
Kent Volunteer Fire Department responded to four calls in the span of about five hours, throughout Kent on Friday, March 21. Multiple structures were lost and many residents experienced power outages during the incidents.
Provided
Kent Volunteer Fire Department responded to four calls in the span of about five hours, throughout Kent on Friday, March 21. Multiple structures were lost and many residents experienced power outages during the incidents.
KENT — Years of training came into play Friday, March 21 when, in a chaotic few hours, first responders from across the state all converged on KenMont and KenWood Camps where a fire was greedily consuming two camp buildings.
Responding to the scene were 12 fire departments, fire marshals, state police, the DEEP Forestry Protection division, Eversource, the Litchfield County Fire Coordinator, the Region 5 Rehab Unit from Danbury, the Kent Volunteer Fire Department Auxiliary and the Salvation Army Food Truck
In addition to the units responding to the scene, additional mutual aid departments moved into the vacated fire departments’ headquarters, providing protection for towns whose trucks had gone to Kent.
All of these separate entities melded together in one mass effort to stop the fire before it could destroy even more property or escape into the forest. Controlling the scene and directing individual units’ duties was incident commander Wendell Soule of the Kent Volunteer Fire Department.
“We divide up operations with the chief, a water supply officer and a staging officer,” Kent Fire Chief Alan Gawal explained. “When the first officer arrives, they size up the situation and as higher-ranking officers come in, they decide if they need a second alarm or third alarm. Calling additional companies is based on different factors, including the location and what the water sources are.”
In this instance, pumper trucks pulled water from a nearby lake, conveying it to the fire scene.
The alarm was sounded at 10:05 a.m., according to Gawal. “The first Kent officer was on the scene at 10:12,” he said. “By 11:57, the fire was declared under control.” And by 2 p.m., firefighters were leaving the scene.
Gawel said two 60-foot-by-20-foot camp cabins were fully engulfed in flames at the time the firefighters arrived and that there were “multiple exposures to fire” for 10 other cabins.
Whipping winds of up to 30 mph complicated efforts to control the fire and eventually a third cabin succumbed to the blaze.
The cabins at the camp are heated by propane and Gawel said four of the tanks caught fire with one suffering a BLEVE (Boiling Liquid Expanding Vapor Explosion). “Shrapnel went into the air when the top blew apart like a bomb,” Gawel said.
Crews were able to shut off the other tanks and Eversource killed the power to electric lines to prevent more explosions.
A blown propane tank sits among ash and debris at the scene of the fire in Kent March 21.Provided
According to a statement released by the camp, an electrician working in an unused staff cabin inadvertently sparked the blaze. The camp, located at 65 Kenmont Rd., offers co-ed programs for kids aged 7 to 15 during the summer.
Following the incident, camp owner Brad Lerman said, “We at KenMont KenWood Camps are incredibly grateful for the quick response of the many local fire companies and the many other emergency personnel who quickly responded to this morning’s limited structure fire.”
Gawel added his own note of appreciation to all the other organizations that contributed to the day’s success.
Two Kent firefighters were injured at the scene and received treatment in the hospital.
“One was released, and the other was admitted,” Gawel said, adding that firefighters were waiting for word about the hospitalized firefighter’s condition.
“He is a long-time Kent resident,” the chief said. “Our thoughts and prayers are with that firefighter and his family. We volunteer to do this job, but sometimes I think people don’t realize that it is dangerous.”
He asked residents to send their best wishes to the injured firefighters via the company’s Facebook page. HIPAA regulations prevent releasing identities.
The firefighters left the scene around 2 p.m., but their day was far from over. As that scene was winding down, an accident scene was developing. Route 7 was shut down at 1:30 p.m. at the junction of routes 7 and 341 while emergency crews worked to free a motorist whose car had become entangled in electrical wires brought down by a felled tree.
Eversource was at the scene by 1:52 p.m. and the wires were removed from the car by 1:58 p.m. First responders left the scene 15 minutes later, the motorist having refused hospital transport, and the investigation was turned over to the State Police. Route 7 was reopened.
At 2:31 p.m., Kent Engine 1 reported a possible illegal burn on Schaghticoke Road and asked Litchfield County Dispatch to notify the Connecticut State Police. Shortly thereafter, Kent Engine 2 responded to Schaghticoke Road, but by 2:51 p.m. both trucks responded to Jennings Road where another tree was reported down across the entire road.
A fifth alarm dispatched to Kent School for an automatic alarm in the chapel.
Kathryn Boughton is the editor of Kent Dispatch.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino
The marquee at Goshen Players for “A Goodnight Kiss.”
"A Goodnight Kiss,” premiering June 6 at Goshen Players Playhouse, is a dramatization of real Civil War-era love letters. Written by award-winning playwright Cinzi Lavin and directed by regional theater veteran Kathleen Kelly — both Litchfield County residents — it serves to reminds us that while wars are waged by nations, it is the people who live through them, their lives forever changed.
At the center of “A Goodnight Kiss” is the relationship between Sarah Jane “Jennie” Wadhams, a college student in New Britain, and Sergeant Major Frederick Lucas, a young soldier stationed in Alexandria. Lavin discovered the story of the letters by the couple in a 2002 book by Ernest B. Barker called “Fred and Jennie: A Civil War Story.” Lavin, who holds a certificate in applied history from the University of London and has performed at the White House, read all 90 letters the couple exchanged between 1863 and 1867. “It was like falling into another time,” she recalled. “You hear the dialect, the moral concerns, the humor. Jennie once said someone ‘must think she’s some pumpkins.’ I had to keep that.”
Cinzi LavinAnna Zuckerman-Vdovenko
While staying true to the historical narrative, Lavin and Kelly took pains to adapt with sensitivity, editing outdated language, softening harsh racial terms, and trimming some of the religious fervor of the original texts for modern ears. “We didn’t want to rewrite history,” said Lavin, “but we did need to present some things so that it translated.”
The result is a story of two young people navigating distance, war, and the slowness of the mail. It’s also about community, duty, and the Connecticut town of Goshen itself where Fred and Jennie lived, wrote, and now lay interned. It’s fitting, then, that the Goshen Players opened their doors to this production.
“They’ve been wonderful,” said Kelly. “It’s a story from Goshen, and now it’s being told in Goshen. I think audiences will really appreciate that. It’ll be so interesting to see their reactions as ancestors.”
Kelly’s direction brings a collaborative, actor-driven energy to the stage. “I always say the only good playwright is a dead one,” she laughed. “But Cinzi? Thank God she’s not. She’s a dream.” Lavin, in turn, credits her theatrical background for that flexibility. “Both of our background as actors really helped us connect and then the cast came in with ideas and heart and it became something so much bigger.”
Kathleen KellyProvided
Starring David Macharelli and Olivia Wadsworth as Fred and Jennie, with a supporting cast including Robert Kwalick as Narrator, John Fabiani as Jennie’s father, Joel Osborne as Fred’s fellow solider, Harmony Tanguay and Roni Gelrmino as a gossiping villagers, the play layers historical narration with humor, heartbreak, and a surprising amount of warmth. “There’s a lot of humanity here,” Kelly said. “And a little gossip. The Goshen women definitely bring that.”
Adding texture is a curated selection of Stephen Foster songs arranged by Lavin which the U.S. Library of Congress included in its national “Song of America” archive. And for history buffs, Sunday’s 3 p.m. performance will include a talkback with historians Peter Vermilyea, Carolyn Ivanoff, Kevin Johnson, and Natalie Belanger, whose insights will ground the drama in even deeper context.
“Theater is the one place, even more than television and film, where you can really deal with difficult topics,” said Kelly. “You go into a theater, and you are changed.”
“A Goodnight Kiss” will be performed at Goshen Players Playhouse, 2 North St., Goshen, June 6 to 8. For tickets and more info, visit: goshenplayer.booktix.com