FALLS VILLAGE — Long-time followers of the Salisbury Winter Sports Association’s ski jumps will remember a youngster named Ariel Picton, who started ski jumping in Salisbury at age nine.
Now married with two children and living in New Hampshire, Ariel Picton Kobayashi is the author of the just-published “Ski Jumping in the Northeast: Small Towns and Big Dreams.”
Kobayashi held a Zoom talk Thursday, Jan. 22, sponsored by the David M. Hunt Library.
She recalled her introduction to the sport as a child, and her work as a coach for SWSA some years later.
The first section of the book is based on her senior project as a history major at the State University of New York — Purchase.
She noted that SWSA is celebrating its 100th year of ski jumping.
The year it all started, 1926, is when ski jumping was becoming popular in the northeastern United States. The original name of SWSA was the Salisbury Outing Club.
There were dozens of small towns with jumps in the Northeast. Colleges had jump hills, and sponsored winter carnival events.
Excursion trains ran from big cities such as New York and Boston, taking urban skiers to the rural towns.
She cited SWSA’s Larry Stone remembering that in the 1950s, Salisbury had eight or nine jumps, including jumps in back yards. Children took to ski jumping the way they did to baseball in the summer.
But over time the clubs faltered and by the 1970s most of the ski jumping venues closed down.
Kobayashi said that one factor in the decline of ski jumping was the famous “Agony of Defeat” television clip that showed a ski jumper in a spectacular crash. This clip was used every Saturday in the intro to ABC television’s “Wide World of Sports.”
“It was shown over and over again,” she said.
Another blow came in 1981, when the National Collegiate Athletic Association (NCAA) dropped ski jumping as a sanctioned college sport.
“This had a ripple effect all the way down to the local level,” she said. Young jumpers no longer had a “clear college pathway,” and the number of jumpers continued to drop.
SWSA was one of the few clubs to survive the decline, which Kobayashi attributed to the strong ties between SWSA and the community as a whole.
Screenshot from Zoom
“I was lucky to have SWSA.”
The book contains a section on hill preparation. “It’s not glamorous, it’s not about individual performance,” she said.
“It’s about everyone working for a common goal.”
The book also addresses women in the sport. Kobayashi said the first documented female ski jumper was Paula Lamberg, an Austrian countess who competed in 1911 wearing a long black dress (and set a record while she was at it).
She said a long-standing myth persisted, that ski jumping was bad for girls because it had a negative effect on their ability to have children.
Things started to change for the better in 2009, with the popularity of alpine skier Lindsey Vonn, and finally, in 2014, female jumpers were allowed in the Olympics.
Kobayashi said this happened because of “persistence, community, showing up when the system isn’t designed for them.”
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Savannah Stevenson as Mrs. Paroo and Elliott Andrews who plays Harold Hill in the nationally touring production of “The Music Man.”
Then she became a lawyer instead.
“The leap from performing to lawyering isn’t as significant as it seems,” Stevenson said one recent morning from somewhere between tour stops on the national tour of Meredith Willson’s “The Music Man,” in which she now plays Mrs. Paroo, the Irish immigrant mother of Marian the librarian.
For 18 years, Stevenson practiced law at high-profile New York firms specializing in criminal defense before eventually becoming head of ethics, compliance and risk at Peloton during the company’s dizzying pandemic boom years.
“At some point in time, I got married and had children,” she said matter-of-factly. “And then life kind of unfolded.”
Stevenson and her husband began renting a house in Falls Village “just to get out of the city on the weekends.”
“We fell in love with it, of course,” she said. “And then when the pandemic hit, we of course fled the city up to that house and decided not to go back.”
Sharon Playhouse Board President Savannah Stevenson, former attorney and lifelong theater loverProvided
The family — Stevenson, her husband Jon, and daughters C.C. and Sylvie — became full-time Salisbury residents in 2020.
Then came another plot twist.
While the world was buying exercise bikes and streaming spin classes from their living rooms, Stevenson was part of Peloton’s legal leadership team. But after the company’s spectacular rise came the somewhat inevitable crash.
“In 2023, the board decided to let the entire executive team go,” she said.
Suddenly, Stevenson found herself unemployed in Northwest Connecticut with time on her hands and a teenage daughter deeply immersed in the Sharon Playhouse YouthStage program.
“My older daughter said to me, ‘Well, as long as you’re bringing me to and from rehearsals every day, why don’t you audition for the show?’”
She auditioned.
“And they were like, ‘Oh, you actually can sing.’”
What followed sounds like the plot of a feel-good movie about reinvention in middle age: mother and daughter performing together at the Sharon Playhouse while Stevenson rediscovered a part of herself she had set aside decades earlier.
“It was the most joyful experience ever,” she said. “And I kind of realized that now, in my late 40s — I’ll be 50 this year — I’ve aged into this entire new crop of roles. The mothers, the older wise women, the cougar,” she said, laughing. “All of these great older women’s roles.”
So, she started auditioning.
And getting the parts.
Now she’s on a six-month national tour.
“It really does feel like a full-circle moment for me,” Stevenson said.
If that sounds glamorous, Stevenson is quick to point out that touring theater is less champagne and more buses, protein bars and Peloton app workouts in hotel rooms.
“There are certainly times where it’s a show Monday night in one city, get on the bus, show Tuesday night in another city, get on the bus,” she said. “There’s a lot of time on the bus.”
Mostly, though, she talks about the crew with something approaching reverence.
“We finish a show at 10:30 or 11 at night. They load out the entire set onto trucks. Then they sleep on the bus, get to the next city at 8 a.m., load it all back in and rebuild it,” she said. “They work so hard. It’s incredible.”
In “The Music Man,” Stevenson now plays the role she once dreamed of from the opposite side of the generational divide.
“I would have sung Marian in my 20s,” she said. “Now I get to play her Irish mother, Mrs. Paroo.”
There is a scene where Marian sings “My White Knight,” and Stevenson stands nearby as Mrs. Paroo listening silently. And while the younger actress sings about longing and possibility, Stevenson finds herself thinking about her own daughters.
“Sometimes I just find myself standing there with a tear running down my cheek,” she said.
Meanwhile back home, Stevenson has become one of the Sharon Playhouse’s most visible champions. She joined the board in 2023 and stepped into the role of president this year.
“There’s social science that provides really strong evidence about the benefits of having a theater in your community,” Stevenson said. “Lower rates of violence. Higher rates of volunteerism. Higher graduation rates.”
She speaks about theater the way some people speak about public libraries or churches — as essential civic infrastructure.
“Sharing laughter, tears, music and dancing through stories that illuminate our common humanity touches us in a way that builds connection, empathy and genuine community,” she said.
Much of that conviction comes from watching what theater has done for her own children.
When her oldest daughter interviewed at competitive boarding schools this year, Stevenson said interviewers repeatedly commented on her poise and confidence.
“They would say to me, ‘All that theater education is really paying off,’” Stevenson said. “She can establish connection with people readily.”
When asked what advice she might offer to other women contemplating a midlife pivot, Stevenson resisted the fantasy of reckless transformation.
“I don’t think it’s about jumping without a net,” she said.
Instead, she advocates something more measured.
“It’s about making a calculated risk,” she said. “And then, once you’ve run those calculations and feel planful enough about it, really diving into that risk headlong.”
Which is perhaps another way of saying that sometimes the girl who once sang show tunes in Atlanta and studied musical theater at Carnegie Mellon never actually disappears.
Sometimes she’s just waiting patiently for her cue.
For tickets to The Music Man, visit themusicmantour.com
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