TORRINGTON — Three high school seniors from Torrington, Trevor Llewellyn, Mateusz Haratyk, Bobo Lwin, and their families recently returned from a triumphant trip to Agrigento in Sicily, Italy
Inspired by the short stories by Nobel Prize-winning Italian author Luigi Pirandello (1867-1936), the three friends wrote an original screenplay and created a hand-colored silent film, titled “Nailed,” as part of the CIAO program of the Connecticut Academy of the Arts (CAFTA).
They submitted their fifteen-minute film (which features Trevor as a convincing Pirandello having a philosophical dialogue with Diogenes, played by Mateusz, and Bobo as the detective) to the literary, theatrical and film competition in Agrigento, Italy that celebrates Pirandello’s literature and theatrical genius, “Uno, Nessuno, Centomila,” which translates to One, No One, and One Hundred Thousand.
The CAFTA students competed with 1,711 students representing 289 schools from 19 countries. The students rose to the top 10 internationally. The nominated filmmakers, and their families, were invited to the event, which was held May 6-9, 2024, in Sicily.
Grant funding for the trip was arranged by Julie Scharnberg of the NWCT Community Foundation, who said, “This is the best part of grantmaking—to see what can happen when students have the opportunity to participate in initiatives like CAFTA’s CIAO Program. So much hard work went into writing and producing such an insightful film. And then to see the level of recognition the three Torrington High School seniors received at the Agrigento film festival is thrilling and truly inspiring.” The grant was made possible by the City of Torrington with funds from The American Rescue Plan Act of 2021.
Teresa Graham-Sullivan, (co-founder and executive director of CAFTA), her husband John Sullivan (CAFTA co-founder), their dogs Zoe and Circe, the three young filmmakers, Trevor’s mother Michelle Hass, and Mateusz’s Aunt Justyna Ferenz traveled together to Agrigento, Italy (where Pirandello lived) on this whirlwind adventure.
Their film won the special Critics Choice Prize proposed by Italy’s renowned film critic, Benjamin Biondi for their film. CAFTA students also received a Certificate of Honor for their original script from the Director General of Culture for Italy, Alessandro De Pedys, as well as scholarships for script studies in Italy. Their work was well received at the Pirandello Theater where, according to the young men, they were “treated like rockstars with standing ovations” as they made their presentation. They were interviewed by RAI TV, Italy’s National Network.
Trevor Llewellyn as Luigi Pirandello in the award-winning, hand-colored silent film, “Nailed.”Courtesy of CAFTA
CAFTA, located on Prospect Street in Torrington, is the creative treasure of Teresa Graham-Sullivan and her husband John Henry Sullivan III. CAFTA’s mission is to “provide individuals of all ages the means to identify, explore, and utilize their creative ideas and talents with excellence and high standards on a competitively global level.”
Mateusz Haratyk, whose plans now include studying filmmaking in Poland and Italy, remarked that, “I got deeply interested in philosophy because I was looking for any ways to better my life. I began reading Pirandello by accident. What reading Pirandello means to me is understanding to never underestimate the power of planting a seed. Pirandello was writing for audiences in the 1920s but the themes and concepts of his works have never been more relevant than today. His work transcends generations and should be closely studied by modern audiences. Being invited to Agrigento was truly a life-changing experience. From the beautiful award ceremony to the incredible people we met, I can assure myself that this experience will never be forgotten.”
The filmmakers researched “Novellas for A Year” by Luigi Pirandello, who wrote 40 plays, numerous short stories, novels, and is considered the father of the Theater of the Absurd. The theme for “Nailed” was chosen by reflecting on the growing violence in the world. They were drawn to the author, who won the Nobel Prize for literature in 1934, and his themes concerning the senselessness of human existence, questions about death and its meaning, our ability to dominate our irrational impulses, as well as the fact that our lives are often in someone else’s hands.
After returning home, Trevor Llewellyn, who is bound for the Maine Maritime Academy in Castine, Maine, to become a pilot, commented, “Being able to return [he competed there when he was in 8th grade, also through CAFTA] to Agrigento was an amazing feeling. I’m so glad that I was able to see some old friends and meet new people. The contest was organized beautifully, and everyone involved made us feel welcomed and accepted. I am unbelievably grateful to all the organizers, judges and other contestants.”
Mayor Elinor Carbone has planned a ceremony to present the young filmmakers with a Special Commendation from their City of Torrington. This August, Rep. Jahana Hayes (D-5) will award each young man with a Special Congressional Citation in recognition for their excellence in their work presented during the Luigi Pirandello Contest 2024.
Bobo Lwin, who now plans on becoming an electrician, added, “Going to Agrigento is like a movie, from all the cheers from the audience to meeting new people and tasting the culture, I know that this experience will always be in my heart.”
Their film, “Nailed,” has been entered into this year’s prestigious Venice Film Festival as part of the Venice Biennale 2024.
Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.
“He was doing critiques with everyone,” Fendrich said of Plagens. “We met at one of those sessions and, well, what can I say. We fell in love instantly.”
Fendrich speaks candidly about the pressures that shaped her early life choices. “We both married the first time at 21, which a good number of women of my generation did without much thought.” Her first husband was a good guy, she says, but “we weren’t suited for each other at all, even though he suited my parents perfectly.” Her decision to get a divorce was seismic. “My mother didn’t speak to me for a year.” Time softened the rupture. “One day she told me, ‘I see now why you left.’”
Fendrich had a rigorous liberal arts education at Mount Holyoke. “I studied painting and drawing, but I also got interested in political philosophy. Plato, Aristotle, Machiavelli — Rousseau was my big guy — Tocqueville, everybody. And I still read them.” Plagens’s path was less formal. “I went to USC at 17,” he said, “and declared English as my major. It was a frat school, and I was in one for the first two years. Then I started doing the cartoons for the Daily Trojan, took a couple art classes, and thought, ‘Wait a minute, I like this.’”
Culturally, they diverged just as sharply. “I came from a fairly puritanical family that didn’t even go to the movies,” Fendrich said. Plagens, by contrast, grew up immersed in pop culture. “My father was an omnivorous reader,” he said, “and a jazz fan, and he shared these passions with me.” In 1966, Plagens walked into Artforum’s LA office and said, “I want to write reviews.” He was paid five dollars per piece. “Gasoline was 23 cents a gallon, so it went a long way.”
Over time, the couple slowly fused their educations. “He taught me jazz, I taught him Mozart,” Fendrich said with a laugh. “I’ve had a movie education from him; he read Jane Austen because of me.”
Plagens and Fendrich at home in front of some of Fendrich’s paintings. Natalia Zukerman
During their early years in LA, Plagens taught at USC, and Fendrich at Art Center College of Design. In 1985, they decided “our kind of abstraction would do better in New York,” as Fendrich put it. “So, we up and moved to Tribeca with $10,000 and a toddler.”
Both artists grounded their artistic careers in teaching and writing. “Teaching, which I loved, gave me the financial stability to be an artist,” Fendrich said, reflecting on her 27 years as a professor at Hofstra. “It meant that being an artist didn’t require I make money from every show. I didn’t start writing until 1999, but though I write for publication frequently, I make hardly any money at it.”
Artistically, they guard each other’s independence. “We have unspoken rules,” Plagens said. “You don’t comment on someone’s work while they’re in the middle of creating it.” Critique comes by invitation only. “He’s not mean, just direct,” said Fendrich. Over time, their aesthetics have subtly converged. “My work has gotten cleaner from looking at his,” she said. “He’s gotten more colorful because of me.”
The two have had several two-person exhibitions. At a recent duo show at the Texas Gallery in Houston “Laurie’s paintings flew off the wall,” Plagens recalled. “Me, well, not so much.”
Plagens’s parallel career in journalism shaped their lives in tangible ways. He worked as art critic at Newsweek from 1989 until 2003 and currently contributes reviews of museum exhibitions to The Wall Street Journal. “Being at Newsweek was one of the luckiest breaks I ever had,” he said. “They paid me to see things I would gladly pay to see.”
Their creative processes mirror their personalities. “I start with a specific idea,” Fendrich said, “and then modify things as I paint.” Plagens laughed. “I start with complete mush, just blurting it out and spending the rest of the time fixing it.”
In 2019, they made what Fendrich calls “a decision of contraction.” They left the TriBeCa loft they had lived in for three decades, sold their Catskills home with its large studio, and moved full-time to a former auto repair shop in Lakeville, now a house where each has a studio, and the ground floor retains the open feel of a loft.
What sustains them in life, art and love, decades in, are endless conversations — and arguments — about art, history, exhibitions, books and movies. That exchange, ongoing and rigorous, may just be the masterpiece of their shared life.
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Exterior of the Linde Center for Music and Learning.
“We have been thrilled and humbled to see the Tanglewood Learning Institute embraced as a year-round destination for a breadth of exceptional programming, including classical, jazz and family-friendly events,” said BSO President and CEO Chad Smith. “Our 2025–26 fall, winter and spring season reflects our deepening commitment to engaging the vibrant, year-round Berkshires community and to fully exploring the potential of TLI as a space where BSO programs make thought-provoking connections between music, art and society.”
TLI is once again presenting its Chamber Concerts series on Sunday afternoons, with small ensembles of BSO musicians performing familiar favorites and classic mainstays, as well as new music by contemporary composers. There are upcoming chamber concerts scheduled for Feb. 22, March 8 and March 15.
Interior of the Linde Center for Music and Learning.Hilary Scott, courtesy of the BSO
New this season is the TLI Jazz series, which continues March 20 with the Sullivan Fortner Trio, led by Grammy Award-winning artist and educator Sullivan Fortner, whose eponymous ensemble won the 2024 DownBeat Critics Poll for Rising Jazz Group. “Soul-sax sensation” Nick Hemp brings his free-blowing blend of “barroom excitement and modern jazz finesse” for a rousing night of soul jazz April 10. Rounding out the jazz series, and back by popular demand, is Grammy Award-winning trumpeter and singer Jumaane Smith, who brings his repertoire of jazz and American Songbook standards to the Linde Center on May 9.
Another season highlight comes April 12 with an animated live concert screening of the 3D stop-motion adventure film “Magic Piano.” Produced by the Academy Award-winning BreakThru Films production company in Poland, the film will be accompanied by a screening of “The Chopin Shorts,” a collection of animated films set to Chopin’s etudes, performed by pianist Derek Wang.
All performances take place in Studio E, the Linde Center’s 4,000-square-foot multiuse room that serves as TLI’s main performance and event space. It features retractable seating, acoustic and technical systems, flexible configurations, and is accessible and comfortable for all patrons.
The entire Linde Center for Music and Learning is worth a visit in itself. The complex, which also includes the informal Cindy’s Cafe (seasonal) for a quick bite, is conceived not as a single building but as a cluster of pavilion-like spaces connected by an outdoor covered walkway and arranged around a century-old red oak tree. The center promotes a welcoming and serene sense of place and continuity with the rolling Tanglewood lawn and surrounding woodlands.
Smith said, “This ongoing work is also a passion project for our musicians, who form deep ties to the area and are eager to remain active in the Berkshires beyond the summer months. We look forward to welcoming new and returning audiences to experience all that TLI offers — all year long.”
The Tanglewood Learning Institute is located at 3 W. Hawthorne Road, Lenox, Mass. For more information and to purchase tickets,
visit bso.org/tli.
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