
Connecticut Department of Agriculture approved development of a home on protected farmland at 39 Sharon Mountain Rd. Up on the hill, a large home is visible.
Photo by Taylor Plett
Connecticut Department of Agriculture approved development of a home on protected farmland at 39 Sharon Mountain Rd. Up on the hill, a large home is visible.
SHARON — Construction is underway on two protected agricultural properties after the Connecticut Department of Agriculture (DOAG) approved the owners’ plans to build multimillion-dollar homes in August of last year.
The properties were placed under farmland preservation restrictions in the mid-1980s, making them two of the earliest protected properties of their kind in the country. These restrictions work by placing agricultural land under easement when landowners sell their development rights to the state, barring subdivision and requiring that the land remain available for farming.
DOAG, which is the sole authority on the interpretation of the easements, found homes, garages, and pools to be permissible according to the language of the original deeds — an interpretation that has spurred pushback from local residents and lawmakers.
“The development is absolutely contrary to the heart and the spirit of what the easements were put in place for,” said State Senator Stephen Harding (R-30). That intention, in Harding’s view, was “protecting this land as agriculture and open space.”
One of the properties, known as Paley Farm, is at the center of a Superior Court Case brought by Sharon Land Trust (SLT) and Carol Flaton when they filed an injunction request against the residential construction in July.
Paley Farm was put under a farmland protection easement in 1984 by retired farmer Morris Paley, who told a New York Times reporter in a 1982 interview that he wanted the land to remain a working farm.
The other property, 39 Sharon Mountain Road, was put under easement by farmer Walter “Pete” Turkiewicz in 1986. It was purchased by Rokeby Farm, LLC and signed for by James Reddoch of Rye, New York in December 2021, three months before David and Liza Bainbridge, also of Rye, purchased Paley Farm. Reddoch and the Bainbridges filed applications to construct within three months of each other, and both applications were approved by DOAG in August 2023.
Attempts at contact with Reddoch and the Bainbridges were unsuccessful.
According to DOAG Director of Communications Rebecca Eddy, the DOAG’s decision-making process regarding such applications is “guided by the language contained in the particular recorded deed at issue.”
Eddy explained that amendments made to the development rights program in 1988 and 1996 tightened the bounds of permissible residence construction, but those amendments don’t work retroactively. As the DOAG construction approval letters for both properties state, “It is likely that this house would not be permitted under our current statutes and deed requirements.” The original language, however, is all that applies.
That language, per the Turkiewicz property deed, retains the right to construct “residences for persons directly incidental to farm operation [...] as long as the acreage and productivity of arable land for crops is not materially decreased and due consideration is given to the impact of any decrease in acreage or productivity of such arable land upon the total farm operation.”
In the applications submitted by both Reddoch and the Bainbridges, the owners described their planned construction as “farm residences.” Reddoch stated that he sought to build the residence “to enable farm operations.”
According to building permits provided by the Town of Sharon Building Department, Reddoch’s construction plans include an approximately $4.6 million home, $980,000 pool house and $350,000 garage.
Both Reddoch and the Bainbridges stated in correspondence with DOAG that they plan to allow their land to be farmed, though Reddoch did not specify who would be farming the land or the timeline for beginning farm operations.
According to Eddy, farmland preservation deeds do not “force the property owners to engage in farming practices,” but require that land remains “available for farming.”
“Available for farming means that we haven’t plopped houses all over the place, we haven’t stripped the topsoil off, we haven’t negatively impacted the ability of that land to continue to be used for farming other than the footprint of the house,” said Joan Nichols, executive director of the Connecticut Farm Bureau Association, a private membership-based nonprofit that advises DOAG on the preservation program.
Nichols explained that in its early stages, Connecticut’s farmland preservation program was aimed at combating the intense development pressures that came along with the 1980s’ “boom of the subdivision movement.”
While the program bars multi-home and commercial development, State Representative Maria Horn (D-64) argued that its requirements aren’t specific enough to preserve farmland in effect.
“Is it active agriculture? When does it start? Is it just somebody who mows their field once a year and calls it agriculture?” she said, referencing the ‘available for agriculture’ language. “It allows a little too much play in my view.”
Horn has been working alongside Harding to engage DOAG, Attorney General’s office, land trusts, and local constituents on the issue of the DOAG’s interpretation of the Paley easement.
Both lawmakers contend that DOAG’s decision to approve construction ran afoul of the original intent of the easement, which Horn emphasized was at the expense of constituents’ tax dollars.
According to SLT Treasurer Allen Reiser, the state paid today’s equivalent of about a million dollars to purchase Paley’s development rights. Likewise, the state paid about $300,000 to purchase Turkiewicz’s development rights in 1986, equating to over $800,000 today.
“Included in that calculation of the value of these easements is, what kinds of activities is it stopping?” said Horn. “And if this is all it meant, I think the government overpaid for these easements.”
Horn emphasized that the easement interpretation debate is especially pertinent as the state recently dedicated nearly $10 million to the DOAG to purchase additional agricultural easements.
Beyond taxpayer interests, Nichols noted that farmland protection measures are of particular concern for local farmers as farmland prices continue to soar in Connecticut. The more attractive protected farmland is to non-farming buyers, the more local farmers must struggle to compete for the same land, she explained.
“We need to protect not just the interests of the land, but the interests of the farmer,” said Nichols, calling for further discourse among farmland protection stakeholders. “How do you make sure land stays in production and doesn’t turn into someone’s 60-acre lawn? That’s the question we haven’t answered yet.”
Jennifer Dillon, SLT board president, underscored the Trust’s hope in the Paley Farm court case decision to pave the way for more restrictive easement interpretations in the future.
“We’re doing this because of the precedent as much as because of this individual case,” Dillon said.
According to Horn, there’s a high likelihood that as land under historic easements changes hands in the coming years, wealthy buyers will be looking to develop more homes using the same pathway as Reddoch and the Bainbridges.
“These are spectacular properties in a very desirable area,” said Horn. “We better be prepared.”
Read more in our previous coverage of these proceedings here:
Paley Farm owners build ‘at their own risk’
Construction begins on protected farm ahead of Superior Court case
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
On Saturday, April 5, at 3 p.m., The Triplex Cinema in Great Barrington and Jacob’s Pillow, the dance festival in Becket, Massachusetts, are presenting a special benefit screening of the cinematic masterpiece, “The Red Shoes,” followed by a discussion and Q&A. Featuring guest speakers Norton Owen, director of preservation at Jacob’s Pillow, and dance historian Lynn Garafola, the event is a fundraiser for The Triplex.
“We’re pitching in, as it were, because we like to help our neighbors,” said Norton. “They (The Triplex) approached us with the idea, wanting some input if they were going to do a dance film. I thought of Lynn as the perfect person also to include in this because of her knowledge of The Ballets Russes and the book that she wrote about Diaghilev. There is so much in this film, even though it’s fictional, that derives from the Ballets Russes.” Garafola, the leading expert on the Ballets Russes under Serge Diaghilev, 1909–1929, the most influential company in twentieth-century theatrical dance, said, “We see glimpses of that Russian émigré tradition, performances we don’t see much of today. The film captures the artifice of ballet, from the behind-the-scenes world of dressers and conductors to the sheer passion of the audience.”
Hailed as one of the greatest films about ballet, “The Red Shoes,” 1948, is a dazzling fusion of dance and cinema, featuring a mesmerizing 17-minute ballet sequence performed by Scottish ballet dancer and actress, Moira Shearer. Directed by Michael Powell and Emeric Pressburger, the film’s breathtaking use of Technicolor and evocative storytelling continues to captivate audiences, including legendary filmmakers like Martin Scorsese, Brian De Palma, and Steven Spielberg all of whom have cited the film as an influence on their work.
Garafola recalled seeing the film as a young dancer. “I remember being more taken with the plot then, but seeing it again recently, it was the color, the fantasy, and the glamour that struck me. Given how gray England was after the war, the film’s vibrant costumes and settings create an almost dreamlike escape.”
Owen echoed Garafola’s sentiment. “It’s magical. Color was their thing, and this latest restoration makes it even more breathtaking.”
The film underwent an extensive digital restoration at the UCLA Film and Television archive between 2006 and 2008 and premiered at the Cannes Film Festival in 2009. This is the version of the film which will be screened at the Triplex.
Owen said, “I love the depiction of young ballet audiences racing to their seats. That kind of enthusiasm is contagious. It’s what draws young dancers in.” Both Owen and Garafola epressed hope that young dancers will attend the event, sharing in the film’s enduring inspiration.
Owen and Garafola’s Q&A is sure to be lively and educational as they delve into the film’s legacy in both dance and cinema. “It’s not just a film for dance lovers. It’s a filmmaker’s film, too,” Owen added.
Join The Triplex and Jacob’s Pillow for this rare opportunity to experience “The Red Shoes” on the big screen, a film that continues to enchant, inspire, and ignite artistic passion.
Tickets are available for $75 at www.thetriplex.org.