
The boat launch at Lakeville Lake is closed indefinitely due to the hydrilla threat.
Debra A. Aleksinas
The boat launch at Lakeville Lake is closed indefinitely due to the hydrilla threat.
The Hydrilla Menace
This is the first of a series on invasive aquatic hydrilla and its growing threat to waterbodies and communities in Northwest Connecticut.
SALISBURY — It was only a matter of time.
Since 2016, an aggressive non-native aquatic plant, Hydrilla verticillata, also known as water thyme, has fouled coves and tributaries along the Connecticut River from Essex to the Massachusetts border, leaving unprecedented ecological, recreational and economic damage in its wake.
Now it has hitched a ride via unsuspecting boat owners to inland freshwater lakes and ponds around the state, causing concern among lake associations, town and state officials.
To date, the submerged perennial plant, fittingly named after Hydra, the nine-headed serpent from Greek mythology known for its regenerative powers, has been identified in at least 10 known lakes and ponds in the state.
That number is expected to rise as scientists from the Connecticut Aquatic Experiment Station’s Office of Aquatic Species (CAES/OAIS) scour 94 state-owed marinas in search of the worrisome weed, which they fear is spreading undetected.
Time is of the essence to locate, control and eradicate an aggressive subspecies of Hydrilla verticillata, which is unique to the Connecticut River and grows at an astonishing rate of up to a foot a day with long, slender stems that can grow underwater to lengths of up to 30 feet and spread horizontally into thick mats.
Fragments that contain as little as a single whorl of leaves are capable of drifting to other parts of a waterbody and forming new colonies. Left unchecked, perennial hydrilla, which has earned the title of “the world’s worst invasive aquatic plant” and is listed as a federal noxious weed, can completely displace native submerged plant communities, altering fish populations and water chemistry, and threatening bald eagles.
Last summer, East Twin Lake in Salisbury raised alarm when it became the first documented lake outside of the Connecticut River to become infested with a Connecticut River variant of hydrilla. Lake officials suspect it had been thriving undetected beneath the lake’s surface around the marina for several years before being noticed during a routine lake survey. [See timeline here].
Ripples of invasion
Hydrilla, native to Africa and Southeast Asia, has had a rich introduction history into the United States, with multiple subspecies being introduced since the 1960’s. It was first introduced to this country in the early 1950s near Tampa, Fla., when an aquarium plant dealer dumped bundles of the lush, green plant into a canal near his business, and by the early 1990s hydrilla occupied more than 140,000 acres of public lakes and rivers.
In 2016 a new variant of Hydrilla verticillata, subspecies lithuanica, also known as Northern hydrilla, was identified in the Connecticut River, and three years later the CAES surveyed the river from Agawam, Mass., to the Long Island Sound, reporting at least 774 acres of hydrilla.
“The particular strain that is unique to the Connecticut River appears to be much more aggressive and robust than anything we have seen before,” said Gregory Bugbee, who runs the Invasive Plant Program at the Connecticut Agricultural Experiment Station (CAES)
And it is difficult and expensive to manage and eradicate.
“Significant costs are already associated with the impact and maintenance of the prior two subspecies established in the United States since the 1960s and 1980’s,” according to Jeremiah Foley, assistant scientist with CAES.
Why hydrilla management is important
The alarming explosion of Connecticut River hydrilla outside of the Connecticut River has raised significant concerns about its spread inland, threatening the beauty and pristine nature of many of its waterbodies.
The worrisome weed can outcompete native species, replacing habitat for sensitive species including migratory fish. Thick, horizontally-growing mats of hydrilla have crowded out boaters, anglers and those who recreate on the Connecticut River.
Marinas and municipalities have reported that they can no longer access boat slips and docks due to hydrilla infestations, limiting business opportunities. Extensive stands of hydrilla can obstruct swimmers and other water-related activities. The plant can also hurt tourism and impact the value of real estate that depends upon attractive waterways.
“The threat of hydrilla gaining a foothold in our lakes here in the Northwest Corner is an increasing concern of the highest levels.”— John Harney, Salisbury real estate agent
"The threat of hydrilla gaining a foothold in our lakes here in the Northwest Corner is an increasing concern of the highest levels,” said John Harney, a real estate broker with Willaim Pitt Sotheby’s International Realty in Salisbury.
“Twin Lakes commands the highest values for real estate, but this all changes if the lake becomes clogged with hydrilla. I would hope that this is a clarion call to bring all of our resources and attention to solving not only the hydrilla issue, but also to address the effects of overdevelopment.”
Since hydrilla’s discovery last summer in East Twin, the nearby boat launch at Lake Wononscopomuc, has been off-limits to outside boaters to keep the lake from becoming infested, and lake officials there intend to keep it closed indefinitely.
“If you lose this wonderful body of water the town would take such a hit. Property values around the lake will drop if you have a lake you can’t boat or swim in, and it’s not just popular for fishing. This is a very recreational lake for the children,” said Stacey Dodge, Town Grove Manager.
Management and control
The best way to manage hydrilla is to prevent its spread in the first place. Boaters are advised to clean, drain and dry their boats, trailers and equipment after leaving a body to keep hydrilla fragments from entering other lakes or rivers.
Once it becomes established, it is a nightmare to control and can cost as much as $1,000 per acre to manage. Many states are spending millions of dollars annually to control it. Lake Associations and towns can face a staggering rise in management costs, even with state and federal assistance.
Research on this very invasive plant is ongoing, as many biological attributes of this subspecies remain unknown, and it has no natural predators or diseases to limit its population. “Because it’s a new strain, it’s been a slow and frustrating process,” noted the Connecticut River Conservancy’s Rhea Drozdenko, River Steward for Connecticut.
Eradication by harvester is discouraged because even the smallest of fragments can spread and repopulate, and the introduction of grass carp into lakes is not a viable option, according to Foley, because while the fish will eat hydrilla, they will also devour every other aquatic plant within the lake. Biological control, he recently told members of the Twin Lakes Association during the group’s annual meeting at Camp Isola Bella on East Twin, is still in its infancy.
Aquatic herbicides have shown the most promise.
Coming next: A visit to the Connecticut River, where researchers are testing various aquatic herbicides at five sites.
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.