices, almost no rentals, and over 100 families on a waitlist for an affordable apartment. The result? We have lost a whole generation of young people in our community.
Renee’s story is a reminder that community isn’t just about geography—it’s about making space for each other. If we want to keep that spirit alive, we need to fight for more affordable homes, more welcoming front doors, and more stories like hers.
Mary Close Oppenheimer is a member of the Salisbury Affordable Housing Commission.
Aly Morrissey
Heavy stone garden ornaments, a specialty of Judy Milne Antiques from Kingston, at Trade Secrets 2025.
Tucked away on Porter Street in downtown Lakeville, Project SAGE is an unassuming building from a street view. But cross the threshold a week before Trade Secrets — one of the region’s biggest gardening events, long associated with Martha Stewart and glamorous plants of all varieties — and you’ll find a bustling world of employees and volunteers getting ready for the organization’s most important event of the year.
“It’s not usually like this,’ laughed Project SAGE director Kristen van Ginhoven. “But with Trade Secrets just around the corner, it’s definitely like this.”
Van Ginhoven points to towers of boxes containing event programs, various ribbons, elegant decor and stacks of magazines, all in preparation for the event.
Project SAGE will celebrate its 26th year hosting Trade Secrets, but it’s so much more than a garden event.
“It’s a fundraiser for domestic violence prevention and intervention,” van Ginhoven said. “Anybody who attends knows they’re supporting a really meaningful and important cause.”
The fundraiser accounts for at least 30 percent of the organization’s overall budget, she said, and attracts around 3,000 people from across the region each year, creating an unmatched opportunity for Project SAGE to share its mission and generate support.
The event, though expensive to produce, generates enough income to significantly support Project SAGE’s direct services and prevention services.
Officials said a wave of new underwriters have emerged this year.
“We’re very grateful, because we live in a time when funding is uncertain,” van Ginhoven said.
Hundreds of copies of the annual Trade Secrets guide sat at Project SAGE headquarters, ready for distribution at the event. The book doubles as a domestic violence resource, complete with warning signs, myth-busting information and scripts for difficult conversations.
Volunteers will be present throughout the event to connect with community members. Each volunteer must be certified as a domestic violence counselor in order to work with Project SAGE.
“It means they can help us drive clients, move clients, take them to appointments or the grocery store,” van Ginhoven said.
Project SAGE officials said education about domestic violence should start early. The organization has developed a comprehensive curriculum spanning early childhood through grade 12 and visits schools throughout the region. The class of 2026 will be the first graduating class at Housatonic Valley Regional High School to have received all four years of training from Project SAGE.

The organization’s partnerships extend throughout the region and include on-site training in schools and nonprofit organizations, including the Sharon Playhouse. Community support also goes directly to Project SAGE, including a recently donated array of colorful gift bags bearing positing affirmations and filled with toiletries and basic necessities from students at the Frederick Gunn School in Washington, Connecticut.
The people who visit Project SAGE have often left uncomfortable or dangerous situations and leave without any belongings.
“Some of them have nothing,” van Ginhoven said. “They just show up because they had the courage to leave.”
Project SAGE staff say many referrals come through local hospitals, police and sister agencies.
The organization serves people in Connecticut, Massachusetts and New York.
With the stress of event planning mounting, van Ginhoven spent a “previous life” preparing for this exact moment. She spent 30 working at the intersection of arts and activism, having co-founded WAM Theatre, a Lenox-based organization focused on stories and issues affecting those who self-identify as women and girls. During her tenure, WAM donated $100,000 to 25 local and global organizations working toward gender equity in areas such as girls’ education, teen pregnancy prevention, gender-based violence, sexual trafficking awareness and midwife training.
“I love the adrenaline of putting on a show,” van Ginhoven said with a laugh. With the help of volunteers and organizers, she said she isn’t bothered by the stress.
“The show will go on,” she said.
Jennifer Almquist
Caroline Kinsolving and Gary Capozzielo at home in Salisbury with their dogs, Petruchio and Beatrice
"He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly."
Caroline Kinsolving
Actor Caroline Kinsolving and violinist Gary Capozziello enjoy their quiet life with their two dogs in Salisbury, yet are often pulled apart to perform on distant stages in far-flung cities. Currently, the planets have aligned, and both are working in Hartford, across Bushnell Park from one another. Bridgewater native Kinsolving is starring in “Circus Fire,” the current production of TheaterWorks Hartford, while Capozziello is a violinist and assistant concertmaster of the Hartford Symphony Orchestra. While Kinsolving hates being away from home, she feels the distance nourishes their relationship.
“We are guardians of each other’s confidence and self-esteem,” she said.
“We met during the pandemic, a bleak time,” Kinsolving said. “On our first date, we met at The Hickory Stick Bookshop and walked outside six feet apart. We fell in love.”
They lived in a tiny studio near Averill Farm in Washington, Connecticut.
“He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly,” Capozziello said with a laugh. “When I told her I was a violinist, she mentioned ‘Appalachian Spring’ by Aaron Copland. I sent her a recording of me playing it, and it became our song.”
“For our wedding, we wanted all our friends and family out in the field listening to that music,” Kinsolving said. Capozziello’s friends from Orchestra New England performed the piece at their wedding.
“Circus Fire,” written by Connecticut’s own Jacques Lamarre and directed by Jared Mezzocchi, is a multimedia world-premiere tribute to the Hartford Circus Fire. On July 6, 1944, the big top of the Ringling Bros. and Barnum & Bailey Circus caught fire, killing 167 and injuring 700 in Connecticut’s worst fire disaster.
Capozziello, who grew up in Fairfield, began: “I came from very limited means, though my parents gave me the kind of support that mattered most. I had a hard time in school. My music teachers, noticing my knack for music, kept me in school.” As he became a teenager, he realized how demanding classical violin truly is. “I had the honor of playing in a master class for Isaac Stern when I was 18,” he said. “That was the wake-up call. He was relentless with my intonation, telling me I must ‘feel the fire in my belly.’”
At SUNY Purchase, he “met a wonderful violin teacher who taught me to play, study and practice five hours a day.” After studying at the New England Conservatory, Capozziello earned his doctorate from The Hartt School in 2018. He now teaches at The Hotchkiss School and performs with the Hartford Symphony.
He explained that his role as assistant concertmaster is the direct line between conductor and musicians, and that the orchestra is “a family dynamic, a democratic unit, truly a living, breathing organism.”

On May 2, Capozziello was soloist with Orchestra New England, performing the world premiere of Neely Bruce’s “Concerto for Violin,” along with “The River” by Jan Swafford and Aaron Copland’s “Appalachian Spring” at Battell Chapel at Yale.
“I care about bringing classical music into communities and spaces where people may not expect it,” said Capozziello.“Music is most powerful to me when it feels alive, humanand accessible, not distant or formal.”
For 20 years, Kinsolving has acted in film, television and theater in London, New York and Los Angeles. “I was first onstage at Washington Montessori School playing Peter Pan,” she said. “I improvised a line, got a laugh and liked the feeling.”
She enjoys performing Shakespeare. “I love Titania’s monologue because it speaks to our current climate crisis. Lady Macbeth surprised me. I fell in love with her while I was doing it. I could play those scenes forever; so much range and depth to explore,” she said.
Kinsolving added, “I love Shakespeare’s comedies for the fun and rhythm. I have loved Rosalind, Viola, Olivia, Helena and Kate, yet the top of my bucket list is Beatrice. Each character reflects a shade of my soul. Shakespeare had the brilliance to illuminate them. If I ever get a tattoo, it will be a list of their names.”
Kinsolving, whose parents, poet Susan Kinsolving and author William Kinsolving, live in Lakeville, studied at Milton Academy, universities in China, and Vassar College. Her theater training includes Stella Adler Studio of Acting, Royal Academy of Dramatic Art in London, Yale Drama Intensive and she is currently studying online through Juilliard.. She founded Theatre for Good, which donates its proceeds to charity.
Both artists are looking forward to June, when they will have more time to spend with their dogs.

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D.H. Callahan
Esther Williams in “Million Dollar Mermaid” (1952).
For decades, Esther Williams was one of Hollywood’s brightest stars, but the swimming sensation of the silver screen has largely faded from public memory — a disappearance that intrigued Millerton filmmaker Brian Gersten and inspired him to revisit her legacy.
As a millennial, Gersten grew up largely unaware of Williams’ influential career. His teen years in Chicago were spent with friends who obsessed over movies, spending hours at their local independent video store,and watching anything that caught their eye. Somehow, though, they never ventured into the glossy world of synchronized-swimming musicals of the 1940s and ‘50s.
Gersten’s life changed when he first saw the documentary “Hoop Dreams,” which follows two young Chicago basketball players as they’re groomed and recruited by scouts with hopes of college stardom – and possibly the NBA. These boys grew up just 40 minutes from Gersten’s home, yet their world felt far away. The film’s power pushed him to take his love of movies to the next level.
After earning a bachelor’s degree in journalism from the University of Colorado, Gersten realized documentaries were his passion. He enrolled at the Salt Institute for Documentary Studies in Portland, Maine before heading to Wake Forest University in North Carolina, where he earned an MFA in documentary film.
Since then, Gersten has made a series of short, often heartwarming documentaries on subjects ranging from pigeon enthusiasts and hollerin’ competitions to the history of bowling in America and even Balloon Boy, the nickname for Falcon Heene, the child at the center of a bizarre media frenzy.
When he’s not making his own films, Gersten often edits and helps structure other projects, including the cycling documentary “Enter the Slipstream” and “Radical Wolfe,” a profile of writer Tom Wolfe.
It was while editing one of these projects that Gersten first encountered Williams.
“Who was this figure? What was going on in these films?” he wondered.
What he learned fascinated him. Williams starred in over 30 movies despite having no formal acting training. A champion swimmer, she made the 1940 U.S. Olympic team, but when the games were canceled because of World War II, Metro-Goldwyn-Mayer saw an opportunity.
Studio scouts recruited Williams, and she took to film like a fish to water. Her confidence, athleticism and, crucially for Hollywood, photogenic looks lit up the silver screen. In 1944, “Bathing Beauty” rocketed her to stardom.
For nearly two decades, Williams starred in one or two films a year, including “Million Dollar Mermaid” and “Skirts Ahoy!”. But as Hollywood turned toward grittier fare, synchronized-swimming spectacles fell out of fashion.
Williams stepped away from the camera, and her fame slowly receded — until Gersten stumbled across a clip and dove in.
Gersten’s short documentary, “Hollywood’s Mermaid” (2026) will screen alongside “Bathing Beauty” (1944) at 7 p.m. Saturday, May 16, at The Moviehouse in Millerton. It will also screen later this month at the Berkshire International Film Festival. Tickets are available at themoviehouse.net.
Natalia Zukerman
Nate King, “When I Was Younger And Now That I’m Older,” 2026, Digital projection, digital animation, photography.
The Wassaic Project, the 8,000-square-foot, seven-story former grain elevator transformed into a vibrant arts space, opens its 2026 Summer Exhibition, “Because, now is the time of monsters,” on Saturday, May 16, from 3-6 p.m. at Maxon Mills, launching a season-long presentation featuring 39 artists working across installation, performance, video and sculpture.
The opening celebration will include an afternoon of exhibitions and live programming throughout the historic mill building and its surrounding spaces. Gallery and Art Nest hours run from 12-6 p.m., with special presentations scheduled throughout the day.
Highlights include “Life’s a Game, Boy,” an end-of-year exhibition by the Wassaic Project’s JV and varsity art clubs (4-6 p.m.), showcasing work by students in grades 5-12 from across the region. At 4:30 p.m., artist Ace Lehner presents “Barbershop: The Art of Queer Failure,” a participatory performance and installation that reimagines the barbershop as a space for queer world-making through improvised haircuts and collaborative exchange. Haircuts will be given on a first-come, first-served basis.
In the evening, artist Nate King will present “When I Was Younger and Now That I’m Older” (8-10 p.m.), a projection work that transforms the facade of Maxon Mills into a shifting visual field of memory, geometry and childhood imagery, reflecting on time, age and perception.
The exhibition, organized by the Wassaic Project, will be on view through Sept. 12 and brings together a wide range of contemporary artists working in and around the Hudson Valley region. More information is available at wassaicproject.org.
Natalia Zukerman
The Hotchkiss School will launch a major new addition to its arts programming with the inaugural Hotchkiss International Piano Competition, a three-day event taking place May 15–17 in Katherine M. Elfers Hall.
The competition will bring together young pianists ages 10 to 18 from around the world, with participants representing the United States, Thailand, Korea, China, Canada, and Azerbaijan. Performers will compete across multiple age divisions, culminating in final rounds that will be open to the public, offering audiences the opportunity to hear a wide range of emerging international talent in performance.
The jury features an internationally recognized panel of performers and educators, including Artistic Directors Fabio Witkowski and Gisele Nacif Witkowski of The Hotchkiss School, alongside Gloria Chien, Olga Kern, Leonel Morales, and Álvaro Teixeira Lopes. Together, the panel brings broad global experience as performers, pedagogues, and competition jurors, and will evaluate contestants over the course of the event.
Organizers describe the competition as both a rigorous artistic platform and an opportunity for cultural exchange, emphasizing performance under professional conditions and the development of young artists at a formative stage in their careers. Winners will receive a total of $25,000 in prize awards, along with opportunities for broader recognition and future performance engagement.
The competition is made possible through founding support from the Yang and Hamabata families. Murong Yang (Class of 2008), whose experience at Hotchkiss shaped her early connection to music and the arts, and her husband Corey Hamabata envisioned a program that combines artistic rigor with personal growth and international exchange. Their support establishes the competition as part of a longer-term commitment to nurturing emerging musical talent.
“This competition offers a platform for extraordinary young artists to challenge themselves, share their artistry, and connect with a global community of musicians,” said Fabio Witkowski, Artistic Director.
The final rounds of the competition will be open to the public, inviting audiences to experience live performances from some of the most promising young pianists on the international stage.
More information is available at hotchkiss.org/piano-competition.

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