Chili Cook-off raises alarm with Torrington Area Health District

Some legal and conforming foods served at the “Chili Cook-off.”
Sava Marinkovic
Some legal and conforming foods served at the “Chili Cook-off.”
“They can change the rules, but they can’t diminish our community spirit,”
Cornwall Park and Recreation Chair Michelle Shipp
CORNWALL — In a last-minute intervention, Torrington Area Health District put a lid on last weekend’s Chili Cook-off, extinguishing any would-be-fiery competition.
Fast-acting Park and Recreation volunteers pivoted and salvaged the evening that was hailed as “one of the best nights out” by an attendee.
Just days prior to the March 1 event, Cook-off organizers were alerted by TAHD representatives that, according to TAHD’s Food Code (which was made to conform to federal standards in 2023), the service of homecooked meals at public events is simply disallowed. But those involved, many of whom have scheduled and overseen similar events in the past, have found navigating this code to be anything but simple.
“The rules haven’t always been consistent or easy to understand,” said Cornwall Park and Rec Commission Chair Michelle Shipp, identifying the dense, 700-page Food Code as the primary resource that TAHD makes available for the quick and easy clarification of regulations.
“We have displayed approved signs or received exclusions from TAHD for previous events with homecooked food,” said Shipp, believing that adherence to prior guidance would ensure the compliance of the Chili Cook-off. But, when asked for comment, representatives from the TAHD asserted that “there has never been an avenue within the code for homecooked meals to be served to the public.”
Further confounding the issue were unclear distinctions between public and private; sharing and serving; cooking and warming. However, what has become especially concerning for community event planners is the less ambiguous distinction between home and commercial kitchens.
Even with rules around home kitchen usage now more clearly delineated, Shipp claimed that their adoption by the community would mean taking on an impracticable burden.
“We only have one publicly available commercial kitchen in Cornwall,” said Shipp, insisting that it would not be logistically possible for the Chili Cookoff to materialize if all participating cooks were forced to share this limited space. “We’re now clear on the rules,” said Shipp, “but this is not an acceptable policy for a community like ours.”
Cornwall, like the various rural towns that surround it, runs on tight budgets and enthusiastic volunteerism. A beloved and long-standing tradition of community potlucks forms the backbone of its yearly event calendar.
With limited municipal resources to expend on items like prepared food, the future of these events now seems uncertain. But Shipp has called on the community to advocate for its way of life.
Speaking from the stage at the Cornwall Town Hall on the evening of the quashed Cook-off, Shipp implored attendees, among them residents of other towns; members of other organizations and committees; to “think about what kind of events you hold, how often you have events with food,” and to reflect on how essential these events may be.
“This is going to affect all our towns,” Shipp continued, proposing that the greater community come to the State with a request for its particular needs and capabilities to be addressed.
There has been precedent, according to Shipp, for a coalition of towns to effect divergence from state regulations in areas like early voting, housing development, and waste management.
“The next step is to reach out to our representatives and ask them to do something about this issue, to adapt these regulations,” Shipp announced.
All the while, guests plated store-prepared food from a compliant buffet of sandwiches and sides; the hometown-fronted Glori Wilder Band tuning up over the murmurs of a growing crowd.
“They can change the rules,” called out Shipp, in closing, “but they can’t diminish our community spirit.”
Sealing this affirmation, the dancing began.
While playing outside in the early post-pandemic days, Berkshire Busk! founder Eugene Carr had an epiphany: why not expand the idea of performing on the street (aka busking)into a full-fledged festival in Great Barrington?
As an entrepreneur and cellist, Carr envisioned a well-organized jamboree featuring regional talent, including musicians, acrobats, storytellers, fire-eaters, and more. He formed a team, connected with local businesses and the town of Great Barrington, and launched Berkshire Busk! in 2021. Since then, Berkshire Busk! has grown into a summer staple for Great Barrington.
In the summer of 2024, over 25,000 people experienced Berkshire Busk!. The festival is free to the public, provides a big boost to local businesses, and spectators can tip performers.
Busking takes place all over the world, either organized by individual performers or via busking festivals. Artists like The Roots, Tracy Chapman, Phoebe Bridgers, and Old Crow Medicine Show have all cut their teeth performing on the street.
General Manager Carli Scolforo is a Berkshire native with a love of music and writing. She can often be seen roaming the streets of Great Barrington, making sure everything’s in order, and serves as the festival’s face on social media.
“This year is the fifth anniversary of Berkshire Busk!, and it’s been an amazing summer,” said Scolforo. “We were able to welcome back a lot of our favorite performers, and bring in some new experiences as well. After getting rained out last year, we were able to host our first outdoor movie night in partnership with The Triplex Cinema and the Boondocks Film Society.”
Scolforo added, “This summer, we also introduced our first Open Mic Night, hosted by local recording artist and music producer Jackson Whalan. We were really pleased with the turnout of talent. The sheer amount of talent that’s hidden within an hour or so drive of Great Barrington always astounds us.”
Local businesses sponsor various busking spots, like the Berkshire Money Management Stage in the parking lot between the Triplex Cinema and Mama Lo’s BBQ. Typically, buskers bring their own amplification, while there are few spots — such as Berkshire Mountain Distillery in Sheffield — provide power.
Berkshire Busk! will end its season with a fireworks display on its last night on Saturday, Aug. 30.
Berkshire Busk! is endorsed by the Select Board of the Town of Great Barrington and is entirely supported by sponsorship fees from companies and organizations, as well as philanthropic donations from granting organizations, individuals and the Town of Great Barrington.
It operates under a fiscal sponsorship agreement with the Nonprofit Center of the Berkshires and participates in Mass Cultural Council’s Card to Culture program — in collaboration with the Department of Transitional Assistance, the Department of Public Health’s WIC Nutrition Program, the Massachusetts Health Connector, and hundreds of organizations — by making cultural programming accessible to those for whom cost is a participation barrier.
For more information, visit: berkshirebusk.com
What if the dog onstage was played by a person? That’s the delightful twist in A.R. Gurney’s “Sylvia,” opening at the Sharon Playhouse on Aug. 29. In this clever and heartfelt comedy, the title character — a stray pup who disrupts the lives of a married couple — is portrayed not in costume but by an actor who brings insight, charm, and chaos to the role.
Stepping into Sylvia’s paws is Jen Cody, who is returning to the Sharon Playhouse in a starring role for her third year in a row, ready to bring this spirited dog to life. She’s joined by Jonathan Walker as Greg, the middle-aged man smitten with his new four-legged friend, and Jennifer Van Dyck as Kate, his wife, whose patience and identity are tested by Sylvia’s sudden presence in their home.
Directed by Colin Hanlon, this production balances elements of comedy and emotional depth. Gurney’s script may be filled with laughs but at its core, “Sylvia” explores loyalty, companionship, and how love sometimes arrives in unexpected forms. The play premiered Off-Broadway in 1995 and has since become an audience favorite for its wit, warmth, and originality.
Rounding out the cast is Sienna Brann, taking on a trio of roles that highlight the play’s comic versatility. The design team includes Christopher and Justin Swader (scenic), Kathleen DeAngelis (costumes), Bobbie Zlotnik (wigs), Wheeler Moon (lighting), and Graham Stone (sound), ensuring the story is grounded in a fully realized world, albeit one occasionally seen from a dog’s point of view.
Performances run through Sept. 7 at the Sharon Playhouse. For tickets and more information, visit sharonplayhouse.org.
Anna Handler makes her BSO debut.
On Saturday, Aug. 16, we were excited to see the debut of new Boston Symphony Orchestra assistant conductor Anna Handler, and the return of violinist Augustin Hadelich. Another warm evening in Lenox with humidity near 100 percent, couldn’t stop a massive crowd from gathering.
Handler strode onto the Shed stage with purpose, greeted the evening’s concertmaster, Alexander Velinzon, and took the podium for Brahms’ “Tragic Overture.”Right away, her crisp, powerful conducting style — clearly reminiscent of Andris Nelsons’ — was effective at bringing Brahms to life. She urged forth the strings, waved in the brass and percussion with verve, and caressed her winds in an emotional way.
Velinzon and the strings were superb — a powerfully played Brahms. Handler made her mark. She bowed modestly, placing hand to heart, and pointed to credit various sections and individuals. She strode off stage with pace and quickly returned for Schumann’s “Symphony No. 4.”
No. 4 begins with somber tones and develops into something else: Ziernlich langsam (Rather slow) to Lebhaft (lively) to Romanze: Ziernlich langsam, to Scherzo: Lebhaft — Trio, then Langsam — Lebhaft — Schneller — Presto (slow — lively — faster — very fast.)
It was exquisitely performed with Handler bringing both artistry and quality. It flowed like a river — meandering, then surging with power, until it exploded into a torrent. The build up was sharp; the conclusion loud, and vibrant.
Handler turned to the audience, now a broad smile. She shook Velinzon’s hand. Her deeper bows greeted a standing ovation — a glimpse into a bright future.
Anna Handler at Tanglewood.Hilary Scott
After intermission, it was up to Hadelich to follow a great orchestral performance.
A large man with larger hair, he dwarfed Handler as he waited onstage to begin his part in the famous Tchaikovsky “Violin Concerto.” Velinzon and the orchestra led the soft opening bars. Hadelich lifted the 1744 “Leduc / Szeryng” Guarneri (lent to him through the Tarisio Trust), and began. Sweet tones emerged.
He had previously played the 1723 “ex-Kiesewetter” Stradivari but switched recently after hearing the mellow, more human-like voice he was in search of — and found — in the Guarneri. What followed was smooth, soft, gentle brilliance.
Allegro moderato – Moderato assai served as a warm-up. Then came Canzonetta: Andante —and things really got going. The Finale: Allegro vivacissiomo, Hadelich flew up and down the neck of the Guarneri with such speed and precision that, through binoculars, I caught Velinzon chuckle and shake his head in disbelief from the best seat in the house.
A virtuoso performance.The crowd roared.
An encore followed: Forrester (arr. Hadelich) “Wild Fiddler’s Rag” — fun and flirtatious.
Will there be other evenings as bright as this? Likely, but few and far between.
Will Velinzon and the orchestra continue to create rare conditions where these thermonuclear pyrotechnics are possible?Absolutely.