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Macey Levin, at left in photo, and Richard Boyle, at right, celebrated the newly installed elevator at The Moviehouse in Millerton with a champagne toast.
Photo by Leila Hawken
MILLERTON — For years The Moviehouse in Millerton and a following of loyal patrons had envisioned an elevator to transport them between the lobby level and the second-floor screening rooms. Owners Carol Sadlon and the late Robert Sadlon had understood the need — but as time passed, patrons had acclimated to the steep climb up the stairs to the second floor that had been dubbed “the Alps.”
Robert Sadlon’s many strengths included a gift for marketing, so he and Carol came up with an idea to create a fundraising film for a project to install an elevator.
They enlisted the talents of Salisbury residents and long-time friends Macey Levin and Richard Boyle to star in the film, “The Moviehouse Needs a Lift,” sometimes also titled, “An Elevator Pitch.”
During a conversation on Friday, July 16, Levin and Boyle recalled their own enduring friendship of nearly 30 years, and happily recalled how that film came to be, with a dose of banter about whose role was the more important, whose acting talent was the more honed or the more wanting, and more. They went on at length.
Underneath the banter is a clear, firm friendship between Levin and Boyle that has included their wives, Gloria and Patricia, respectively, both agreeing that the two couples are “an alliance.” The Levins reside in the Taconic section of Salisbury and the Boyles in Salisbury proper.
The large popcorn
(so heavy!)
As the film ideas were coming together, and Levin asked Boyle if he would agree to appear in the film, Boyle said he would not take the part unless he got a large popcorn.
As it turned out and to the delight of those who saw the film, Boyle was going to have to carry that heavy popcorn all the way up the stairs to the Alps. In the scene at the refreshments counter, Levin had selected the “licorice for stamina” to prepare for the action in the next scene.
At the start, both actors were supposed to crawl up the stairs, but Boyle said, “I can’t do that,” and so Levin crawled and Boyle did not. In Boyle’s defense it was impossible to crawl upstairs while carrying a large popcorn after all. Levin’s licorice packaging was more suited for crawling.
Robert Sadlon
moved it all forward
While they did not agree on much during the July 16 conversation, they did say that it was Robert Sadlon who kept the project going and on track, and he kept everyone calm. Serving as the film’s director was Camilo Rojas, a Millerton resident and professor of media at Dutchess Community College, who brought along a small crew of students as assistants.
Boyle continues to express amazement that such a short (two minutes) film could have taken four hours to film. Levin countered that Boyle does not know enough about film making.
Nevertheless, the film was finished and enjoyed widely online at GoFundMe, where it can still be found and viewed for fun. It did not raise enough to make the elevator a reality, although it did create quite a buzz of public interest and a large number of viewings.
With the death of Robert Sadlon from a glioblastoma and the onslaught of the COVID-19 pandemic, Carol Sadlon eventually put The Moviehouse up for sale. Happily, just the right new owners came along in the persons of Chelsea Altman and David Maltby, bringing energy and enthusiasm. And, they knew what they were doing, with a clear vision for the promise of the enterprise.
On the very day of the real estate closing, Levin recalls that Carol Sadlon phoned him. In her excitement she did not even say “hello” when he answered.
“The Moviehouse is going to have an elevator,” were her exact words, Levin said.
‘Whisper soft’
and fast enough
In a conversation with new owners Altman and Maltby on Thursday, July 15, the elevator story picks up from there.
Maltby said that after two and a half months of construction, the new elevator completed its first ascent on Friday, July 2, at 4 p.m., rising from the first floor to the second floor. And then it reversed the trip.
Asked about ridership statistics, Maltby estimated that about 30% of patrons are using the new convenience. Many younger fitness fanatics may still prefer the steep stairs, but he imagines that may change as moviegoers realize the elevator is there.
Most important, Maltby says, is the elevator’s whisper-soft operation. As for speed, “It’s fast enough.”
The film elevated
their fame
What the elevator has brought to film stars Boyle and Levin, however, is a humility-challenging level of regional recognition. They seem to have attracted fans who know the film by heart.
For example, Levin recalls being in the check-out line at LaBonne’s grocery store in Salisbury when he felt a tap on his shoulder and heard a voice: “Can you tell me where to find licorice for stamina?”
And, during an evening out at Sharon Playhouse, Managing Director Robert Levinstein approached Macey and Gloria in their aisle seats to say that he had seated a stage-and-screen star next to them in their row. He was trusting them to make no fuss over the celebrity. That was all going really well until the end of intermission. The star was returning to the row when Macey saw eager faces approaching from two directions.
He feared for the star’s comfort. But instead, the smiling fans were beaming at Levin: “You’re the man in the movie. We saw the movie.”
While it was impossible to determine from Levin and Boyle which of them was the lead in the film or which one carried the other, both nodded in agreement about something at last: “Robert Sadlon was the star. He brought it together.”
Many enhancements
at new theater
And The Moviehouse has gained its modern elevator, the crowning touch among several renovations that were made during the pandemic.
“We are fully open now,” Chelsea Altman reported. The upstairs lounge area offers beer, wine, hard cider, Prosecco, a range of soft drinks and coffee. They will add nuts and popcorn soon for nibbles in addition to small pastries and empanadas available now. Come early for a film or gather afterward for conversation.
Future plans will see the likely return of broadcast opera and ballet performances when those events resume, Maltby said.
As for a sequel to The Moviehouse misadventures of Boyle and Levin, all parties seemed agreeable to the possibilities. All that is needed is the right fundraising goal, a short screenplay that would appropriately showcase the two magnificent talents, and a director to bring it together. Popcorn and licorice could be negotiated.
To view the film that is alternately called, “The Moviehouse Needs a Lift” or “An Elevator Pitch,” go to www.GoFundMe.com. While elevator donations are no longer needed, memberships at The Moviehouse itself are available and carry enticing benefits.
Private birthday parties for children are a new offering. For more information about The Moviehouse, go to www.themoviehouse.net.
Jazz and classical ensembles from Salisbury School and Indian Mountain School, and solo pianists and a cellist, will perform for the 43rd annual student recital at the United Congregational Church in Salisbury on Sunday, Feb. 23.
The annual student recital is returning for its 43rd year at Salisbury Congregational Church at 30 Main St.
This year’s performance is set for Sunday, Feb. 23, at 3 p.m.
Jazz and classical ensembles from Sailsbury school and Indian Mountain School as well as solo pianists and a cellist will grace the stage at the United Congregational Church.
Admission is free and donations to the church’s special music fund are encouraged.
After the performance, viewers are invited to stick around for a reception with sandwiches, chili and dessert.
Indoor track BL champs
Housatonic Valley Regional High School senior Kyle McCarron’s 1600-meter time of 4:30.31 earned him second place in this year’s indoor state meet. He was within two seconds of first-place finisher Matthew Kraszewski from Nathan Hale-Ray High School.
McCarron was one of eight runners to represent HVRHS in the 2025 Connecticut Interscholastic Athletic Conference Class S indoor track meet at Floyd Little Athletic Center in New Haven Feb. 15. In addition to his 1600-meter silver medal, McCarron placed sixth in the 3200-meter run.
For the HVRHS girls, Mia Dodge placed fifth in the 55-meter hurdles. Dodge also placed fifth in the sprint medley relay with teammates Gabi Titone, Harper Howe and Kenzie Lotz. Howe placed eighth in the 600-meter race. Titone placed 10th in the 1600-meter race.
Patrick Money placed 10th in the boys 55-meter hurdles and 25th in the long jump. Money, Kyle McCarron, Silas Tripp and Peter Austin placed 12th as a team in the sprint medley relay.
Joy Brown installing work for her show at the Tremaine Art Gallery at Hotchkiss.
This year, The Hotchkiss School is marking 50 years of co-education with a series of special events, including an exhibition by renowned sculptor Joy Brown. “The Art of Joy Brown,” opening Saturday, Feb. 22, in the Tremaine Art Gallery, offers a rare retrospective of Brown’s work, spanning five decades from her early pottery to her large-scale bronze sculptures.
“It’s an honor to show my work in celebration of fifty years of women at Hotchkiss,” Brown shared. “This exhibition traces my journey—from my roots in pottery to the figures and murals that have evolved over time.”
Co-curated by Christine Owen, Hotchkiss ceramics instructor, and Joan Baldwin, curator of special collections, the scale and scope of the exhibition was inspired by a recent Ed Ruscha retrospective in Los Angeles. “I thought it would be incredible to showcase all these different aspects of Joy’s work,” said Owen, who has known Brown for over 30 years.
Brown’s father, a Presbyterian missionary and medical doctor, opened a hospital in Japan where Brown grew up and cultivated her love of clay. Her first apprenticeship was in Tomba, a region in Hyogo Prefecture known for its ancient pottery kilns and Tambayaki pottery. “There are thousands of years of continuous history of clay there and I was working with a 13th generation potter.” Brown recalled that as part of her early training, her teacher handed her a sake cup and said, “make these.” With no extra instruction given, Brown proceeded to make thousands of copies of the cup. Never fired, she realized that the pieces were an exercise. She explained, “You’re not really making something, you’re participating in a process that these things emerge from.” From there, she embarked on an apprenticeship with master potter Shigeyoshi Morioka. As part of the process she learned from Morioka, Brown has built a 30-foot-long wood-firing tunnel kiln on her property in Kent, Connecticut, where she fires her work once a year in an intensive month-long process. The fire’s natural interaction with the clay creates unique earth tones and ash patterns, highlighting the raw beauty of the material.
Natalia Zukerman
“I learned not just pottery but a whole way of life,” she recalled. “The work is a continuous process—like practicing a signature until it evolves into something uniquely yours.” Her figures, initially emerging as playful puppets, have since evolved into large-scale sculptures now found in public spaces from Shanghai to Broadway to Hotchkiss’s own campus.
Brown’s seven-foot “Sitter with Head in Hands” was installed near Ford Food Court in October, followed by “Recliner with Head in Hands” near Hotchkiss’s Main Building in November. She welcomes interaction with her sculptures, encouraging visitors to touch them and even dress them with scarves or hats. “These figures transcend gender, age, and culture,” Brown noted. “They’re kind of like when you’re 4 years old and you didn’t know or care what you were, you know? All of us meet in that field and I think people resonate with that.”
In conjunction with the exhibition, Hotchkiss will host a screening of “The Art of Joy Brown,” a documentary by Eduardo Montes-Bradley, followed by a panel discussion with the artist and filmmaker on March 6 in Walker Auditorium. Brown will also serve as an artist-in-residence, collaborating with students on special projects.
On being part of the celebration of women at Hotchkiss Brown said, “Fifty years ago, I was deep in the mountains of Japan, immersed in clay.” With a soft spoken and almost childlike quality, Brown spoke about and interacted with her pieces with curiosity, reverence and wonder.
“The practice of working with clay for all these years is grounding and centering for me. It challenges me,” she said. “The work forces me to put myself out there. It’s not just the making of the pieces that make me more whole, the pieces themselves become more present.”
Brown reflected on the retrospective nature of the show and shared that putting it together has been like looking at a family album. “It’s kind of like I’m seeing my whole life in front of me,” she said. “It’s humbling and makes me think about why I do what I do. It comes back to the idea of those thousands of sake cups, you know? We’re just here, being as present as we can be. We’re not making things, we’re participating in a process of being more present, and all that spirit is reflected in the work.”
“The Art of Joy Brown” opens Saturday, Feb. 22, and runs through April 6. For more information, visit www.hotchkiss.org.
This story has been updated to reflect a change in the scheduled opening date due to forecast extreme weather conditions.
A special screening of “The Brutalist” was held on Feb. 2 at the Triplex Cinema in Great Barrington. Elihu Rubin, a Henry Hart Rice Associate Professor of Architecture and Urban Studies at Yale, led discussions both before and after the film.
“The Brutalist” stars Adrien Brody as fictional character, architect Laszlo Toth, a Hungarian-born Jewish architect. Toth trained at the Bauhaus and was interred at the concentration camp Buchenwald during World War II. The film tells of his struggle as an immigrant to gain back his standing and respect as an architect. Brody was winner of the Best Actor Golden Globe, while Bradley Corbet, director of the film, won best director and the film took home the Golden Globe for Best Film Drama. They have been nominated again for Academy Awards.
Laszlo Toth goes to work in his cousin’s furniture store when he arrives in New York, living in the storeroom and helping his cousin build up the business. When his cousin’s wife falsely accuses him of making a pass at her, he ends up living in a homeless shelter.
A would-be patron tracks him down, finds him working construction—the only job he can get—and asks, “Tell me, why is an accomplished foreign architect shoveling coal here in Philadelphia?”
Eventually, Toth gains a commission but faces prejudice as a foreigner and Jew, even though he and his wife, who he reunites with after she’d been in the concentration camp, Dachau, are both highly educated—she is an Oxford graduate and an established writer in their home country of Hungary.
Rubin began his discussion before the screening by saying, “I am thrilled this film has brought architecture to the forefront. There is something so fascinating and robust about the space Brutalist architecture creates.”
Brutalism is known for using “raw materials,” such as brick and concrete in ways that leave them visible. Rubin said that concrete is “incredibly expressive. It comes to the building site as mud and becomes what it is poured out as.”
“At first,” said Rubin, “optimism was associated with Brutalism.”
Brutalism came to the forefront of architecture in the 1950’s when it was used to reconstruct housing in the United Kingdom after WWII.
Some prime examples of Brutalist architecture include Boston City Hall, Rudolph Hall at Yale University, and the Temple Street Parking Garage in New Haven.
Rubin commented, “Brutalist architecture became the de-facto language of government and institutional architecture.”
Rubin said Brutalism began to fall out of favor in the 1970’s when it began to be associated with urban decay and totalitarian governments, who used it extensively.
Rubin asked the audience to consider two questions as they watched the film: “Why is the main character an architect… what does it bring to the emotional core?” and, “Who or what is the Brutalist in the film?”
After the screening, Rubin commentedtha Brutalist architecture is about “Getting an object to, ultimately, stand by itself.” Rubin explained that Brutalism “Throws off shadows of the past. No extraneous detail is left.” Audience members discussed how this could also be true of the character of Laszlo.
Rubin explained that architects face the challenge of “how to express themselves through someone else’s commission.” Discussion involved how Laszlo finds a way to achieve this.
The audience agreed that the film brought up some timely issues about immigration, class awareness, and acceptance, while asking them to consider how Brutalism applies to these subjects. The movie is at times, as rawly constructed as a brutalist building.