Exploring indigenous origins along the Housatonic River

Susan Scherf addresses the group at the Institute for American Indian Studies’ exhibit demonstrating components of Algonkian semi-permanent village.
Alec Linden
Susan Scherf addresses the group at the Institute for American Indian Studies’ exhibit demonstrating components of Algonkian semi-permanent village.
WASHINGTON — The southern-most Housatonic Heritage Walk of the year brought the socio-ecologically curious to the steep ravines and river valleys of Washington, Conn., for a guided investigation of the region’s original occupants and ongoing stewards.
Hosted on the property of the Institute for American Indian Studies and the adjacent Steep Rock Preserve, Susan Scherf, an educator with the institute, led a leisurely and informative stroll amid pristine fall weather on Sept. 21.
Scherf, who has spent decades teaching students how to read and learn their natural landscapes, began the event with the important clarification that she herself is not Indigenous. “My maiden name was Van Winkle,” she joked.
She acknowledged that the land is the ancestral home of the Weantinock and Pootatuck people and their descendants, now the Schaghticoke. She spoke in awe of the complex technologies indigenous peoples developed through intimate knowledge of the landscape, such as tanning leather and sapping maples. These traditions, of course, were adopted by colonial communities and remain central components of New England culture today.
Scherf led the group of 14 participants down a hemlock-shaded slope into the Steep Rock Preserve proper, explaining that the Eastern Hemlock was almost entirely eliminated in New England by European colonists, who figured out that the tannin-laden bark was effective at curing animal hides. Native communities, on the other hand, used a process that involved curing skins with animal brains and smoking them to preserve and protect the material.
Pointing at a shagbark hickory, Scherf explained that “they never denuded the land,” using woody trees like ash, elm and oak to construct semi-permanent residences but never clear cutting as they moved from place to place. Other plants, like cattails which she described as “the grocery store” for its many uses, were also used to build structures like wigwams in these communities.
Guiding the group to an open area by a sluggish bend in the Shepaug River, a tributary of the Housatonic River, Scherf mentioned that “this would have been a main highway for Natives.” She explained that Connecticut’s rivers were vital infrastructure for these groups who would summer along the coast and winter in the interior. This river would have once been teeming with American Eels and salmon, she said, but Connecticut’s – the namesake of which is the Algonkian Quinnetukut, meaning the land alongside the long tidal river – waterways were also important to industrialists. As a result, the 4,000-odd extant dams have all but eliminated these fish in the state.
As the group crossed an old rail line, covered in century-old coal and slag, she noted that while the river valley was an infrastructural hub for industrialists, it once was a primary thoroughfare for these semi-nomadic Indigenous people who would travel the river on 30-foot, thousand-pound canoes made from the vast trunks of tulip trees.
She led the group back up the gentle wooded slope, pointing out various plants like jewelweed, which is a good balm for itchy ailments, and coltsfoot, which Natives would have burned and used as a spice. She encouraged participants to chew on wintergreen leaves she found alongside the trail, drawing murmurs of approval from the hikers for its fresh, minty taste.
To conclude, she gathered the group between a model longhouse and wigwam in the Institute’s demonstration village. She emphasized that while these communities lived in close mutual respect with the landscape, they also looked out for their fellow humans. “No one was ever excluded,” she said, “it was the whole village constantly working together.”
Top row, left to right, Caroline Kinsolving, Christopher McLinden, Dana Domenick, Reid Sinclair and Director Hunter Foster. Bottom row, left to right, Will Nash Broyles, Dick Terhune, Sandy York and Ricky Oliver in Agatha Christie’s “The Mousetrap.”
Opening on Sept. 26, Agatha Christie’s legendary whodunit “The Mousetrap” brings suspense and intrigue to the Sharon Playhouse stage, as the theater wraps up its 2025 Mainstage Season with a bold new take on the world’s longest-running play.
Running from Sept. 26 to Oct. 5, “The Mousetrap” marks another milestone for the award-winning regional theater, bringing together an ensemble of exceptional local talent under the direction of Broadway’s Hunter Foster, who also directed last season’s production of “Rock of Ages." With a career that spans stage and screen, Foster brings a fresh and suspense-filled staging to Christie’s classic.
The Playhouse’s casting includes Dana Domenick of Falls Village who leads the cast as Mollie Ralston, the newlywed innkeeper with a secret. Reid Sinclair of Norfolk plays Giles, her husband and partner in hospitality — and maybe in something more sinister. Will Nash Broyles from Lakeville plays the eccentric and enigmatic Christopher Wren, and Sandy York of Sharon will play the role of the imperious Mrs. Boyle. Dick Terhune (Litchfield), Caroline Kinsolving (Salisbury), Ricky Oliver (Pawling), and Christopher McLinden (also Lakeville) round out the cast as the play’s increasingly suspicious guests — and one very determined detective.
As always, Sharon Playhouse has gathered a top-tier creative team to match its cast. The Swader brothers (Christopher and Justin) return with their signature scenic designs, while Kathleen DeAngelis’s costumes and Bobbie Zlotnik’s wigs promise to anchor us firmly in postwar England, even as the plot spirals into timeless psychological suspense. Lighting by Wheeler Moon and sound design by Graham Stone will help turn the cozy theater into a stage crackling with tension.
If you’ve never seen “The Mousetrap,” here’s what you need to know: it’s the murder mystery that truly defined the genre. Premiering in London’s West End in 1952 and still running strong over 30,000 performances later, Christie’s ingenious puzzle unfolds in a snowbound manor house where everyone has something to hide, and no one is safe from suspicion. Its final twist is famously kept secret by audiences — a tradition of theatrical discretion that only deepens the sense of shared experience.
“The enduring success of ‘The Mousetrap’ lies in its suspense, yes, but also in its structure,” said the Playhouse’s Artistic Director Carl Andress. “It’s a masterclass in storytelling. And with Hunter Foster leading this incredible cast of local artists, we know our audiences are in for an evening of mystery, laughter, and yes, plenty of gasps.”
Tickets are available now at SharonPlayhouse.org.
Mary Beth Lawlor, publisher/editor-in-chief of Litchfield Magazine, and supporter of Plein Air Litchfield, left,and Michele Murelli, Director of Plein Air Litchfield and Art Tripping, right.
For six days this autumn, Litchfield will welcome 33 acclaimed painters for the second year of Plein Air Litchfield (PAL), an arts festival produced by Art Tripping, a Litchfield nonprofit.
The public is invited to watch the artists at work while enjoying the beauty of early fall. The new Belden House & Mews hotel at 31 North St. in Litchfield will host PAL this year.
From Sept. 30 through Oct. 5, artists chosen from 100 entries around the country — representing diverse origins as far flung as Punjab, Berlin, and Peru — will set up their easels and spend the week recording the landscape, farms, historic buildings, and even restaurant interiors throughout the town. Artists such as Thomas Adkins, Yili Haruni, Katushka Millones, and Zufar Bikbov will participate.
“The French term plein air means ‘out of doors,’ referring to the practice of painting entire finished pictures in the open air. The plein air approach was pioneered by John Constable in Britain in the early 19th century,” according to The Tate Gallery in London.
Thursday, Oct. 2, is “Paint the Historic District Day,” when artists make paintings of early buildings.
Norfolk artist Sam Guindon will give a painting demonstration in the meadow by Tapping Reeve Law School at 82 South St. at 3 p.m. Thursday.
Nicole Carpenter, curator of the Litchfield Historical Society, will present “Landscape Visions: Artistic Depictions of Litchfield,” exploring the role artists play in documenting regional history, at 4 p.m. Thursday at the Oliver Wolcott Library at 160 South St. The talk is free, and all are welcome.
The public is also invited to the historic firehouse at Belden House at 6 p.m. for a free art show of the works created that day.
On Saturday, Oct. 4, Judge of Awards Eric Forstmann, a Litchfield County artist, will announce the winners at the Gala Art Show and Sale in the historic Firehouse property of Belden House & Mews, where all displayed artwork will be available for purchase.
Finally, on Sunday morning, Oct. 5,from 9 a.m. to noon, everyone is invited to a three-hour fun “Quick Paint” event. Open to artists of all levels, with additional prizes, the event will be held in the Tapping Reeve Meadow at 82 South St. Registration is from 8 to 9 a.m.
Art Tripping was founded in 2018 by Michele Murelli, whose mission is to create community art events and show how art enhances quality of life. Murelli and her team of volunteers have organized Plein Air Litchfield, 2025.
Visit the PAL website, www.pleinairlitchfield.com for information and to purchase tickets to the Gala Art Show and Sale.