On Saturday, Oct. 3, at 7:30 p.m., Stissing Center for Arts and Culture in Pine Plains, hosts its first Pumpkin Patch Dance Party. Dance band Jungle Love returns by popular demand for an autumn evening of music, dancing and community. Tickets at thestissingcenter.org
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Celebrating Dick Hermans’ life built around community
Natalia Zukerman
Sep 30, 2026
Dick Hermans in the Oblong Bookstore on Millerton\u2019s Main Street in 1985.
Provided
No matter what I’ve done, I’m trying to be useful to the communities I’m associated with.
— Dick Hermans
When Dick Hermans receives the Estabrook Community Leadership Award on Oct. 11, he will accept it for a lifetime of work that has taken many forms: bookseller, radio host, school board member, advocate for the Harlem Valley Rail Trail, business owner, volunteer and, perhaps most importantly, a person who has consistently looked for ways to be useful to the communities around him.
The Lakeville Journal and The Millerton News will present Hermans with the 2026 award at the annual Jubilee celebration at the Sharon Playhouse. The award honors outstanding leadership in community service and was inspired by Mary Lou and Robert Estabrook, former owners of the newspapers who believed that strengthening a community extended well beyond the work of publishing a newspaper.
For Hermans, the award has prompted some reflection about why he has spent so much of his life involved in community projects.
“I was thinking about it this morning: Why do I do what I do?” he said. “And I think no matter what I’ve done, whether it’s been school board or rail trail, I’m trying to be useful to the communities I’m associated with.”
Hermans is perhaps best known as the longtime co-founder and steward of Oblong Books in Millerton, a business that began almost by accident. He and his first wife, Holly Nelson, were living in Millerton and looking for something to do during the winter. They had been painting houses, including the Grange Hall in Millerton, a job Hermans got through his aunt, who belonged to the Grange.
At the time, Hermans was also working in insurance for his father, doing collections.
“It was fine except I was doing collections, and it really kind of left me cold,” he said.
He and Nelson began thinking about what they might do together. Nelson was an avid reader, while Hermans had studied journalism and had worked in a record store. They noticed a chain of book and record stores operating elsewhere in the Hudson Valley and decided to follow that model.
And so Oblong was born.

“We really learned it by the seat of our pants,” Hermans said.
The business would eventually become a beloved and integral part of Millerton’s commercial life. But although Hermans may have learned the book business as he went, his affinity for retail — and for the connections that happen across a counter — had begun much earlier.
As a child, his second-grade teacher operated a little cardboard pencil shop in the classroom, and Hermans still remembers the satisfaction of selling a pencil for a nickel.
“I really liked selling somebody a pencil for a nickel,” he recalled. “I can remember that experience, and it was so pleasant.”
Later, while living in Arizona, he helped establish a food co-op and worked at the counter.
“I kind of knew that I liked doing that kind of thing,” he said. “It’s a nice way to be pleasant with people, but without making too much commitment to them.”
His relationship with Millerton also predates Oblong. His grandparents lived in the village, and he first came to Millerton as a baby. Over the years, he has watched the town change through several generations.
He remembers a Millerton with a much broader array of businesses, when stores such as Delson’s, the Main Street department store that stood for nearly 40 years in what is now Millerton’s Antiques Center, seemed to carry almost everything a resident might need.
“You could find everything from a set of dishes to a shotgun,” he recalled.
The rise of shopping malls changed that kind of downtown retail, he said, but Millerton has remained a lively commercial village.
“For us, it’s been a great place to have business,” Hermans said. “It’s a busy village.”
For Hermans, running a store was never simply about selling books and records. It was a way of being part of a place.
Music has remained another constant. Hermans continues to sell music at Oblong and hosts the radio program “New Harmony” on WKZE. The business of selling music has changed dramatically over the years, particularly with the rise of streaming, but Hermans has adapted.
He was initially reluctant to bring vinyl records back into the store because of their expense. But about four or five years ago, he began stocking LPs again, and they have become the main form of music the store sells.
He finds that many of the customers buying them are reconnecting with music they loved years ago.
“I do best with classic albums that people may have had when they were young,” he said. “And now that they’re retired, they want to hear it again.”
Hermans still reviews between 700 and 1,200 new music releases each week through the store’s distributor, Alliance Entertainment, carefully deciding what belongs on Oblong’s shelves.
That same commitment to place has led Hermans into a wide range of community projects. His work with the Harlem Valley Rail Trail is among the efforts he mentions when reflecting on his years of civic involvement. He has also served on the school board and has been involved with the Millerton Business Alliance and the Irondale Schoolhouse. He is now involved with The New Pine Plains Herald, which he sees as complementary to the work of The Millerton News and The Lakeville Journal.
“I really think that the important thing about this award is that people understand what a newspaper does to connect them to their community,” he said. “And if that means anything to their lives, they gotta support it.”
Hermans knew Mary Lou and Robert Estabrook and remembers them as people who were deeply conscious of their responsibilities to the community.
“They were really nice folks,” he said. “They were very conscious of what their role in the community was.”
There is, in fact, still plenty on his plate. Hermans admits he needs to scale back because he has taken on more than his current abilities can comfortably accommodate.
“To be given this award is very special,” he added. “But I don’t feel like I’m done.”
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Ancram Center’s “A Number” doubles questions of identity
D.H. Callahan
Sep 30, 2026
Ledbetter (left) and Wojda (right) on the set of “A Number” at Ancram Center for the Arts.
Jeff Mousseau
How would you feel if you found out you weren’t the only you — if there was an exact replica of you? What if you found out that you’d been cloned? Would you believe that you’re the real you? Would you suspect you might be a copy of the original? How could you be sure anything about your life was real? These are some of the questions posed in Caryl Churchill’s play “A Number,” opening at the Ancram Center for the Artson Oct. 1.
Churchill was born in London in 1938 and has been hailed by the theaterl world as one of the strongest voices of her time to take on sexual politics and feminist themes. Her works garner pointedly considered analysis from the highest levels of theatrical intellectualism. Basically, it’s about as far from “The Lion King” as you can get. While she’s experimented with dance theater in the past, “A Number” is much more stripped down, highlighting Churchill’s chosen themes and the skills of both actors on stage.
In “A Number,” Churchill explores the existential ramifications for a man who discovers he’s been cloned. With only two actors — John Wojda playing the father and Drew Ledbetter as the son and his clones — the play play uses a spare, intimate structure to explore complex questions.. Premiering in 2002, “A Number” examines identity, individuality and the implications of human cloning.
Ledbetter, who takes on multiple versions of the same person, has performed in a variety of Off-Broadway and regional productions, including “Hamlet” and “King Lear.” He’s appeared in “The Blacklist” and HBO’s “Succession” and was featured in the WordPlay e-Book version of Shakespeare’s “Romeo and Juliet,” which pairs acted video scenes with the original written word.
Wojda, who’s appeared in several Broadway productions, also has extensive experience with Shakespeare, including “The Merchant of Venice” and “MacBeth.” He has toured nationally with “Spring Awakening” and internationally with “West Side Story,” itself an adaptation of “Romeo and Juliet.” Like Ledbetter, Wojda has also appeared in “The Blacklist” but boasts a robust list of other television productions, including “Blue Bloods,” “Mr. Robot,” “Madam Secretary” and iterations of “Law and Order.”
For tickets to “A Number,” visit www.ancramcenter.org.
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Dispatches from the Farm
Janna Siller
Sep 30, 2026
Adamah Farm crew members planning out the day’s tasks on a late September day.
Janna Siller
“Dispatches from the farm” is a new, periodic column offering a firsthand look at the rhythms, challenges and rewards of farming through the eyes of a local farmer.
The thing about plants is that they can’t get up and move. When a storm like last weekend’s nor’easter threatens to roll through, you can’t just round everybody up and settle them safely on the sofa for movie night.
Over my 15 years of growing vegetables in Falls Village, I’ve exerted my will over all kinds of conditions, from drought to humidity to crows with a taste for cantaloupe. That’s what farming is all about. You zip around the field, hopping on and off tractors, moving hoses and chasing weeds, all in an effort to arrange conditions in favor of your crops. It is the crops’ job to gulp up sunlight and move water through their stems, to transform solar energy into your next pesto or ratatouille or butternut squash soup. It is the job of the farmer to irrigate just enough but not too much, to slice dandelion leaves without damaging delicate cabbage roots, to pander and pamper and stay in tune with what plants need to thrive.
The easy part of farming is trusting plants’ resilience. I have seen bright green shoots barrel ahead out of a plant torn to shreds by hail. I’ve watched wilty, heat-stressed seedlings turn rigid overnight and greet the next morning with vigor. The hard part is letting go of what you can’t control. As our crops lapped up Friday’s gentle sunshine and I considered the weekend forecast, I imagined roots holding tight to wet earth and branches supporting each other in sideways, pelting rain. I made sure all of our storage crops were already harvested and tucked away. I battened down the sides of our greenhouses and wished the remaining field crops good luck.
The nor’easter didn’t materialize too dramatically in our corner of New England. A few broken branches and debris blown about, nothing like the July Fourth storm that sent half a tree crashing onto the deer fence and left crates of fresh veggies in coolers without power.

Farming is an exercise in acceptance. To do it well and return year after year, you have to balance hubris and humility. The prize can often be a certain equanimity, a training in the art of moving into the next day even when the last one scrambled all your plans.
Epic change is not always about the unexpected. It also comes like clockwork on the seasonal calendar. As I type, the last of summer’s watermelons wait naively on the vine for a few hot days to finish ripening. Broccoli are holding their leaves wide as they did in June and July, only to find that the hours of sunlight decrease with each earlier sunset. Plants can’t pick up and go south or call the manager to order a bonus round of sunshine. Their growth slows and they get a resigned look to the hue of their leaves, so different from the frenzied growth of summer.
The release of fall is not tragic or gloomy. It is not an ending because so many fall tasks are about setting up for the new beginnings in spring.
We turn the vines that yielded thousands of pounds of fruit into the soil, where healthy microbes feast on their rotting stems. Then we plant cover crops — a mix of cereal grains like rye and oats and legumes like peas, vetch and clover. Cover crops hold the soil and its nutrients in place over winter, feeding the soil food web and adding organic matter that next season’s crops will need to grow.
We sort sprinklers and repair hoses. We inventory tarps. We take notes about which plants did well where and how we might try a new approach for this or that. We stack crates of cured garlic and onions and winter squash in a cool, dark room.
We save seeds from tomatoes and beans and lettuce, carefully labeling each variety for next season’s long, sunny days.
Janna Siller is the farm director at Adamah, a community farm in Falls Village offering CSA shares, educational programs and a food access program.
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Pinchas Zukerman brings an all-Beethoven program to Hotchkiss
Thomas Jensen
Sep 30, 2026
Pinchas Zukerman to perform at Hotchkiss Oct. 4
Cheryl Mazak
The passion, drama and energy of Beethoven will fill Katherine M. Elfers Hall at The Hotchkiss School on Oct. 4, when world-renowned violinist Pinchas Zukerman is joined by pianist Shai Wosner for a special recital.
The 4:30 p.m. program at the Esther Eastman Music Center will feature three of Beethoven’s celebrated violin sonatas: Violin Sonata No. 4 in A minor, Op. 23; Violin Sonata No. 5 in F major, Op. 24, “Spring”; and Violin Sonata No. 7 in C minor, Op. 30.
Beethoven’s Violin Sonata No. 4 in A minor, Op. 23, is a three-movement chamber work marked by stark emotional contrasts and dramatic energy. Its three movements take the listener on quite a journey.
The first, a Presto in A minor in an unusual 6/8 meter, is propelled by an urgent, relentless, tarantella-like rhythm. Intensely minor and austere, it creates tension and sets the mood for what follows.
Next, an Andante scherzoso, più allegretto in A major serves as both a slow movement and a playful, subtle scherzo. It features intricate, delicate fugal textures and a trilling second theme. The third movement is an Allegro molto, back in A minor. An anxious, turbulent rondo finale, it features middle sections in which Beethoven playfully misaligns the timing of the violin and piano, creating a tense, out-of-sync dialogue that eventually collapses into a quiet, gloomy conclusion.
Violin Sonata No. 5 in F major, Op. 24, “Spring,” was Beethoven’s first violin sonata to depart from the traditional three-movement Classical format by adding a brief scherzo. Its four distinct movements will give Zukerman and Wosner ample opportunity to display their technique and musical interplay.
Driven by a soaring, lyrical opening theme shared between violin and piano, the first movement is an Allegro in F major. Next comes an Adagio molto espressivo in B-flat major, a deeply sentimental, songlike dialogue that builds on gentle variations.
The third movement, Scherzo: Allegro molto, is a brief, comic interlude featuring rhythmic playfulness as the two instruments purposefully fall out of sync. The fourth movement, Rondo: Allegro ma non troppo, is a grand finale written in a pleasant, courtly style with contrasting dramatic shifts.
Beethoven’s Violin Sonata No. 7 in C minor, Op. 30, begins with an Allegro con brio featuring a dramatic and tense opening movement. It is the first of Beethoven’s sonata-allegro movements to break with tradition by omitting the exposition repeat.
Next comes an Adagio cantabile in A-flat major. Serene, deeply lyrical and comforting, it contrasts with the intensity of the first movement, flowing like an expressive song and offering a momentary emotional respite.
The third movement, Scherzo: Allegro, is short, playful and sharply rhythmic, contrasting with the overall somber gravity of the sonata. The finale, Allegro: Presto, returns to C minor. Restless, suspenseful and driving, it builds immense tension before exploding into a furious Presto coda. Beethoven ends the work with a sizzle.
Zukerman and Wosner perform Sunday, Oct. 4, at 4:30 p.m. at The Hotchkiss School in Lakeville. Admission is free and first-come, first-served.
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Found Footage Festival brings laughs to The Triplex
D.H. Callahan
Sep 30, 2026
Pickett and Prueher on stage.
Provided by Found Footage Festival
On Sunday, Oct. 4, the Found Footage Festival makes its way to the Triplex Theatre in Great Barrington with a treasure trove of lost and forgotten VHS tapes scraped from the piles of distant memories and discarded physical media.
The Found Footage Festival is a “celebration of the videos that time forgot” hosted by two Brooklyn-based comedy writers and childhood friends, Joe Pickett of The Onion and Nick Prueher of The Late Show.
Back in 1991, the duo found a discarded McDonald’s custodial training tape in their home state of Wisconsin, and since then, they’ve been collecting all the VHS tapes they could find and mining them for untapped comedic gold. Today, they are the undisputed champions of lost media, having collected and archived over 15,000 videocassette tapes.

Prueher and Pickett’s brand of comedy values the missteps and accidents that come with amateur video productions more than it does the carefully crafted wordplay of the comedic superstars of our time. But it’s not just bloopers from birthday parties that they find. Some of the most popular clips come from instructional videos, taped religious services, fully produced movies, music videos and, of course, the ever-popular news bloopers.
For more than eight years, Pickett and Prueher have been hosting a video podcast they call “VHS Party,” complete with their own rabid fans who send them tapes and comment along online with the streams. Their YouTube page is chock-full of interesting clips, many of which are featured and discussed on “VHS Party” with their two co-hosts and occasional guests from the comedy world, including Jon Glaser, Jo Firestone and David Cross.
The duo started the Found Footage Fest in 2004 as a way to raise money for their documentary, “Dirty Country,” about a vulgar country music performer looking for a bigger audience than his garage. Since then, they’ve taken the show on the road, bringing new selections of their favorite clips and their signature comedic stylings to theaters around the world.
For tickets to the Found Footage Festival, visit thetriplex.org.
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Luis Felber at home at Cornwall Music Bowl
D.H. Callahan
Sep 30, 2026
Luis Felber at home at Cornwall Music Bowl
Luis Felber at home at Cornwall Music Bowl
Luis Felber is excited about creating in the Northwest Corner. Coming of age in the British countryside, all he wanted to do as a teen was move to London, the creative heartbeat of England. At 17, he started a band called the Eraserheads and went for it. Since then, he’s been in so many bands he struggles to list them all. But on Saturday, Oct. 3, he’ll be taking the stage at the Cornwall Music Bowl all by himself.
Felber has always felt more comfortable on stage than interacting with people. There’s a sense of purpose in being at a concert. Everybody in the room is there for the same reason: to witness the act of making music. So whether he’s on the stage or in the audience, he feels at home in a venue.
For Felber, a venue doesn’t have to mean a traditional setup with a stage and bar and all the other trappings of clubs or theaters. When he was starting out in London, he quickly grew sick of the repetitive process of working with managers and promoters, trying to get booked. In response, he and his friends started their own club nights, where they and other local acts could play music, have fun and forget about the constructs of established society. Those club nights turned into a record label called Young Turks, named after the events they hosted. Now just called Young, the label is home to acts like FKA Twigs, the xx, Sampha and modern jazz legend Kamasi Washington.
Felber’s current band is called Attawalpa, which is actually his middle name. It’s a reference to Atahualpa, the last Inca emperor. It might seem strange for a kid from the English countryside, but Felber’s mother is Peruvian, and Luis spent several years growing up in Lima, where his mother still lives.
Felber is tapping deeper into those roots on his next album. It’s a pretty quick turnaround for such a busy guy. His last album, “Experience” was released just last year. Some of those songs were featured in “Too Much,” the Netflix series he createdand is writing for with his wife, Lena Dunham. Based on a young American woman looking to turn her life around in England, the album was necessarily in English. But for the next one, he’s written — and will be singing — some of the songs in Spanish.
Felber is excited to talk about his forthcoming album. In addition to his regular Attawalpa bandmates, he collaborated with Thurston Moore of Sonic Youth and Debbie Googe of My Bloody Valentine. For him, collaboration is half the fun of creating art. That’s why he’s so excited about the acts he’ll be sharing the stage with in Cornwall. He raves about the familiar sound with new edge of Amelia Jackson, the low-fi indie-pop of Jess Yaffa and the indisputable talent of local singer-songwriter Simone White, whose credits and accolades merit their own article. The bill seems marvelously cohesive and intentional.
While he splits time with London, Felber is now settling into life back in the countryside — this time, the Northwest Corner. He’s enchanted by its inescapable beauty and the friendly, creative energy he sees in the people he meets.
For more info, videos and music, visit attawalpa.com.
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