Parents push back on proposed Sharon Center School budget cuts

Sharon resident Veronica Betts posts flyers around Sharon to raise support for Sharon Center School.
Madi Long


Sharon resident Veronica Betts posts flyers around Sharon to raise support for Sharon Center School.
SHARON – In a last-ditch effort to avoid a proposed $70,000 cut to the Sharon Center School’s 2026-27 budget, local parents are mobilizing – packing meetings, posting flyers and warning that reductions could undermine the school’s future. Sharon resident Veronica Betts plastered the town with posters earlier this week, urging residents to attend town meetings to voice support for the Board of Education, which determines the SCS budget.
“We shouldn’t be talking about defunding the school,” said Betts, who has a young daughter en- rolled in Sharon Daycare, part of SCS. “These are kids, this is so short-sighted and ridiculous.” The cuts, if adopted, could affect the staff salary line, supplies and even the cafeteria, which would require premade lunches to be delivered from HVRHS.
With a daughter at Sharon Daycare, Betts said her hope is to stay in the public school, but if support isn’t given to SCS, she and her family are considering a move to Indian Mountain School, the Lakeville-based pre-kindergarten through ninth grade private school where tuition ranges from $31,250 to $88,385.
Meghan Kenny, whose children are fourth-generation students at SCS, said she worries about the future of the school. An avid supporter of SCS, Kenny said she has seen some improvements between the BOE and the parent-teacher organization, but noted, “these proposed cuts represent a step in the wrong direction.”
She said the proposed 0% budget increase has driven her to start looking for property in nearby Salisbury to send her children to a different school. Kenny and Betts also spoke out at a packed Town Hall on Friday night, April 24, where local parents voiced nearly unified support for more funding in the elementary school budget.
The meeting was intended as the hearing for both the school and municipal budgets, but its nearly two-hour runtime was almost entirely dedicated to reviewing the BOE’s 2026-27 spending plan, which was subject to a last minute cut of $70,000 by the BOF to keep the bottom line flat from last year. If approved, it will be the fifth straight year of zero increase to the BOE’s budget.
Due to a state law known as the minimum budget requirement or MBR, towns in Connecticut are not allowed to spend less on education than any previous year. The BOF has repeatedly stated the rationale for keeping the bottom line flat is to keep the MBR stable. BOF member John Hecht defended the cuts during Friday’s hearing stating that the per pupil amount, totaling some $48,000, is the highest in the state and third highest in the country.
Still, residents were not swayed.
“Who cares,” said William Betts of the per pupil costs, affirming that his motivation as a taxpayer is to invest in education. He advocated to put funding back into arts and school supplies lines which had been cut, saying the arts are often the first to go when budgets are trimmed. “I think we have to rethink that,” he said.
BOE Chair Phillip O’Reilly and BOE member Peter Birnbaum said that the reality of the school’s student body and environment is not reflected by the per pupil costs, which don’t account for tuition students, of which there are projected to be 14 next year, or the 60 daycare students that use the school’s facilities. “We need to understand that Sharon Center School is more than K-8 – we have a daycare,” O’Reilly said.
SCS Principal Carol Tomkalski, who pushed back on the cuts, said students’ needs are “broad” and “complex,” which also accounts for the high per pupil cost, noting that approximately 18-20% of students have disabilities. Further, “we support our students as whole children,” she said, noting that the cost “is not inefficiency, it is investment.”
Still, both Tomalski and O’Reilly stated that they are confident that students will receive the education and services they need with the proposed budget. Parents remained wary, though, and many spoke out in favor of reinvesting funds into the budget and bringing it back above the MBR.
Community activist Jill Drew has been openly outspoken in past years about raising the budget beyond the flatline, and reaffirmed that opinion Friday evening. “We have a very special school and the costs are high,” she said, saying that with rising operational costs across the region, a flat budget for next year doesn’t make sense. She requested the BOF to allow the BOE to return to its budget before the required $70,000 cut.
The vast majority of the public testimony followed a similar sentiment. “I haven’t heard a rationale for why [the budget increase] is zero,” said Nancy Birnbaum. “It seems like everyone who’s spoken wants an increase,” she said.
Several days after the hearing, BOF Chair Thomas Bartram said that while he understands the concerns of parents and residents and appreciated the public engagement, many who spoke on Friday night seemed to lack context on the BOF’s decision to flatline the MBR.
“Several years ago, we put capital expenditures for the school building in the Board of Education budget, which was in essence a mistake on our part,” he said.
Since then, the BOE has been operating on an “inflated” budget due to that capital that was included, and the MBR which doesn’t allow the removal of funds from the previous year’s education budget. He said that the tone of Friday’s hearing departed from previous years, where residents this year have been more scrutinizing of education spending and SCS’s per pupil costs. The BOF’s goal was to account for what it thought was taxpayer concerns while supporting an operable budget for the school.
“It is the belief of the majority of the Board of Finance that the budget they presented is what they can run on,” he said.
The Board of Finance is expected to review whether there is any feasible way to shift available funding into the Board of Education operating budget, including tuition revenue currently included in the Board of Selectmen budget or savings from the regional school assessment, which is lower than last year’s.
Bartram said that while he awaits the outcome, both options are essentially “not spendable” money under normal circumstances as they come in the form of credit or grants that don’t impact bottom lines.
He said that the conversation of where tuition funding goes is a worthy one moving forward, though, as the school accepts more non-resident students. In previous years, he said, the number was much lower than this year’s proposed $41,000, or even zero.
Natalia Zukerman
Elyse Deublein Harney (center) celebrates with Keith Harney, Elyse Harney Morris, Paul Harney and Michael Harney after receiving an honorary doctorate from St. Joseph’s University.
On May 19, Elyse Deublein Harney returned to St. Joseph’s University in New York City, her alma mater, where she graduated in 1952. Before the crowd gathered for the university’s 107th commencement ceremony, the Salisbury resident, entrepreneur and community leader received an honorary doctorate and delivered the commencement address to the Class of 2026.
The recognition arrives at a meaningful moment for the Harney family. In February 2027, Elyse Harney Real Estate will celebrate its 40th anniversary, joining Harney & Sons Fine Teas, co-founded by Elyse and her husband, John, in 1983, as one of two enduring family businesses that have shaped both the region and the family’s legacy.
At a moment when many people are expected to reflect on their accomplishments, Harney used her commencement address to talk instead about possibility.
“God has a job for you,” she told the graduates. “Something that you alone can do.”
That line may very well be the organizing principle of a life that has included hotel management, raising five children, launching two businesses, serving on local boards, helping found the Salisbury Volunteer Ambulance Service and, somehow, still finding time to reopen conversations about preserving historic institutions.
One of the most striking parts of Harney’s address centered on beginning again.
When she and her husband were 50 years old, the partners of the White Hart Inn in Salisbury, where John was general manager for many years, decided to sell. Suddenly, the couple needed a new source of income.
John launched what would become Harney & Sons Fine Teas, and Elyse opened a real estate office across the street.
“Simple as that, I did,” she told graduates with characteristic understatement.
Of course, anyone familiar with the growth of Elyse Harney Real Estate knows there was nothing simple about it. What began as a small local office became one of the most respected real estate firms in the region, helping define the market across northwestern Connecticut, the Hudson Valley and the Berkshires.
Her commencement address wandered delightfully through subjects that rarely appear together: Nobel Prize-winning genetic research, French entrepreneurs, Catholic education, self-driving cars, German teachers and divine purpose.
At one point, Harney reflected on the women who educated her at St. Joseph’s.
“They made it very clear we could do whatever we wanted to do, if we were willing to work for it,” she said. “Being a woman was not a handicap.”
For graduates entering a world transformed by artificial intelligence, political upheaval and economic uncertainty, Harney offered neither nostalgia nor easy reassurance.
“AI is here,” she said. “We have to learn to use it and to control it.”
After discussing technology, entrepreneurship and faith, Harney turned to the subject of consciousness. Quoting author Michael Pollan, she shared the final lines from his new book, “A World Appears: A Journey Into Consciousness,” that she said had stayed with her:
“Consciousness is a miracle, truly. It is the most mysterious of things, and yet it can be put in one short sentence: I open my eyes and I see the world.”
Then she offered her final message to the graduates.
“Open your eyes and see the world.”
At 95, Elyse Harney is still opening her eyes and seeing the world. Thankfully, she’s still telling the rest of us what she finds there.
Richard Feiner And Annette Stover
Think logically and then break the mold with creativity.
— Pilar Proffitt
Pilar Proffitt is forging a remarkable artistic path grounded in her long history in Northwest Connecticut. Proffitt is a true Renaissance woman with a quirky sense of humor — a visual artist, architect, designer of interiors, furniture and products, and curator of home furnishings.
Her latest grand project is still quite literally under wraps. Large windows obscured by construction paper on a bustling avenue in Manhattan prevent passersby from peeking into the 15-story boutique hotel designed and furnished by Proffitt for an international hotel group, which is nearing completion. The hotel’s lobby, restaurant, common areas and rooms stand out for their attention to design — from the furnishings, colors and fabrics to the mosaic floor tiles, hardware, wrought-iron gates and stairs, selection of antique books, and the art on the walls. The collection includes paintings by Proffitt, photographs by Wassaic Project co-Executive Director Jeff Barnett-Winsby, time-lapse photography by Xan Padron and classics from the Warhol Factory.
Proffitt and her husband and business partner, Robert Bristow, are well-known leaders in the art and architecture communities, and their home, studio and workshop in Lakeville; store and office at 16 Main St. in Salisbury; and gallery space in Norfolk are vibrant hubs for arts and design in the region.
Proffitt has been coming to the area since she was a teenager. Originally from Puerto Rico, her family moved to the New York City area in the 1970’s. Her artist and architect father encouraged her interests in art and design and her deep desire to create. At school, she excelled in math and art and soon realized that this was all she wanted to do. “Think logically and then break the mold with creativity,” she said.
Armed with a degree in visual art from Trinity College, she pursued advanced studies at Berkeley and Pratt before receiving a master’s degree in architecture from Virginia Tech in Blacksburg, Virginia, where she met Bristow. Both landed apprenticeships in Boston and were drawn to the arts community in Norfolk centered around the Yale Summer Arts Program. The area quickly became their personal and family anchor.
They started Poesis, a furniture design and manufacturing studio, with a small loan from her mother. They landed a major house project and soon met a hotelier at a party who hired them on the spot to design a hotel in Washington, D.C.
Proffitt said, “I was hooked because it combined everything I wanted to do creatively: design experiences in the broadest sense with all the supporting pieces of the puzzle — furniture, objects, art. My father felt that architecture was the Renaissance profession: It holds the seeds of art, design, engineering and all the other ingredients. For me, it all starts with art.”

Proffitt is devoted to the area. She and Bristow raised their family in Lakeville. Their daughter Grace, a sculptor, attended Hotchkiss and is pursuing her MFA at University of Pennsylvania. Their daughter Ellis, also a graduate of Hotchkiss and Trinity, is a mathematician and aspiring actress in Los Angeles; and their son Sam attended Salisbury School and is a junior at Trinity, majoring in art history with a minor in architecture. They all are carrying forward the family’s passion for arts, architecture and design.
Proffitt’s interior design work and unique furniture pieces welcome visitors at Hotchkiss’ Art Center, the Scoville Memorial Library, her own wHole hOuse shop in Salisbury and, soon, across the street in the new Jam Food Shop, which is expected to open this fall.
The region’s many museums and galleries include some of Proffitt’s favorites, from Mass MoCA and the Clark to Salisbury’s Geary, Mad Rose in Millerton, Jack Shainman in Kinderhook and Art Omi in Ghent. Proffitt loves the connections and new opportunities brought to the community by the increase in full-time residents, as well as impromptu get-togethers with friends — recently watching a Knicks playoff game at the tavern bar at the White Hart. Moments like that keep her grounded here.
In addition to the White Hart, Proffitt is a fan of area restaurants, including Fern for a quick pasta at the bar; Isabela in Amenia, where Michelin-starred chef Jose Ramirez Ruiz is from Puerto Rico; and Clare de Boer’s Stissing House in Pine Plains.
A perfect day for Proffitt is spent working in her studio overlooking Lake Wononscopomuc, without distractions, rain or shine. It is a quiet and peaceful place that supports her many architecture and design projects. When asked what she would say to a younger version of herself just starting a career, she responded, “Don’t be so shy. As one of my professors told me, ‘Sometimes you just have to crash the party.’ Draw, write, run, play tennis. And travel!”
D.H. Callahan
The set for “Swingtime Canteen” transports the audience to WWII London.
Dateline: 1944. A platoon of our boys are stationed in London, waiting to be sent to the mainland to fight the Axis powers and liberate Europe. While they wait, a group of glamorous gals from Hollywood are sent over to distract them with singing, dancing and a few memories of home.
That’s the scene at “Swingtime Canteen,” the new production now on stage at the Sharon Playhouse.
From the moment you enter the playhouse, the stage takes you right back to another time, with recruitment and War Bonds posters setting the tone alongside soldiers’ footlockers and blankets. When the lights go down, the smiles of the cast light up the room, and the audience is quickly recast as a troupe of American G.I.s.
What follows is a jukebox musical in the truest of sense, bouncing from one 1930s hit to more “contemporary” 1940s tunes and back again, all performed with the kind of polished finish audiences have come to expect from the Sharon Playhouse.
The gals in the band are our entire cast, and they spin yarns in between numbers, throwing the spotlight back and forth between the five singing-and-dancing sensations. But they don’t stop there. Between piano, saxophone, drums and even a banjo, they work with the musicians on stage to create that quintessential ‘30s and ‘40s sound.
“Swingtime Canteen” transports its audience to a time when, unlike today, there was very little division among Americans. The war they were fighting had a 97% initial approval rating from U.S. citizens. In a year when the nation is celebrating its 250th anniversary, the production serves as a reminder of a moment when Americans largely shared a common purpose and a common enemy. Even if the swinging songs of the ‘30s and ‘40s aren’t your thing, the production is a marvelous little escape to a time when life was a little simpler and the lines between good and evil were a little clearer. For showtimes and tickets, visit sharonplayhouse.org

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Thomas Jensen
Aerial view of The Shed at Tanglewood.
The Tanglewood classical music schedule is loaded with gems. Here are eight to consider:
Thursday, July 9, 8 p.m., in Ozawa Hall. The dynamic duo of Augustin Hadelich, violin, and Seong-Jin Cho, piano, take on works by Brahms, Janacek, Beach and Prokofiev. Whether you get seats in the hall or sit outside on the lawn, you will not regret getting to this one.
Friday, July 10, 8 p.m., in the Shed. Seong-Jin Cho plays Tchaikovsky’s Piano Concerto No. 1 and excerpts from “Swan Lake.” This special evening features dancers from Boston Ballet and will be wonderful for the ears and the eyes.
Saturday, July 18, 8 p.m., in the Shed. The BSO, with Joe Hisaishi conducting, Jean-Yves Thibaudet on piano and Song Hee Lee, soprano, will perform Hisaishi’s “Adagio for Two Harps and Strings,” Ravel’s Piano Concerto in G, Hisaishi’s “Da-Ma-Shi-E” and Hisaishi’s “Symphonic Suite from Princess Mononoke.” The multitalented Hisaishi will be the most accomplished Japanese artist to grace the grounds since Ozawa’s time. Not to be missed.
Sunday, July 19, 2:30 p.m., in the Shed. The BSO, with Andris Nelsons conducting, Daniil Trifonov on piano and Thomas Rolfs on trumpet, presents a powerful program: Haydn’s Symphony No. 22, “The Philosopher”; Shostakovich’s Piano Concerto No. 1; and Beethoven’s Symphony No. 2. This is quite a lot to take in. Rolfs remains one of the orchestra’s most compelling virtuosos, and his trumpet playing is always worth hearing live. Trifonov, legendary on piano, playing another Russian legend’s finest music; extraordinary. Then, Beethoven. Better get there early.
Friday, July 24, 8 p.m., in the Shed. The BSO, with Andris Nelsons conducting and the brilliant Augustin Hadelich on violin, performs Mozart’s Violin Concerto No. 5 and Tchaikovsky’s Symphony No. 3, “Polish.” Hadelich is worth seeing again and again; the tones he produces are so sweet.
Saturday, July 25, 8 p.m., in the Shed. The BSO, with Andris Nelsons conducting and Paul Lewis on piano. The super-catchy Mozart Piano Concerto No. 27, K. 595, will have Lewis demonstrating his artistic command of tempo and tone while dancing and blending delightfully with the orchestra. Tchaikovsky’s Symphony No. 4 follows after intermission, and you’ll practically float home.
Thursday, July 30, 8 p.m., in Ozawa Hall. The Danish String Quartet, which brings a lot of energy to the stage, performs Stravinsky’s “Suite Italienne,” Beethoven’s String Quartet No. 16 in F, Op. 135, and arrangements of Danish folk songs. Come to hear Frederik, Rune, Asbjørn and Fredrik. Skål!
Friday, July 31, 8 p.m., in the Shed. The BSO, with Esa-Pekka Salonen conducting and Yefim Bronfman on piano. The power of Wagner’s “Prelude and Liebestod” from “Tristan und Isolde,” followed by Sibelius’ Symphony No. 7 and Beethoven’s Piano Concerto No. 5, “Emperor,” will leave you feeling like you are the new emperor.
Other events of note: Friday, July 17, 8 p.m., in the Shed. The BSO performs John Adams’ selections from “Nixon in China.” Also, don’t miss Laurie Anderson’s curated series of events Aug. 13, 15 and 16.
For a full schedule and tickets, visit bso.org/tangle
wood
Robin Roraback
Ken Mussleman with his paintings “Red Apple #2” and “Nine Servings Daily.”His show, “Time Passages,” opens Saturday, June 27, at Hunt Library in Falls Village.
Hunt Library in Falls Village will host a farewell show of the work of well-known local artist Ken Musselman, beginning with an opening reception on June 27 from 5 to 7 p.m. The show will run until July 31.
Musselman, a longtime resident of the Northwest Corner, recently moved to Woodbury, Connecticut, where he will begin a new phase of his life.
After the loss of his wife of 43 years, Cathy, three years ago, the prolific artist took a break from painting.
“I am finally getting back on my feet,” he said.“I am beginning to paint again.”
“Time Passages” is a collection of his paintings from past years. With this show, he said, he will be “getting rid of the old and starting new.” He intends to “move in a different direction,” which involves a monochromatic palette. “I am in a sepia mood right now,” he explained.
Musselman has long been known for his whimsical paintings. He recalled his first one, depicting deer ice skating, which was sold at P S Gallery in Litchfield.
He explained how he gets his ideas. “I sit and visualize things,” said Musselman. “I paint from my head.”
He is also known for local landscapes, still lifes and flowers. His wife was from East Canaan, and her family’s Ford Farm inspired many of his paintings.
Musselman, who always loved drawing, was studying to be an aviation structural mechanic in the Navy when he painted a mural in the mess hall. He recalled, “They told me, ‘You’re wasting your time being a mechanic.’” So he painted murals and created technical illustrations instead.
After the Navy, while living in Florida, an opportunity arose for a job as a graphic designer at Dotty Smith’s in Lakeville, a women’s fashion and jewelry company that closed in 2001. Musselman applied and moved to the region where his wife had grown up.
Later, he worked full time as a painter, with work in five galleries. He was in his studio “14 hours a day, seven days a week” to keep the galleries supplied.
“Time Passages” contains favorite Musselman themes, including cowscapes, local landscapes, still lifes, flowers and barns, on both large canvases and 4-by-4-inch canvases, in styles ranging from whimsical to realistic.
He is now semi-retired. Future plans include painting portraits inspired by family photos. “I’m not going to chase it anymore. I’ll let it come.”
Musselman is concentrating on a “leap of faith, a new chapter in life.”
For more information, visit huntlibrary.org/
art-wall/.
D.H. Callahan
“Butterfly in the Stomach” by Hanna Washburn at “Bugs!” part of Upstate Art Weekend.
Artist and curator Charlotte Woolf thinks bugs get a bad rap. Her new multimedium show at Foxtrot Farm and Flowers in Stanfordville seeks to change how people see these creepy-crawly creatures.
This time of year, there’s no way to escape the onslaught on bugs closing in from the wild. The little flyers and crawlers somehow penetrate even the tightest window screens. If there’s a crack in a floor board, it might as well have a big neon “Enter” sign. Like zombies from “Night of the Living Dead,” they approach with dispassionate determination.
But bugs aren’t just trying to make you squirm. Woolf’s show, “Bugs!,” highlights the underappreciated roles that insects, arachnids and myriapods play in our lives. They break down natural waste, serve as food for birds, reptiles, amphibians, fish and mammals, and pollinate about 75% of the food humans eat. Without bugs, our world simply doesn’t work.
To shine a different light on them, Woolf has enlisted more than 40 artists working in a wide variety of media, from fiber artists and tattooists to writers, sculptors and painters for a full weekend of art and activities.
The “Bugs!” show is part of Upstate Arts Weekend, an ever-growing celebration of the arts happening throughout the Hudson Valley. This year, the weekend kicks off on Thursday, June 25, at Olana State Historic Site, the estate of celebrated American painter Frederic Church, whose 200th birthday will be part of the celebration.
Events are being held all over the valley, including a dance party at Assembly in Kingston on Friday night. Beyond the official gatherings, Upstate Art Weekend is a chance to find new art and interact with artists and like-minded creative people.
The shows themselves are far too numerous to list. Even the official Upstate Art Weekend website has more information than a mere mortal could comprehend. But with a little determination, visitors can sift through filters to organize events by region, medium or price, though many of the shows are free to the public. There’s even a feature to help plot an itinerary, complete with recommended routes based on drive time, location and preferred pace, making it easier than ever to see as much art as the human heart desires.
For more info about Upstate Art Weekend, visit upstateartweekend.org and for more info on “Bugs!” visit foxtrotfarmflowers.com/events.

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