‘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
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.
Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.

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Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org
Robin Roraback
Once I get all the colors in, they change. Who knows? I might consider more radical colors and then bring it back a little.
— Robert Cronin
Renowned painter Robert Cronin of Falls Village celebrated his 90th birthday with an exhibition, “Robert Cronin: New Paintings,” at the Hunt Library in Falls Village which opened Aug. 8 and will be on view through Sept. 11.
Cronin paints most days in his home studio. He keeps his work fresh by trying new things and has had different phases of work, including figure paintings, paintings on paper, a modular, circle and enclosure series of paintings, as well as a tinplate sculpture series.
Cronin said he never expected to pursue art as a career. He started out at Boston College pursuing another degree but, luckily for him, flunked out and enrolled at the Rhode Island School of Design.
At first, he thought he’d pursue industrial design. But once he was immersed in drawing and painting, he realized he had a natural talent for it. “I fell in love with basic stuff. I had never owned a set of paints.” While at RISD, “In 1958, I instinctively fell into abstract work.”
After graduating from RISD and working for a time as a cleaner at Massachusetts General Hospital while painting whenever he could, he was awarded a full scholarship to an MFA program at Cornell University, along with a living stipend.
He went on to teach for 18 years at various schools, including Brown University, Bennington College and the School of the Worcester Art Museum, which he said he enjoyed the most. “I love my memory of that more than academic places. Whether Brown or a certificate program like Worcester, when you’re good, you’re good.”
After leaving Worcester in 1980, he moved to New York City to pursue his art career. He found success and exhibited his work in several galleries in New York City and around the world.
In 1990, Cronin moved to Connecticut, settling in Falls Village, where he left his tinplate sculpture phase behind and concentrated on painting again.
He explained his current approach to painting. “Everything in this show,” he said, “had a preliminary drawing. Most of my life has been starting from scratch, with no preliminary drawings.”
He makes many small sketches. “One out of 20 drawings may become a painting.” He enlarges the sketch on a copier, transfers it using a grid and paints it on a 16-by-20-inch canvas.
“Once I get all the colors in, they change. Who knows? I might consider more radical colors and then bring it back a little.”
Of starting a new painting, he said, “You don’t know what you are getting into, but it’s terrific.”
To learn more about Cronin and his work, visit robertcroninart.com.
The exhibition will be on view at Hunt Library in Falls Village through Sept. 11. Cronin will give an art talk Thursday, Aug. 13 at 5:30 p.m.
Allison Gollenberg
The Litchfield County Clipper runs between Thomaston and Torrington.
Every Sunday until the end of August, passengers can ride back in time on the Litchfield County Clipper, a scenic train running between Thomaston and Torrington on the county’s only passenger rail line.
The train, operated by the Railroad Museum of New England and the Naugatuck Railroad, follows the Naugatuck River through Mattatuck State Forest and along the Thomaston Dam, making it the only railroad in the country that operates over the face of an active dam. For $26.50 passengers can ride all day, boarding or disembarking at any of the train’s three stops, which include two stops in Torrington and one in Thomaston.
Scott Becker, chair of the Celebrate 30 Committee at the Railroad Museum of New England, said he hopes the project increases local tourism and helps people appreciate the cities as they have in the past.
“The railroad is not just a tourist railroad or heritage railroad. It links the two towns, just like it did in 1849, 177 years ago,” Becker said. “History is repeating itself. The railroad was always an economic development generator.”
In Torrington, there are stops at Market Street Creatives, an artisan market housing 230 vendors, and the newly restored Railroad Square, a short walk from the city’s downtown. Some local businesses offer passengers discounts if they bring their ticket.
Market Street Creatives opened in August 2025, in the building that housed Turner and Seymour Manufacturing Co. from 1870-2009. Owner Eric Royer wanted to create a space that gave small businesses a chance to showcase their work without expensive, long-term rental commitments.
“I had a big manufacturing company in town. I just got tired of it,” Royer said, “When I turned 50, I decided I wanted to start a business that was going to make a difference locally, in our community. I wanted to be able to help small businesses start and grow.”
The market recently partnered with the railroad museum, even programming and installing its own departures board to keep visitors apprised of the train’s whereabouts. Royer said it’s brought in a good bit of business.
“It brings in a couple hundred people over the weekend,” Royer said. “No other vendor market around that I know of has train access.”
Railroad Museum of New England Board of Trustees Vice President and Volunteer Coordinator Craig Czarsty said planning for the Litchfield County Clipper started back in December and was inspired by the revitalization projects happening in Torrington.
Today, the railroad offers scenic excursions, but for more than a century after opening in 1849, it was a vital transportation corridor, carrying passengers, mail and freight. The line stretched from Bridgeport to Winsted and even offered express service to New York City. Clock manufacturers, including Seth Thomas, relied on the railroad to ship their products.
“One of the things that’s fascinating to me is that more clocks were made in the Naugatuck Valley than anywhere else,” Becker said, referring to Thomas’ company, Ansonia Clock Company and Waterbury Clock Company. “You had all these clock companies, and they had to get their clocks to market, and the railroad was central to the whole thing.”
All that came to an end in 1955, though, after hurricanes Connie and Diane flooded much of the region. The floods wiped out sections of the railroad, destroyed factories and washed away the local manufacturing industry.
“That’s why they built Thomaston Dam, so that if they had future storms, they’d be able to keep the storm surge from going down the river into those towns,” Becker said. “It’s interesting, the river brought life to the area for manufacturing, but also, when the hurricane came, it caused a lot of devastation. Hurricanes really ripped the heart out of Connecticut’s manufacturing.”
Becker, who’s been involved with the museum since 1984, has seen the Thomaston station grow from a burnt-out building beside an overpass to the scenic attraction it is today.
Passenger service to the Thomaston station ended in 1958, and the building had various uses before being partially destroyed by arson in 1993. The museum purchased and restored it in 1996 and 1997.
The museum runs various seasonal trains, including an autumn colors train, a holiday train and a tequila train, which Czarsty said is very popular. Last year, he said, their holiday trains saw 27,000 visitors in about a month.
While the Naugatuck Railroad’s employees restore and maintain the trains, the museum is a nonprofit and train service is run entirely by volunteers.
On Sept. 26, the museum will celebrate 30 years in Thomaston, operating special trains all weekend in commemoration, including a newly restored locomotive from the New Haven Railroad. Becker said the past 30 years wouldn’t have been possible without volunteer and community support. It’s expensive to run a rail line, Czarsty said, and fundraising keeps it all chugging.
For more information and train schedules, visit rmne.org/excursions/countyclipper

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