Bard College at Simon’s Rock closes

The closure of Bard’s campus at Simon’s Rock has left faculty facing an uncertain future.
The Berkshire Eagle

The closure of Bard’s campus at Simon’s Rock has left faculty facing an uncertain future.
GREAT BARRINGTON — An online petition by a student trying to save the livelihoods of Bard College at Simon’s Rock faculty has gained 912 signatures since it was first released on Tuesday, Nov 19.
And another student is working on a campaign to establish a fund that employees of the school who lose jobs and health insurance can draw from.
After the Nov. 19 announcement that the school would close its early college at the end of spring semester, employees and students have been grappling with the news, attending frequent meetings and trying to help those whose jobs are likely on the chopping block.
There is much sorrow, anger and frustration in the atmosphere, students said.
“It’s been really, really sad,” said Isabella Zeisset, 18, a sophomore, who started the Change.org petition asking Bard to renew faculty contracts. “The students are really worried about the faculty.”
Numerous faculty contacted by The Eagle said it is too early to talk about what’s happening.
And, the students said, it is also too painful. Many longtime faculty and staff at the school are facing layoffs as the school moves its entire operation to Bard’s new Massena Campus at Annandale-On-Hudson, N.Y.
It’s a move that Bard has been mulling for several years.
Bard said in its announcement and on its website that faculty positions will not be transferred from Simon’s Rock, and that they have to apply anew for any available teaching slots.
A spokesperson for Bard has not answered specific questions the number of positions at the New York campus, about 40 miles southwest of Great Barrington.
Rumors are flying through campus about these numbers, students and other sources told The Eagle. The Bard website showed roughly 50 job openings as of Thursday evening.
A Simon’s Rock spokesperson said the school currently has 238 employees. It was unclear exactly how many staff and faculty may lose their jobs.
Those who do get rehired at Bard could lose seniority in terms of benefits. It will be up to the discretion of Bard, the website says.
For these reasons and more the announcement on Tuesday rattled the entire campus and town, given Simon’s Rock’s immense economic and cultural significance in town since the 1960s.
School officials cited declining enrollment as a primary reason.
Students who continue on will transfer to the new Bard campus in the fall to finish their studies. Summer housing will be available “on a limited basis and prioritized for students with the greatest need,” the school website says.
The school is one of Great Barrington’s largest employers. And over the decades its students have worked and shopped at businesses in town. Many returned to the town later to raise families and open businesses.
“It’s a huge deal,” said Erik Bruun, who owns SoCo Creamery downtown and has employed Simon’s Rock Students. “And once you start pulling back the layers of the impacts, [the closing] really almost affects every element of the community. It’s a great loss.”
“The school made a big difference,” Bruun said, “in a lot of people’s lives.”
But Bruun, who wrote about the school in the 1980s when he worked as an Eagle reporter, remembers that the school has long struggled with money.
“It was sort of touch and go in the 80s,” Bruun said. And apparently also for the last “several years,” according to the school’s website.
The school’s board of overseers and college administration “have been working to find a solution for a path forward for Simon’s Rock … after it became clear that the current state of enrollment and fundraising was not sustainable”
The school, as a nonprofit, did not pay property taxes and has not made any payments in lieu of taxes, according to the town.
Another big question is what will happen to the campus. It will be sold, but the question is to whom and for what. Great Barrington residents have floated a variety of ideas, such as affordable housing and even as the new location for a Monument Mountain Regional High School, which could cost around $140 million to rebuild.
In response to questions, Bard spokeswomen Liz Benjamin said that there are no offers currently on the table to buy the campus or any part of it.
The Kilpatrick Athletic Center will carry on with its regular programming through the end of summer. “More information will be shared as it becomes available,” she said.
The Daniel Arts Center, Benjamin added, “will honor all performances and rental agreements through the end of 2025 summer season.”
There are various other campus programs, including a farming program, whose fate is uncertain.
Bard has not responded to the the student petition. Benjamin said that school officials are aware of it, and that “this situation is developing, but faculty and staff will have the opportunity to apply for positions at the new campus.”
Some petition supporters expressed their concerns and anger in comments.
“Shameful,” wrote one. “The school knew full well and hid this from us when our daughter started a few months ago. At the least they should offer the teachers the new jobs and allow all students to enter Bard full time ASAP.”
“The faculty at the Rock,” wrote another, “are the school’s heart and soul. I was there twenty years ago and can attest to the lifelong impact of the incredible professors I had back then.”
The petition’s author, Zeisset, said she has “deep connection” to the school. Her parents met at Simon’s Rock when they were students. She will continue to Bard next fall, but worries about the employees and faculty here. She hopes the petition will help pressure Bard to hire them.
“A lot have dedicated half their lives to Simon’s Rock,” Zeisset said. “Just the idea of leaving their life’s work behind has been really difficult.”
Salem Lockney, a junior, said she’s working on the fundraising aspect of this for the employees. A professor is helping her figure out the “ethics” conundrum of who would be able to draw money from a fund and how much.
“I’m not sure what that looks like yet,” said Lockney, 18, who also attended the pre-college Simon’s Rock Academy. “I have so much anger about the whole thing and I wanted to do something about it.”
“The staff and faculty,” Lockney said, “have really changed my life.”
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On Sept. 2 of this year, a fishing boat propelled by an outboard motor was attacked by a missile from an American helicopter overhead. The boat was demolished as were nine of its 11-member crew. Two members of the crew remained alive, floating in the water. Within a few minutes, the helicopter returned with another missile to kill the two survivors.
The U.S. government reported the incident saying that it was an authorized attack intended to stop the importation of banned drugs into the U.S. by a “narco-terrorist” nation, in this case Venezuela. This incident was not an isolated event and was followed by dozens more over the next few months. President Trump spoke enthusiastically about the attacks, describing them as a part of our “war on drugs” and indicated that they might well be followed by future attacks on land. He seemed oblivious to the law that only Congress has the right to declare war and had not done so.
In the many lethal attacks on small boats that followed, no proof was ever offered that they were carrying drugs; the boats,their crews and any cargo were destroyed. Some experts have suggested that the Sept. 2 boat with its crew of eleven men wouldn’t have had space for a regular shipment of drugs.
In his many remarks on the matter, the President claimed that most of the illicit drugs entering the country, especially fentanyl, the most dangerous, were coming in by sea from South and Central America; actually, fentanyl largely arrives by land from Chinese sources via Mexico. The small boats in the Caribbean were probably transporting cocaine, if any drugs, with most of it going to other countries. Were President Trump really so distressed by cocaine traffic into the U.S., why would he have just issued a pardon to the former Honduran President who had recently been sentenced here for operating a very large international cocaine drug trafficking business?
Combating the international drug trade is an excuse for other Trump ventures south of the border. Perhaps it’s exercising military power in the mode of the Monroe Doctrine. Many notable observers (including The Lakeville Journal’s columnist Bill Schmick’s article Dec. 4, 2025) think that taking control of Venezuela’s enormous fossil fuel reserves might be Trump’s main goal.
But overthrowing Maduro’s government and controlling a replacement Venezuelan government might be very difficult for Trump toto manage. The U.S. boarding and takeover of a giant Venezuelan oil tanker left us wondering if war might be around the corner, even more so if Trump decides to attack Columbia which he has threatened as well. Staytuned!
Most commentators of late have been focused on the second strike of the Sept. 2 attack where the two helpless individuals floating alive in the sea were killed. According to numerous military experts such a killing would be illegal in either a civilian or military context. If so, the question remains: who is responsible? Admiral Frank Bradley, the Commander of the overall mission?Secretary Hegseth?, the officer firing the missiles? Someone else?
As the recent video by six members of Congress made clear, a member of the military is not obliged to follow an illegal order; it’s right there in the Uniform Code of Military Justice But is a private in the Army going to tell a high ranking commanding officer that he won’t follow the officer’s order, that it’s illegal?
In this case nobody seems to want to take the responsibility. Hegseth, who has lately gone out of his way to demonstrate his machismo, recently told a gathering of military officers at Quantico that “it was time to take the gloves off .”
Perhaps because he remains invulnerable to legal discipline because of his Supreme Court grant of immunity,President Trump has been lately left out of the public discussion regarding responsibility for the Sept. 2 attack and the killings. But this whole conflict, with its two dozen attacks and more than 82 killings of supposed “enemy combatants” is Trump’s doing. Like Hegseth he may not have been right there in the attack helicopter to give the order to fire.But he planned the overall campaign while letting subordinates receive any blame.
President Trump’s use of the military in the Caribbean has much in common with his sending of troops into American cities. Describing several of our foremost cities as “war zones”, he has used his own inaccurate characterizations of Washington, Chicago, Portland, Los Angeles and other cities as justification for sending in troops that the mayors and governors of these places have told him were, not needed and not wanted. In both the Caribbean and in U.S. cities, Trump has concoctedridiculous excuses for illegal and provocativeincursions. Our cities are not “burning to the ground” as Trump publicly claimed to be the case.
We are on the wrong track if we continue to view the Sept. 2 attack as a military matter focused solely on the killing of the two men in the water. The Pentagon has admitted to more than 22 similar attacks on small boats and suggested that they killed at least 80 individuals.
What we know so far, prior to a serious Senate investigation, is that SecretaryHegseth, Admiral Bradley and possibly others all have much to answer for; and so does President Trump who initiated and set in motion this whole shameful enterprise.
Architect and landscape designer Mac Gordon lives in Lakeville
Still from the movie ‘The Nutcracker at Wethersfield’.
In the fall of 2020 — months into a global shutdown and at the onset of a long, uncertain winter — a group of artists, organizers and community members in the area undertook what many believed to be an impossible task: staging a full reimagining of “The Nutcracker” during the height of the COVID-19 pandemic. Their story is now captured in the new documentary “The Nutcracker at Wethersfield,” directed by award-winning filmmaker Annie Sundberg.
For Sundberg — long known for documentaries tackling heavy social issues — the project was a significant departure from her previous work. “It really felt like a fairy tale. This just felt very pure in an incredibly delightful way,” she said.
The idea began when choreographer and Ballet Collective artistic director Troy Schumacher feared that the annual “Nutcracker,”a lifeline for dancers and audiences alike, would vanish entirely that year. “We all began to realize that ‘The Nutcracker’ was probably going to end up getting canceled,” he said. “As working artists this also felt very scary for us, because ‘The Nutcracker’ is such an essential part of our year.”
Around this time, Schumacher was invited on an impromptu tour of the Wethersfield Estate in Amenia. After seeing the historic home and gardens, he immediately recognized its potential. “We weren’t expecting to have this revelation that this place could actually serve as the perfect and perhaps only place that a ‘Nutcracker’ could exist that year.” But that’s exactly what he came away thinking.
As the seed of an idea gradually became something more tangible, Tara Schafer — the executive director of the Wethersfield Estate and an executive producer of “The Nutcracker at Wethersfield” — recalls the legwork that went into the project. “The entire production was really made possible by people of the Millerton, Millbrook and Pine Plains area. People in the community really rallied together to support these artists to try to achieve the impossible.”
What followed was a whirlwind. Over five weeks, 24 New York City Ballet dancers lived and rehearsed on site — masked, distanced and isolated — to bring the performance to life. And the performance itself prioritized an audience who most needed joy that season: frontline workers, first responders and community members deeply affected by the pandemic.
Sundberg’s film captures both the dreamlike beauty of the production and the emotional stakes behind it. “It’s about creative resilience,” she said.
For Schumacher, the memory remains powerful. “It was this really bright spot in a very dark, scary time for all of us,” he said. “People can come together and work hard and achieve things that seem impossible.”
For the filmmakers, the dancers and the local volunteers who helped make the performance possible, “The Nutcracker at Wethersfield” stands as a testament not only to artistic determination but also to community collaboration in times of uncertainty. This holiday season, the film offers audiences a chance to revisit a moment when creativity, courage and holiday spirit helped light the way through darkness.
The film, which had its world premiere at DOC NYC, screened at The Moviehouse in Millerton on Thursday, Dec. 11, and was followed by a Q&A with director Annie Sundberg and executive producer Tara Schafer. Upcoming screenings will take place Thursday, Dec. 18, at Upstate Films/Orpheum Theater in Saugerties, New York, and Saturday, Dec. 20, at Bantam Cinema in Bantam, Connecticut. Both screenings will be followed by a Q&A with Sundberg.
For a listing of upcoming screenings, visit: nutcrackerfilm.com. For those who can’t make it to a local screening, the film is also available to rent exclusively through the website from Dec. 21 through Jan. 5. You can even gift a rental to someone for the holidays!

Crescendo, under the direction of Christine Gevert, present two holiday concerts.
Crescendo, the award-winning music organization of the Berkshires, presents several concerts this holiday season, including A Tapestry of Traditions: Unraveling the History of Christmas Carols and A Baroque Portrait: Élisabeth Jacquet de La Guerre.
A Tapestry of Traditions explores the history of holiday carols. The Crescendo Chorus and Vocal Ensemble, accompanied and directed by Christine Gevert at the organ, will trace the origins and development of carols and Christmas songs, their evolution over centuries and their adaptation across cultures.
“Song and dance were very important at the ancient winter solstice celebrations of the Northern Hemisphere,” said Gevert. “While we don’t have the original music from these festivities, modern poets and composers have written about this dark time of the year when we yearn for hope, joy and symbolically search for light.”
The program starts with a winter solstice piece that superimposes a secular poem, sung by one choir, with a Latin Christmas prayer, sung by a second choir, accompanied by handbells.
“The Romans celebrated the feast of Saturnalia in a very similar way to what we do for Christmas. We present a piece that portrays the spirit of Saturnalia — something you don’t get to hear very often. The rest of the program features carols and holiday songs that are mostly familiar, in traditional settings, with modern arrangements for chorus, organ, bells and percussion. Audience members will be invited to join in singing some of them.”
The concert will be held at 4 p.m. Sunday, Dec. 21, at Saint James Place in Great Barrington.
Crescendo will close out the year with a New Year’s solo recital of music by French composer Élisabeth Jacquet de La Guerre, one of the few prominent female composers of her era. The concert will include sonatas for solo violin and basso continuo and the “Suite in D Minor” for harpsichord, complemented by “Caprices” for solo violin by Louis-Gabriel Guillemain. Edson Scheid will perform on Baroque violin, with Gevert on harpsichord.
Regarding A Baroque Portrait, Gevert said, “Jacquet de La Guerre was a Baroque composer, harpsichordist and organist, and the first woman to compose an opera in France. A musical prodigy, she made her debut as a singer and harpsichordist at the court of Louis XIV at a very young age. She later became his protégé and court musician, something unusual for a woman in those times. The harpsichord piece on our program is from her collection published in 1687, noteworthy especially because publication of harpsichord music was still rare in France in the 17th century, even for male composers.”
These concerts will take place at 4 p.m. Dec. 27 at Saint James Place, and at 4 p.m. Dec. 28 at Trinity Church in Lakeville.
Both venues are historic buildings that enrich the performances acoustically and visually.
Tickets are available at crescendomusic.org and on a first-come, first-served basis at the door beginning 45 minutes before each concert.
Support for the concerts is provided by the Connecticut Department of Economic and Community Development/Connecticut Office of the Arts through funding from the Connecticut Legislature, with additional support from NBT Bank and WMNR Fine Arts Radio.