‘Hero of Horsepower’ Barber shaped Lime Rock’s history

Lime Rock Park CEO Dicky Riegel, right, introduced Skip Barber, at left, during the May 25 dedication of the newly christened Skip Barber Tower.
Shawn Pierce


Lime Rock Park CEO Dicky Riegel, right, introduced Skip Barber, at left, during the May 25 dedication of the newly christened Skip Barber Tower.
LIME ROCK — Skip Barber’s affinity for racing took root at the tender age of 10 in a block-long alley behind his family’s Philadelphia home.
Propped up on a pillow to help him see over the wheel and reach the pedals of a dusty old Ford that had been stored in the garage, the youngster was only allowed to drive it back and forth in the narrow alley. There was no room to turn around.
“I logged exactly as many miles going backwards as I did going forward,” recalled the soft-spoken Barber, who had grown up in a family of automobile enthusiasts. His grandfather owned an auto dealership, and his dad had an interest in cars.
Little did he know that those countless miles logged in that alley in 1946 would lead to his status as an enduring legacy in American motorsports and an icon at Lime Rock Park (LRP), which has declared 2024 as “The Year of Skip Barber.”
As Barber, who sold the majority of the park to Lime Rock Group LLC in 2021, marks the 65th anniversary of his first visit, and first race, at the Lakeville track, the park is paying tribute to him throughout the season through special events, exhibitions and commemorative merchandise.
“As Lime Rock Park celebrates its 67th year of operation it does so with a deep sense of gratitude and reverence for the man whose vision and passion have left an indelible mark on this iconic racetrack,” said Dicky Riegel, LRP President and CEO, of the park’s former owner and founder of the world-renown racing school which bears his name.
“His commitment to excellence and his relentless pursuit of innovation have earned him the respect and admiration of his peers and racing fans,” Riegel said of Barber, who remains a large shareholder in LRP. “The Year of Skip Barber is a fitting tribute to a man whose passion for motorsport knows no bounds.”
On Saturday, May 25, Barber saw his name carry even more significance in the sport as the track dedicated the timing and scoring tower in his name, after which he served as the Grand Marshal for the popular Trans Am Memorial Day Classic.
For decades, said Riegel, Barber has been a guiding force, instilling a passion for racing in countless individuals and leaving an indelible mark on the racing community. “Now the Skip Barber name will live on in perpetuity, ensuring that he continues to overlook Lime Rock Park for decades to come.”

‘I think car racing saved me’
From his early days as a competitive racer to his later years as a respected mentor, Barber’s career has been defined by a relentless pursuit of greatness. His eponymous Skip Barber Racing School, founded in 1975, became a mecca for aspiring racers, providing them with the tools and knowledge needed to succeed on and off the track.
During a mid-May interview in a cozy chalet overlooking the picturesque park, Barber, 88, reflected on his journey in racing which began long before he became a household name.
An exceptional student throughout high school, he earned a full scholarship to Harvard. He would have been an English major but his need for speed won out over his desire to study.
“I think car racing saved me. I had good grades in high school and got a complete scholarship to Harvard. And then I didn’t do any work. I really checked out. During that time, I started reading car magazines and I got more and more interested. I decided to take my senior year off, and my housemaster said, ‘Excellent idea, go ahead,’” Barber said with a laugh.
He joined the Merchant Marine to earn some cash and pooled his resources “with a little money from my mother to buy my first race car, an Austin-Healey Bugeye Sprite, the cheapest car in the world.”
Back at Harvard a year later, Barber attended the Sports Club Car of America (SCCA) driver’s school at Marlboro, near Washington, D.C., and raced his first race. That race, he recalled, was at Lime Rock Park. Not only was this his first time visiting a racetrack, it was also his first win and the beginning of what would become a decades-long love affair with the Lakeville track and the Northwest Corner.
Little did he know at the time that this would be the start of a remarkable career that would not only shape his own legacy but also transform Lime Rock Park into one of the premier racing destinations in the world.

Shining moments in the driver’s seat
Barber, who resides in Sharon with his wife, Judy, raced a variety of machinery in the 1960’s and 1970’s, ranging from sports cars to high-powered formula cars. He delivered some shining moments while in the driver’s seat, including beating Jim Clark in an identical car at the then Mosport in his first professional race and setting the ultimate lap record at Lime Rock Park to help push his name to the top of call sheets.
Along the way, he won three Sports Car Club of America (SCCA) National championships, set 32 different lap records, and earned the President’s Cup. Barber was only beginning to build a lasting legacy in American motorsports.
Barber explained how he drove cars the owners or manufacturers wanted to sell.
“It was a great opportunity, and I was very fortunate. The affordable part about racing is what we call ‘getting a ride,’ that’s when someone else is providing you with something to drive,” he explained. The downside, he said, was that he was “completely dependent on other people providing me with the tools of my trade. I was great on the racetrack, but I wasn’t very good at getting the rides” and networking.
At that time, the guru of track racecar engineering in North America, Carrol Smith, referred to Barber as “the fastest guy who never made it big.”
It wasn’t until years later when he started his racing school, that he would become a good marketer, Barber explained, “but that was too late for racing.”

Skip Barber Racing School
Although he was “hoping it would never stop,” Barber said he finally realized that his racing days were coming to a halt.
“I had the idea of doing a racing school. It’s not that there weren’t some in the country. There was one in L.A., and another near Montreal, but I did not know about them.”
Believing that racing was a coachable sport, Barber formed the Skip Barber Racing School in 1975 at Lime Rock and Thompson Speedway with four students and a pair of borrowed Formula Fords. During this time, Barber served as president of the Road Racing Driver’s Club.
Recognizing the key role that Lime Rock Park could play in building his growing racing school, and to keep the track out of the hands of developers in the high-value Northwest Corner countryside, Barber led a group of investors, all racing school graduates, who purchased the track from Harry Theodoracopulos in 1983, eventually becoming the sole owner.
His eponymous school created champions in every professional racing series in the United States and produced winning drivers at the Indy 500 or Daytona 500 for decades. Barber sold his school in 1999 and continued to work there until 2001.
“I was told by the current owners that 400,000 students, from all over the country, have become racers and champions,” said Barber.
Graduates include Marco Andretti, Ryan Hunter-Reay, Alexander Rossi, Danica Patrick, AJ Allmendinger, Juan Pablo Montoya, Jeff Gordon and hundreds of other top professional racers today.
“You get big by having multiple schools going all at the same time. We had an office in Lakeville, and the workshops were in four different locations. Lime Rock was our most important track of all the tracks used around the country. It certainly was my favorite,” said Barber.
In 2021, Barber sold the track to Lime Rock Group LLC, a group of investors whom he said were equally passionate about carrying out Lime Rock Park’s legacy into the future. “This is a good group,” he said. “They feel the same way about it as I do.”
These days, Barber said he is happy with his continuing relationship as a large shareholder in Lime Rock Group LLC and his role as an active track management team member. After decades at the helm of Lime Rock Park, including some tumultuous years securing its future, Barber said he now has peace of mind.
“I’m no longer in charge of worrying.”
A Hero of Horsepower
In late April, the Motorsports Hall of Fame of America announced its 2025 Induction Class, which recognized Barber as the founder of “the driving school of champions” in the category of Sports Cars along with six other “Heroes of Horsepower” inductees.
The Class of ’25 will formally be presented into the Hall of Fame in Daytona Beach, Fla., on March 10 and 11, 2025.
As he wrapped up the interview, Barber stepped out onto the Chalet’s terrace and viewed the expansive, verdant park and beamed with happiness — and a look of incredulousness. “I am so in awe of its beauty. To think that I’ve owned this…”
Patrick L. Sullivan
The Berkshire Resilience Brass Band brought lively brass and jazz-inspired music to the lawn at the David M. Hunt Library on Friday evening, July 24.
FALLS VILLAGE — The Berkshire Resilience Brass Band brought lively brass and jazz-inspired music to the lawn at the David M. Hunt Library on Friday evening, July 24, drawing about 30 people at the start of the outdoor concert and more as the evening progressed.
Led by trumpeter Shamu Sadeh, the band’s lineup shifts from performance to performance. Friday’s group included Charlie Kiel on trombonium, Sam Earnshaw on percussion, Eric Loffswold on baritone saxophone, Dathalinn O’Dea on alto saxophone, David Rogers on tenor saxophone, and Peter Peirce on trombone.
Audience members became part of the performance as well. During one number, the horn players switched to percussion, while a basket of rattles and other handheld instruments was available for audience members to play along. Sadeh and O’Dea encouraged several young children to shake along with the music.
The audience continued to grow throughout the evening, including a family who stopped after hearing the music while driving by.
Although the band’s performances sound spontaneous, they begin with a shared musical framework.
“We start with a tune or arrangement,” Rogers said. “Then we do or don’t follow it.”
Rogers estimated that any given performance is at least half improvisation.
It’s not left entirely to chance. O’Dea said the group rehearses once a week, on Sundays.
D.H. Callahan
Bernie Williams and his Band of Friends at Millbrook Winery in 2025.
Throughout the history of Major League Baseball, precious few greats have been considered five-tool players. New York Yankee Bernie Williams was one of them.
To be considered a five tool player, one must show exceptional proficiency in five categories: hitting for average, hitting for power, running bases, fielding and arm strength. But there’s another tool Williams possesses that didn’t make it to the back of his baseball card: his mastery of jazz guitar.
On Aug. 1 at Millbrook Winery, that elusive sixth tool will take center stage as Williams and his Band of Friends return to the Vineyard for a night of jazz, wine and possibly a baseball reference or two.
Williams is best known for his legendary career with the Yankees. During his 15 years with the Bronx Bombers, he won four World Series championships, four Gold Glove awards and one Silver Slugger award in 1998, the same year he won the American League batting title, making him the first player in history to win a Gold Glove, a batting title and a World Series in the same year. Oh yeah, he was also an MLB All-Star every year between 1997 through 2001.
But while his work on the field is well known to New Yorkers and the broader baseball world, he almost took the musical route through life.
Williams first picked up a guitar when he was just 8 years old and was immediately taken by the magic of music. He was so passionate about it that he attended a performing arts high school in his hometown of San Juan, Puerto Rico. By the time he made it to the big leagues, he was known as the guy with the guitar in the locker room.
That reputation soon reached the Yankees’ fan base, with commentators telling stories of Williams and his outfield teammate Paul O’Neill’s jam sessions. O’Neill set up a drum kit in a paint room at the old Yankee Stadium, and the two would play together through rain delays, sometimes getting visits from New York City’s musical greats while they waited to play ball. MSG Network, which aired Yankees games at the time, even ran a promotional ad featuring the two World Series champions jamming together on a blues riff in their batting practice uniforms.
But unlike O’Neill, whose drumming is a hobby at best, Williams is a serious musician. During an appearance with Paul Simon at a charity event, Simon surprised Williams and his band by playing “Mrs. Robinson,” a song they didn’t know and hadn’t practiced. But just a few lines in, Williams was taking solos and riffing on Simon’s choruses with expert musicianship.
While Williams’ music is the main draw for the event on Saturday, the relationship between the All-Star and the winery goes beyond the performance. The collaboration started in 2021, when Williams visited the vineyards and instantly connected with then-general manager Ian Bearup, bonding over baseball, music and wine. They quickly decided to team up and create a custom variety they call Bernie’s Blend. This year’s bottle, featuring art from Williams’ daughter, Beatriz, is a blend of Cabernet Sauvignon, Merlot and Cabernet Franc and will be released at the performance on Saturday night.
While the VIP ticket levels are all sold out, as of press time, bring-your-own-lawn chair spots are still available. The wine will be available at the vineyard and online throughout the year at millbrookwine.com.
Elena Spellman
Deanna Hearn opened Lucky Orphans in 2003.
If horses could speak, Hearn believes they would offer just one piece of advice: “They’d tell us to slow down.”
From feeding retired racehorses before sunrise to guiding veterans, grieving parents and troubled teenagers through equine-assisted therapy sessions, Deanna Hearn rarely has a quiet day. As founder of Lucky Orphans Horse Rescue in Dover Plains, she oversees the care of more than 40 sanctuary horses while leading a nonprofit whose mission extends far beyond animal rescue.
What began as a childhood love of horses has evolved into a place where healing runs in both directions — for horses and for people. By the time you leave Lucky Orphans, it becomes clear that this place isn’t really about horses. The horses are simply how it begins. For Hearn, every rescued horse represents something much larger: hope, resilience, healing and second chances. The organization’s mission, she says, is simple: “People helping horses heal people.”
Growing up in the Bronx, Hearn was captivated whenever she saw horses. Her grandfather, a Korean War veteran, had cared for military horses during the war. After returning home, he struggled with addiction, and the invisible wounds of military service. Through every difficult chapter of his life, however, one thing consistently brought him peace.
“Horses bring peace,” he told his granddaughter.
When Hearn was 11, after years apart, Hearn and her grandfather began spending weekends riding together. Less than a year later, he was diagnosed with pancreatic cancer. Before he died, he asked family members to help buy Hearn’s first horse — a stubborn paint horse that bit, kicked and frequently threw her off. She wanted to sell him. Her father refused.
“Every life has value,” he told her.
Looking back, Hearn says that lesson became the foundation of everything she would later build.
What began as a boarding stable in 2003 took a different direction after the Dutchess County SPCA asked Hearn to care for horses seized in cruelty cases. She soon realized that although Dutchess County had one of New York’s largest horse populations, there was no dedicated nonprofit equipped to care for neglected and abused horses. Lucky Orphans officially became a nonprofit in 2008.

Today, Hearn is quick to point out that Lucky Orphans is not simply a rescue.
“We’re a sanctuary,” she said.
Many of the more than 40 horses living there arrive with broken bones, chronic illnesses, heart conditions, missing eyes or other injuries that make them unsuitable for riding or adoption. Rather than rehabilitating and rehoming them, Lucky Orphans makes a lifetime commitment to every horse.
In 2013, Hearn became certified in equine-assisted psychotherapy, combining her lifelong relationship with horses and the lessons she learned from her grandfather to create programs for veterans, trauma survivors, children and families facing emotional challenges. The transformations she witnesses continue to surprise her. She recalls one woman who arrived convinced she would not fit in with a group of strangers. During the session, a horse quietly chose to follow her without a rope or commands. For the first time in years, the woman said she felt truly seen.
Another memory has stayed with Hearn ever since. A teenager in a juvenile probation program, wearing an ankle monitor and struggling with anger, entered a round pen with a horse. As his frustration grew, the horse moved farther away. When he finally calmed himself, the horse walked directly toward him and rested its head against his chest.
“I told him, ‘If you can control your energy, you can control the world around you,’” Hearn said.
Stories like these sustain her through the difficult realities of running a nonprofit. Operating the sanctuary costs roughly $52,000 each month, and Hearn lives on the property, where the work never truly ends. Veterinary bills, staffing, fundraising and the daily care of dozens of horses are constant concerns. Then someone returns years later and tells her that the horses changed their child’s life.
“That’s why I keep going,” she said.
Looking ahead, Hearn hopes more people discover what makes Lucky Orphans unique. The organization is expanding its community programming with educational visits, yoga sessions, horse encounters, volunteer opportunities and family events designed to reconnect people with horses and with one another.
Her vision is simple: to create a place where people slow down, reconnect and remember something modern life often makes us forget. If horses could speak, Hearn believes they would offer just one piece of advice.
“They’d tell us to slow down,” she said.
After spending an afternoon at Lucky Orphans, it’s hard to disagree.
For more information or to plan a visit, go to luckyorphans.org

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Jennifer Almquist
A brass quintet at the Yale Music Shed at Weekend in Norfolk 2025.
Norfolk bursts with activity in midsummer with Weekend in Norfolk (WIN). An all-volunteer committee transforms the town with free public events for all ages. WIN 2026 begins Thursday, July 30, and runs through Sunday, Aug. 2.
Norfolk sculptor Jon Riedeman, the new head of Norfolk Artists and Friends (NAF), organized the group’s 19th annual art exhibition, featuring paintings, sculpture, photography and jewelry by area artists in the Art Barn on the grounds of the Norfolk Chamber Music Festival. Riedeman expanded the show this year by inviting artists from New Marlborough, Massachusetts, to participate. The exhibit opens with a reception Thursday, July 30, from 5 to 7 p.m.
Music fills the air throughout the weekend. On Thursday night, take in the Emerging Artists Series concert from 7:30 to 8:30 p.m. at the Music Shed, featuring the next generation of professional chamber musicians presented by the Norfolk Chamber Music Festival. Then enjoy Friday Night on the Green, a welcoming party with live performances and free food.
The Bistro at Infinity Music Hall is extending its hours from noon to 9 p.m. throughout Weekend, with live music during the day. Don’t miss the Yale Brass Quintet performing in front of the historic 1833 Opera House. In addition, Norbrook Brewery will host a tap takeover featuring its celebrated local brews.
The Sidewalk Sunday Street Fair fills Station Place and Robertson Plaza with local artists, authors and craftspeople selling directly to visitors. Open Studios invites the public into working galleries and private studios for live demonstrations and artist meet-and-greets. Food trucks will also be available at the street fair.
Guided and self-guided tours showcase Norfolk’s historic estates and Victorian homes, while Tiffany stained-glass tours let visitors view Louis Comfort Tiffany windows in local chapels. The Village Green hosts public weddings and vow renewals as part of the festival.
Choose from five garden tours offered Sunday, Aug. 2, from 11 a.m. to 4 p.m.
Outdoors, guided nature walks explore Barbour Woods, with birding treks for wildlife lovers. Great Mountain Forest opens its 90-year-old weather station to the public, and workshops cover fly-fishing and pollinator gardening.
Food traditions include a Blueberry Betty social and an old-fashioned ice cream social. On Friday, Saturday and Sunday, the IceBox Cafe is offering 50 cents off its signature freshly brewed iced chai. On Saturday, the cafe will serve buttermilk pancakes all day, complete with Great Mountain Forest syrup.
Kids’ programming features movie screenings, yoga on the grass and art workshops.
Visitors can begin their adventure at The Hub, 2 Station Place, where volunteer “WINbassadors” will hand out maps and schedules. Full event details and ticket information are available at weekendinnorfolk.org.
Jack Sheedy
Jen Gleason stood on the stage of The Gary-The Olivia Theater and gestured toward the upstage wall—which wasn’t there. Like the so-called fourth wall separating audience from actors, all walls in this theater are invisible.
“That’s just God’s creation,” Gleason said, pointing to woods and rocks and grass and sky where you might expect a brick wall. “You cannot copy that. That’s the best backdrop you could possibly have.”
Gleason is directing “Babette’s Feast,” the first play to be performed publicly in the covered, open-air theater on the grounds of the Abbey of Regina Laudis in Bethlehem, Connecticut since “Godspell” in 2019. While the curtains closed during the Covid-19 pandemic, theater staff took advantage of the closure to make necessary repairs funded by donations.
Paul Murray, who co-produced “Babette’s Feast” with Sarah Robards, said, “We put up wings on either side, which are more or less permanent, and they allow the openness. From the audience, you see the woods side to side.”
The theater was built not long after famed Hollywood actress Dolores Hart joined the cloistered community of Benedictine nuns in 1963. According to the abbey’s website, “veteran actors James and Dawn Douglas formed a company of actors called the Act Association, which began to offer productions at the Abbey’s summer fair, and continued to do so for decades.”
Patricia Neal and James Douglas drew large crowds in 1999 when they performed A.R. Gurney’s “Love Letters.” Popular musicals have also been produced there, including “Guys and Dolls,” “Fiddler on the Roof” and “West Side Story.”
The idea to mount “Babette’s Feast” came from cast member Maurita Gregor, a lay intern at the abbey who previously performed the title role in her home state of Michigan. The play is based on a story by Isak Dinesen and is set in a Norwegian fishing village in the mid-19th century. Martine (portrayed by Cathy Annulli) and Philippa (Gregor) are sisters who lead a small Christian community. One night, a mysterious woman, fleeing political turmoil in France, knocks on their door and asks for asylum. Her letter of introduction states, “Babette can cook.” Babette will be portrayed by Olivia Wadsworth.
The play was conceived and developed by Abigail Killeen and written by Rose Courtney. It was first produced in Portland, Maine, in 2018. The highlight is a lavish feast Babette serves to the community to celebrate the memory of the sect’s original minister. but this production differs in structure from the 1987 Danish film in that no actual food is seen during the feast, Gleason said. Like the theater’s missing walls, the feast itself is invisible.
“There’s no cups. There’s no plates,” Gleason said. “We really don’t have props.”
The minimalist set aligns with the intentions of the play’s creators, who wanted to show the austerity of the religious sect to which Martine and Philippa belong.
Besides the three principals, “there are six players that are playing up to three different roles. So they’re having to shift their characters too, along with telling the story,” Gleason said.
Murray began working at the abbey in the 1970s and then moved to Idaho and taught theater for several years. Since returning in 2008, he has worked on sets for summer musicals at The Gary-The Olivia Theater. In 2025, he wrote and co-produced an original play, “The Princess and the Goblin,” based on a novel by George MacDonald. It was performed in front of a private audience, with Gleason in the lead. It was the first play to be shown at the abbey in six years.
“The point of having a theater at the abbey is to show a slice of life as it is, with an eye toward showing how it relates to the reality beyond the immediate place and time and characters within God’s creation,” Murray said.
“It’s to have a part of creation that refers to the broader creation,” he said.
Gleason spent several years in New York City with La MaMa Experimental Theatre Club, The American Theatre Wing and ASCAP. She also worked in Los Angeles, evaluating and developing scripts for a film production company, according to a press release.
Gregor said she applied for an internship at the abbey after reading Mother Dolores Hart’s 2013 memoir, “The Ear of the Heart: An Actress’ Journey from Hollywood to Holy Vows.” She said she always loved acting and was attracted as well to the “balanced lifestyle” the cloistered community offers. One of her duties at the abbey is making cheese, a hands-on process that requires patience and a gentle touch.
“I never knew you could learn so much from cheese,” she said.
“Babette’s Feast” will be shown Friday evenings, July 31 and Aug. 7; Saturday evenings, Aug. 1 and 8; and Sunday afternoons, Aug. 2 and 9. Evening performances begin at 7:30 p.m., and matinees begin at 2 p.m. There is no admission charge, but donations are welcome, and reservations are required. The Gary-The Olivia Theater at the Abbey of Regina Laudis is at 249 Flanders Rd., Bethlehem. To reserve seats, call 959-988-6068 or email garyoliviatheater@gmail.com. It is an open-air theater, so dress for the weather.
Richard Feiner And Annette Stover
Multimedia pioneer Laurie Anderson makes Tanglewood debut with a weekend of performances.
Musician, composer, performing artist and multimedia pioneer Laurie Anderson is one of the most influential and controversial figures in American contemporary and avant-garde arts. Her ambitious multimedia projects, encompassing music, film, visual projections, dance, and the spoken and written word, have enjoyed great public visibility, and Anderson has been recognized with many honors, including a Grammy Lifetime Achievement Award, as well as the Gold Medal for Music from the American Academy of Arts and Letters and this year’s Kyoto Prize for Arts and Philosophy in the field of music.
Anderson will make her Tanglewood debut in a series of special events and performances Aug. 13-16, along with longtime collaborators and special guests, giving audiences an opportunity to experience her groundbreaking and challenging work, which has been received with both acclaim and confusion for its wit, innovation and interdisciplinary scope.
A concert on Thursday, Aug. 13 at 8 p.m., part of Tanglewood’s recital series that spotlights chamber music and solo performances curated specifically for the acoustics and atmosphere of Ozawa Hall, features Anderson, guests and members of the BSO in a selection of Anderson’s compositions for string orchestra led by conductor Dennis Russell Davies, principal conductor of the MDR Leipzig Radio Symphony Orchestra and artistic director and chief conductor of the Filharmonie Brno.
A program highlight is “Amelia,”a piece inspired by the pioneering pilot Amelia Earhart, who disappeared over the Pacific Ocean in 1937 while attempting to fly around the world. The piece draws upon text from Earhart’s pilot’s log from her final international trip. In its blending of historical fact with atmospheric electronic music, minimal instrumentation and evocative soundscapes, the piece can be seen as emblematic of Anderson’s focus on transforming a historical event into a meditation on universal human experiences.
On Saturday, Aug. 15, at 2 p.m. in Studio E in Tanglewood’s Linde Center, the renowned opera and theater director and educator Peter Sellars will speak with Anderson as part of the Tanglewood Learning Institute’s Spotlight Series. Sellars is active at Tanglewood as a director and curator of contemporary works, and will guide Anderson in an exploration of her groundbreaking career and creative process. Their discussion will shine a light on their long history of artistic collaboration and their common interest in expanding the boundaries of music, language, technology and storytelling.
On Sunday, Aug. 16, from noon to 6 p.m., Studio E will present the Lou Reed Drone, a drone-based sonic installation curated by Anderson using guitars from her late husband Lou Reed’s collection. The event features performances by Reed’s former guitar tech Stewart Hurwood and a roster of guest artists rotating throughout the afternoon.
Finally, on Sunday, Aug. 16 at 7:30 p.m. in Ozawa Hall, Anderson will present “The Republic of Love,” an evening of music and storytelling reflecting on America’s past and present, featuring the genre-defying jazz ensemble Sexmob in its Tanglewood debut, along with special guests Mazz Swift and vocalist Christina Courtin.
As the title suggests, the piece plays on the classical idea of a republic — a political community governed by shared principles — to imagine what such a community would look like if its organizing principle were love rather than power. According to Anderson, the work isn’t sentimental. Instead, it examines love as a political and ethical force that shapes how people relate to one another and to institutions.
Collectively, these events will celebrate Anderson’s continued explorations of the power of words and language, visual imagery, and cutting-edge technology to challenge perceptions and to help audiences make sense of some of the most compelling questions of our day.
For information and tickets, go to tanglewood.org or call (888) 266-1200.

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