
The group — minus Garrick Dinneen, who’s taking the photo — stops for a mid-run rest.
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The group — minus Garrick Dinneen, who’s taking the photo — stops for a mid-run rest.
CORNWALL — This past winter, an intergenerational group of Mohawk Mountain skiers took their hard-earned East Coast skills to the towering peaks of interior British Columbia for a ski trip that went beyond just pursuing the steep and deep.
“As fun as the skiing was, the lift rides and even just going home and cooking dinner together and talking was a pretty cool part of it,” said 24-year-old Cornwall native Dean Saccardi of the nearly 20-day voyage. “To have that age range of people who had grown up in Cornwall, went to [Cornwall Consolidated School], and had all their stories about the school, about the ski program, about the community … it definitely made the trip.”
Jim Terrall, who runs a building company in Cornwall, grew up skiing at Mohawk about 50 years before Saccardi got his start through the after-school CCS ski program, which lets students out at noon on Fridays to go skiing during a stretch of the winter. Terrall grew up going to Mohawk the same way, and estimated that the group on the trip spanned 1960-2017 of the CCS ski program.
“My winters were spent at Mohawk” said Terrall, “as were my kids’ winters.”
He said Mohawk Mountain and the CCS ski program have had an outsized impact on building a unique love for downhill snow sports in the town: “A lot of Cornwall kids are skiers because of the program,” which continues to this day — minus the included season pass of years past.
After graduating from Colorado College, Terrall moved to Jackson Hole, Wyoming, with the intention of working a ski season or two, and ended up staying for 15 years.
Terrall’s son Keaton, who also joined the trip, is now a student at Montana State University in Bozeman and is as passionate about skiing as his father.
While a veteran of Western skiing, the elder Terrall said part of the fun of the trip was introducing Saccardi and his brother-in-law Garrick Dinneen, who had never skied outside of the Northeast, to bigger and steeper terrain.
Saccardi said the difference was immediately apparent. At the group’s first stop at Schweitzer Mountain in northern Idaho, “you could barely see the tips of your skis, it was so foggy,” Saccardi recalled. Even then, though, “you quickly appreciate how steep it is.”
Saccardi said that despite the initial adjustments, he and Dinneen were able to keep up well with the seasoned and skilled group. “It’s a testament to Mohawk Mountain and that program … Despite it being a little mountain, it does prepare you with the basics and everything you need to know.”
Josh Tyson, from the CCS class of 1981, who now runs a Cornwall excavating company, said that watching Saccardi and Dinneen get to experience Western skiing was a highlight of the trip for him.
“They became such better skiers in like a day,” he said. “Just the exposure to really steep and mogully trees — it’s not eastern skiing, you know, and they just figured it out right away and were great.”
Tyson’s son Ian joined too and the final member of the cohort was Andy Peterson, who grew up skiing with Terrall at Mohawk in the 1960s and now lives in Colorado, but still spends a few months in Cornwall every summer. As a group of seven, the skiers resort-hopped across southern British Columbia on an itinerary that would make even the most seasoned skier rage in jealousy.
Flying round trip to Missoula, Montana, the group hopped in a few cars and first stopped at Schweitzer in Idaho for a day of foggy skiing, before bouncing to Red Mountain just across the border, where they spent three full days, including the sole powder day of the trip — which was a blast, Tyson said. After that, the crew visited Whitewater, Kimberly, Panorama, and finally, famed powder-mecca Revelstoke, which was unfortunately mostly powder-free during their stay.
Their visit, which spanned the final week of February and first week of March, was uncharacteristically warm for the Canadian mountains.
“We skied in all types of weather, from dense fog to 18 inches of fresh snow to spring skiing,” said Tyson. Despite the variable conditions, “I didn’t hear one complaint the whole time,” said Terrall, reflecting fondly on the group’s positive attitude.
The Terralls and Peterson capped off the trip with a few days of heli-skiing in the mountains surrounding Revelstoke, where “you never cross another ski track” — including your own — said the elder Terrall.
Plans for another trip are already in the works for next year. The group is thinking a return to B.C. is in order, but with an emphasis on mountains they missed this round — Fernie, Kicking Horse, and maybe some more Revelstoke for good measure.
The community feeling remains, however, as those who still call Cornwall home settle back into Northwest Corner life.
Tyson said that since both he and Terrall are in the contracting business, they often run into each other on job sites alongside Dinneen, who is an electrician in town. Ian works for his father’s company, and Saccardi works for Terrall, further tightening the bond.
In his free time, Saccardi stays busy by serving on Cornwall’s Board of Education, a position he picked up after graduating high school and has held for nearly four years.
When asked about how he decided to take up a town service role at such a young age, he was quick to attribute it to Cornwall’s intrinsic community benevolence: “I think the town itself sort of has that culture.”
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
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Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
On Saturday, April 5, at 3 p.m., The Triplex Cinema in Great Barrington and Jacob’s Pillow, the dance festival in Becket, Massachusetts, are presenting a special benefit screening of the cinematic masterpiece, “The Red Shoes,” followed by a discussion and Q&A. Featuring guest speakers Norton Owen, director of preservation at Jacob’s Pillow, and dance historian Lynn Garafola, the event is a fundraiser for The Triplex.
“We’re pitching in, as it were, because we like to help our neighbors,” said Norton. “They (The Triplex) approached us with the idea, wanting some input if they were going to do a dance film. I thought of Lynn as the perfect person also to include in this because of her knowledge of The Ballets Russes and the book that she wrote about Diaghilev. There is so much in this film, even though it’s fictional, that derives from the Ballets Russes.” Garafola, the leading expert on the Ballets Russes under Serge Diaghilev, 1909–1929, the most influential company in twentieth-century theatrical dance, said, “We see glimpses of that Russian émigré tradition, performances we don’t see much of today. The film captures the artifice of ballet, from the behind-the-scenes world of dressers and conductors to the sheer passion of the audience.”
Hailed as one of the greatest films about ballet, “The Red Shoes,” 1948, is a dazzling fusion of dance and cinema, featuring a mesmerizing 17-minute ballet sequence performed by Scottish ballet dancer and actress, Moira Shearer. Directed by Michael Powell and Emeric Pressburger, the film’s breathtaking use of Technicolor and evocative storytelling continues to captivate audiences, including legendary filmmakers like Martin Scorsese, Brian De Palma, and Steven Spielberg all of whom have cited the film as an influence on their work.
Garafola recalled seeing the film as a young dancer. “I remember being more taken with the plot then, but seeing it again recently, it was the color, the fantasy, and the glamour that struck me. Given how gray England was after the war, the film’s vibrant costumes and settings create an almost dreamlike escape.”
Owen echoed Garafola’s sentiment. “It’s magical. Color was their thing, and this latest restoration makes it even more breathtaking.”
The film underwent an extensive digital restoration at the UCLA Film and Television archive between 2006 and 2008 and premiered at the Cannes Film Festival in 2009. This is the version of the film which will be screened at the Triplex.
Owen said, “I love the depiction of young ballet audiences racing to their seats. That kind of enthusiasm is contagious. It’s what draws young dancers in.” Both Owen and Garafola epressed hope that young dancers will attend the event, sharing in the film’s enduring inspiration.
Owen and Garafola’s Q&A is sure to be lively and educational as they delve into the film’s legacy in both dance and cinema. “It’s not just a film for dance lovers. It’s a filmmaker’s film, too,” Owen added.
Join The Triplex and Jacob’s Pillow for this rare opportunity to experience “The Red Shoes” on the big screen, a film that continues to enchant, inspire, and ignite artistic passion.
Tickets are available for $75 at www.thetriplex.org.