We speak with two artists who keep alive a musical pursuit born during the nascent sensation of cinema — the scoring of silent films, on location and in real time. Donald Sosin and Joanna Seaton spoke with Will Call by Skype prior to their appearance at Images Cinema in Williamstown for “An Evening with Charlie Chaplin.” About Donald Sosin and Joanna Seaton Donald Sosin and Joanna Seaton; submitted photo. (courtesy http://silent-film-music.com/) “For twenty years Donald Sosin and Joanna Seaton have been among the only major performers in the US creating and performing music for classic silent films with vocals as well as instrumentals, and have won high praise from experts in the field, as well as enthusiastic supporters of all ages everywhere they appear. Their unique blend of keyboard, vocals, electronics and percussion delights a wide variety of audiences on both sides of the Atlantic. Their film scores incorporate original songs with Joanna’s lyrics and Donald’s music, as well as select songs from the early 20th century appropriate to the film, and even, in some cases, giving voice to the muted singing of the actors onscreen.” An Evening with Charlie ChaplinMonday, December 16, 2019; 8:00 p.m.Images Cinema50 Spring StreetWilliamstown, Mass.From Images Cinema“By 1916—the same year the Walden Theater opened in Williamstown—Charlie Chaplin had become the most famous entertainer in the world, a mere two years after appearing in his first motion picture. Buoyed by his enormous success and popularity, he was offered the largest contract ever extended to a movie star— $670,000 for a single year’s work—to make 12 short comedies at Mutual Film Corporation. For Mutual, Chaplin produced what many film historians believe to be his best works, including the three featured in this program: The Immigrant, The Adventurer and The Count.”MORE INFO Music heard on this show Orchestration for THE COUNT (1916) dir. Charles Chaplin. Music (2013) by Donald Sosin For String quartet, piano, and bass Orchestration for THE PAWNSHOP (1916) dir. Charles Chaplin. Music (2016) by Donald Sosin, orchestrated by Peter Breiner. Live at Cowell Theater, San Francisco, March 26, 2017. San Francisco Chamber Orchestra, Benjamin Simon, music director. 25 players with the composer at the piano. Musical examples from THE DOCKS OF NEW YORK (1927, von Sternberg), J. Seaton, D. Sosin Joanna Seaton and Donald Sosin were commissioned by the Criterion Collection to create a piano/vocal score for Josef von Sternberg’s silent drama, THE DOCKS OF NEW YORK (1927). These excerpts illustrate the use of the title song (lyrics and vocals by Joanna Seaton,

In this episode, we speak with Jennifer Trainer, director of the documentary, Museum Town which released earlier in 2019, debuting at SXSW. Museum Town tells the story of MASS MoCA, arguably the United States’ most expansive contemporary art space, but it does a lot more besides. This flick situates the museum within the various contexts of history, culture, and economic development. With memories and observations contributed by political figures, local business owners, the general public, artists, and the architects of the original idea, Museum Town takes an unflinching look back at how their instincts were, in many ways, spot on, but at the same time missed the mark here or there. ⬇️ Podcast Player ⬇️ Thanks for tuning in to Episode #71 of Will Call here at the Greylock Glass, the Berkshire’s mightiest independent alternative newsthing. I’m your host, Jason Velazquez, and I’d like to remind you that if you like the programming and articles you find at the Greylock Glass, you can support our work by becoming a member for as little as a dollar per month. Find out more by going to greylockglass.com/membership. The film presents some of the most relevant and interesting history of the mill complex, from the days of Sprague Electric back to its inception as Arnold Print Works; still from Museum Town; image courtesy the filmmaker. Such a documentary, in part compiled of photos footage collected by the museum itself over the years, risks being overly promotional, yet Trainer stops well short of creating an overly self-congratulatory paean to an institution that has, at time generated intense criticism. The film makes its cinematic debut at Images Cinema in Williamstown, Friday, November 1 with a discussion featuring Jennifer Trainer, Representative John Barrett, producer Noah Bashevkin, producer Rachel Chanoff. Museum Town — showing 11/1 through 11/7Director: Jennifer TrainerRuntime: 1 hour 15 minutesImages Cinema50 Spring StreetWilliamstown, Mass.For showtimes, clique aqui.For more info, visit the documentary’s website. Jennifer Trainer, on Museum Town Jennifer Trainer at Hancock Shaker Village, where she serves as Director; submitted photo. My goal was really to tell what I knew. My goal was to tell the history of MASS MoCA and what MASS MoCA is today, and to tell a story about risk and taking risk, and what that means…To compress 30 years into 90 minutes is impossible, and, as my cinematographer said to me, you’re going to leave many of your babies on the cutting room floor, because they don’t serve the point, the purpose in the end, and that was so true. It killed me to leave out something that we had filmed. But, ultimately, we picked five characters, and they were an artists that we followed through an installation for 18 months, a curator and how the curatorial process works, because I also wanted to show what it’s like to work inside a museum. And then we picked the guy in the basement who’s actually fabricating some of these works, because so many of these massive contemporary pieces are not just made by one person in their studio — they’re really like a film their collaborative effort. Installation of Christoph Büchel’s unfinished Training Ground for Democracy; still from Museum Town; image courtesy the filmmaker.

(Cover Photo) From left: Luke Haskell, Dara Silverman, Madeleine Rose Maggio; photo By Eloy Garcia. Lenox, Mass. — Shakespeare & Company presents William Shakespeare’s comedy Love’s Labor’s Lost, directed by Kelly Galvin and performed outside in The Dell at The Mount, Edith Wharton’s Home. This family-friendly, open-air production featuring Shakespeare & Company Education Artists runs from July 10th – August 18th. Today is Monday, August 13 and you’re listening to Episode #70 of Will Call. Luke Haskell, Dara Silverman, Madeleine Rose Maggio; photo By Eloy Garcia. We hear from director Kelly Galvin, who returns to Shake and Co. for her ninth season with the company after earning an MFA from Boston University this Spring. Her experience directing, with Shakespeare & Company, WAM Theatre, Boston Playwrights’ Theatre, Southwest Shakespeare, and other companies really pays off in this faced-paced early Shakespeare comedy from the mid 1590s. This week’s show takes us to The Mount, Edith Wharton’s Home, in Lenox Massachusetts. Weather permitting, Shakespeare & Company presents William Shakespeare’s Love’s Labour’s Lost under the open sky at The Dell, a sort of natural amphitheater that is a truly ideal place to experience this particular play, which is being performed until August 18. You don’t want to miss this immersive experience, so I’d encourage you to visit the company on the web at shakespeare.org for tickets and more information, Kelly Galvin directing Love’s Labor’s Lost at The Mount; photo by Eloy Garcia “One of Shakespeare’s very first plays, Love’s Labor’s Lost offers us a glimpse of an audacious young playwright delighting in his virtuosity,” says director Kelly Galvin. “Within his sparkling poetry we sense the young playwright coming into the fullness of his power. In doing so, he conjures a fantastical world of young luminaries who are coming into power in their own right. In The Dell, where the borders between our actors and audiences are most fluid, we find a perfect setting for Shakespeare’s rhapsody of language, laughter, and summer love.” Also with us are actors Luke Haskell and Madeleine Rose Maggio. Luke brings to life the irreverent knave Costard, while Madeleine portrays both the wanton country wench Jaquenetta as well as the somewhat vacuous nobleman Longaville, a member of the court of Ferdinand, King of Navarre. Historically one of the less frequently performed of Shakespeare’s works, Love’s Labour’s Lost yet has a solid, if simple, storyline that acts as a perfect vehicle to explore themes familiar to us more than 400 years after the works first publication. Director Kelly Galvin gives us an overview of this prototype of so many literary battles of the sexes to follow: Love’s Labor’s Lost begins with the King of Navarre dedicating himself and his country to a life of scholarship. The King and his courtiers have made an oath renouncing worldly pleasures and have commanded all the townsfolk of Navarre to do the same. But when the Princess of France and her ladies arrive on a diplomatic visit, the King and his friends find the enticements of summer love more powerful than they had imagined. A spoof of those who try to shun love and life, Love’s Labor’s Lost is full of witty wordplay, outrageous mishaps, and riotous comedy. Rylan Morsbach, David Bertoldi, Madeleine Maggio, Devante Owens; photo by Eloy Garcia. Luke Haskell and Madeleine Maggio are prime examp...

Welcome to episode number 12 of Plenty, in which we spend time with a number of folks involved in HEIRLOOM by Design at Greylock WORKS in North Adams, Massachusetts—an inaugural celebration of the handmade, hand-grown, and house crafted. We speak first with Sophie Grant, program director of HEIRLOOM by design. Her job is to coordinate vendors, entertainment, presenters, and more to create a truly memorable local food jubilee. One event sponsor and presenter that’s a natural fit at HEIRLOOM by design, is Storey Publishing, based on the campus of MASS MoCA in North Adams, Mass. We spoke with Debra Balmuth, publisher at Storey, on site at GreylockWORKS, after she toured the space during the planning stages. Storey, now an imprint of Workman Publishing, has been a familiar installment on the bookshelves of foodies, farmers, crafters, and do-it-yourselfers for just about a generation. Although Greylock WORKS is the new kid in town when it comes to the local food movement, the overlapping missions, plus the local history represented by the former Cariddi Mill, created a timely synthesis of the two entities. Of course, in a space this big, there’s room for LOTS of different delegates of the local and hand crafted scene. Sophie Grant again… Lucy Rawlins is one of a new generation of farmers—she and her boyfriend are definitely the genuine article, in spite of, or maybe because of, an evolved perspective on the back to the land movement. Participating in HEIRLOOM made sense, given the support that Greylock WORKS has pledged both to local agriculture organizations and local artists. One of the points that rawlins wants to drive home is that the future of farming likely lies in the rediscovery of techniques that were the tried and true conventions for millenia. Storey publisher Debrah Balmuth has seen traditional arts trend in and trend out over the years, which gives her a unique vantage point when it comes to the current renaissance in artisanal quality. And that self expression is definitely en vogue from the Berkshires to Brooklyn and way way beyond. While the hip factor helps fuel the image of local food, at the end of the day, sustainability also means creating a viable space for farming in the local economy. Sometimes economic sustainability can mean a brisk business in traditional market gardening and sometimes that can mean taking the leap to offering customers a value added product that taps into a different area of consumer appeal. Nicole Blum operates Carr’s Ciderhouse with her husband Jonathan Carr, in Hadley, Massachusetts. Their experience as market gardeners evolved into a highly specialized (and delicious) product line based on hard cider. For Jonathan and Nicole, how they produce their wares, and the environmental impact it has, is well-aligned with the agricultural ethics of many of their cohorts. Lucy Rawlins of the Williamstown Farmers Market shares Blum’s holistic perspective on human effects of food production. The appreciation of slow food, and respect for the basics will likely be instrumental in the quest to mitigate the accelerating effects of climate change. Blum explained some of what Carr’s Ciderhouse will have to offer at HEIRLOOM. And despite the fact that she and her husband would obviously like to earn some coin from the event, their demonstration would seem to be the antithesis of profiteering—they will be teaching attendees to make a product at home that Carr’s sells bottled and ready to use. A willingness to share knowledge seems to be a defining characteristic of sustainability advocates, even if it means they don’t squeeze every nickel out of an opportunity. Debra Balmuth of Storey Publishing described her company’s contribution to HEIRLOOM, including some of the demonstrations designed to educate event-goers about some of the highly accessible techniques of self-reliance that have been the stock...

WILLIAMSTOWN, Mass. — The Williams Theatre Department will present Purple Valley Plays, original works for the stage written, directed, designed, and performed by Williams students. Back for a third year, Purple Valley Plays continues the Theatre Department’s tradition of incubating new work and cultivating the next generation of theatre artists. Presented in two programs, Purple Valley Plays will premiere works by Terah Ehigiator ’18, Mia Hull ’17, Joseph Messer ’21, Chanel Palmer ’19, and Tom Robertshaw ’19. * Performances are on Thursday, April 26th to Saturday, April 28th. Program 1 will be in the CenterStage at 7 PM. Program 2 will be in the Adams Memorial Theatre at 8:30 PM. All performances will be located at 1000 Main Street, in Williamstown, MA. Tickets are $3. “The Theatre Department recognizes that some artistic works are provocative, and may be challenging for audience members—emotionally, intellectually, and personally.  We wish to alert our patrons to the following specific content.”   Program One (Adams Memorial Theatre) River Spirits by Terah Ehigiator ’18, directed by Jack Romans ’20. Emmett lives freely in paradise until the appearance of a strange new boy alters him forever. With playfulness and sincerity, this play explores tensions of boyhood, friendship, and (dis)belief. contains artistic representations of racialized violence and self-harm. Phaedra / Hippolytus / by Mia Hull ’17, directed by Tom Robertshaw ’19. A woman, in love with her husband, falls in love with his son. Clean lines and floors, stifled, enraged, undone. contains artistic representations of suicide. Program Two (CenterStage) Majesty in the Middle Realm by Chanel Palmer ’19, directed by Caroline Fairweather ’20. A fast-paced exploration of connection, belonging, displacement, and infinity. A young woman’s quest for family and for peace in a world of in-betweens turns out to extend well beyond her wildest dreams. alludes to racialized violence and police brutality. What if We Loved with our Radiated Bodies? by Joseph Messer ’21, directed by Fiona Selmi ’21. Three infected lovers attempt to find themselves, but as their environment falls apart, words fall apart, movement falls apart, and people fall apart as well. contains graphic sexual language. Chastens and Hastens by Tom Robertshaw ’19, directed by Liam Ouweleen ’19. Thanksgiving/family/generations/breach/a dongle/butterball/ritual hunt? references appropriation of indigenous cultures, and ignorance about sexual and gendered orientations. The Theatre Department works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year. For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425. For more information, please visit http://62center.williams.edu   * This article was created, in whole or in part, using submitted officially released information. window['bsa_content_preview_only_'] = true;

David Eppel shares thoughts on apartheid, creativity in the shadow of oppression, and his 35 years as a professor of theatre at Williams College* WILLIAMSTOWN, Mass—The Williams Theatre Department is proud to present Molière’s classic comedy Tartuffe, translated by Pulitzer Prize-winning poet Richard Wilbur. Get ready for a Baroque romp, a minuet in rhyming couplets, and a wicked, hilarious satire, complete with keyhole peepers and eavesdroppers. First performed on May 12, 1664 at Versailles for Louis XIV, Tartuffe was instantly banned and had to be rewritten so as not to offend the church, the aristocracy, the king, and just about everyone else. Watch as the ruling classes are hoisted by their own hypocritical petard. All of the above, and much, much more, awaits…in thigh-slapping iambic pentameter, no less. There will be a post-performance Q&A after the Saturday evening performance hosted by “Monsieur Tartuffe comes to America” author Emmanuelle Delpech and Costume Designer Deborah Brothers. Performances are on Thursday, March 8th to Sunday, March 11th at 7:30 PM and Saturday, March 10th at 2:00 PM on the ’62 Center’s Adams Memorial Theatre, located at 1000 Main Street, in Williamstown, MA. Tickets are $3. Tartuffe cast: Nadiya Atkinson ’21 Tobias Delgado ’21 Terah Ehigiator ’18 Samori Etienne ’21 Caroline Fairweather ’20 Nicole Jones ‘20 Scott Lipman ’18 Evelyn Mahon ’18 John Murphy ’21 Christine Pash ’18 Thomas Robertshaw ’19 Jack Romans ’20 Jack Scaletta ’18 David Eppel, Director Fiona Selmi ’21, Assistant Director Jason Simms, Set Designer Deborah Brothers, Costume Designer Natalie Robin, Lighting Designer Bobby McElver, Sound Designer Julia Tucher ’21, Assistant Sound Designer Paige Carter, Properties Master The Theatre Department works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year. For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425.   *This article was created, in whole or in part, using submitted officially released information. window['bsa_content_preview_only_'] = true;

ADVISORY: Explicit content. Underground Railroad Game contains sexually explicit material, strong language, and mature themes, so is recommended for adventurous audiences ages 18 and up. Questions about what you’re in for? You can reach out to Producing Director, Randal Fippinger for more info. Created by Jennifer Kidwell & Scott R. Sheppard, Directed by Taibi Mager Named one of the top ten theatre experiences of 2016 by the New York Times, Underground Railroad Game is a vivid, piercing piece of experimental performance from Philadelphia-based company Lightning Rod Special. Over its rapid-fire 75 minutes, the piece toes the line between sketch comedy show and excruciating American history lesson, set in a middle school classroom. Underground Railroad Game Thursday, March 1, 2018; 8:00 p.m. ’62 Center for Theatre and Dance, MainStage 1000 Main Street Williamstown, Mass. Tickets: $10/$3 (students) At Hanover Middle School, two teachers get shockingly down and dirty with a lesson about race, sex, and power. The quick-witted duo goes round after round on the mat of our nation’s history in an R-rated, far-reaching, and absolutely unflinching comedy. Lightning Rod Special’s raucous performance earned them the 2017 Obie Award for Best New American Theatre Work, one of the highest honors in the field. By tearing down barriers of political correctness and challenging the contemporary liberal interracial dialogue, Underground Railroad excavates hidden—and often ugly—truths about race, identity, and historical memory. Production Design: Tilly Grimes Scenic Design Steven: Dufala Lighting Design Oona: Curley Sound Design: Mikaal Sulaiman Production Stage Manager: Lisa Mcginn Stage Manager: Natalie Hratko Post Show Q&A with Assistant Professor of English Kimberly Love. “If we interrogate the mythos of the Underground Railroad we uncover an apparent need to make systemic exploitation, degradation and objectification palatable. Why is it that we love to narrativize ourselves in ways that propagate the very violence we proclaim to upend?” – Jennifer Kidwell & Scott Sheppard   Underground Railroad Game Trailer from Jennifer Kidwell on Vimeo. About Jennifer Kidwell Jennifer Kidwell Jennifer Kidwell is a performing artist. Most recently she has had the fortune to work with David Neumann/advanced beginner group (I Understand Everything Better), Robert Wilson/Toshi Reagon/Bernice Johnson Reagon (Zinnias), Pig Iron Theatre Company (Live Faster, 99 Break-Ups) and visual artist Joe Scanlan as Donelle Woolford (Dick’s Last Stand, Whitney Biennial 2014). With Scott Sheppard, she has created the original duet Underground Railroad Game (FringeArts 2015, ANT Fest 2014), and is currently at work on an original quartet, Those With Two Clocks, with Jess Conda and Melissa Krodman. She is a proud co-founder of JACK (Brooklyn). About Scott Sheppard Scott Sheppard is an actor, deviser, director and teacher from Philadelphia and he has co-created all of Lightning Rod Special’s performance works. He is also a member of the inaugural class at Pig Iron’s School for Advanced Performance Training (2011-2013) and most recently appeared in Pig Iron Theatre Company’s newest production 99 Breakups. In 2013-14 he was selected to be BRAT Productions’ Artist in Residence, and his most recent original production, Underground Railroad Game, appeared as a presented feature in the 2013 NOLA Fringe Festival and Ars Nova’s All New Talent Festival in New York City.

Hey Greylock Nation— Today is Tuesday, January 16, 2018, and you’re listening to episode 62 of the Top Left Corner. I’m your host, Jay Velazquez, and, as always, I thank you for tuning in. We’re coming up this week on the first anniversary of the Women’s March, the largest single-day protest in U.S. history, with half a million attendees showing up for the flagship event in Washington D.C., approximately 4 million participating in events around the country, and well over 5 million demonstrators world-wide. Although I haven’t talked much about it, I was fortunate, more than fortunate actually, to attend the Women’s March on Washington. At the last minute Meghan Whilden, Executive Director of the Osher Lifelong Learning Institute at Berkshire Community College, contacted me to let me know about an empty seat on one of several busses heading to the Capitol from Western Massachusetts. She wanted to send me down as one of the Berkshires’ own journalists on location at one of the most profound and powerful experiences on American soil of the 21st Century. My bus left from Northampton, Mass about 1:30 a.m. packed primarily with women from the Pioneer Valley, but also a good share of Berkshire residents. The buses leaving out of Pittsfield had all left earlier the evening before. Our bus arrived and parked in the lot of a stadium outside of the Capitol, and, keeping close to my Berkshires contingent, I made my way toward the National Mall, interviewing people along the way. Long before I saw the columns of the Supreme Court or any of the monuments, I knew that I’d been captured by history and marked in a way that would be almost painful for its permanence. I reported via Facebook LIVE video and through live audio broadcasts using the Mixlr Internet radio service. I posted photos and text updates until first the cellular service in D.C. got completely clogged, or intentionally disabled—we never found out— and then eventually my phone’s battery ran dry, and I had no way to charge it without finding my way through a rolling pink sea of determination. On the trip back to Western Mass, I tried to piece together some way to tell a story that was weightier and more expansive than I’d ever been tasked to convey. Harder still was knowing what to do with the strange distance I felt between myself as a man and a reporter at the scene and the women who were returning as victorious participants. There were so many women who’d attended not just the March on Washington, but also the sister events in the Berkshires and beyond, who had their stories and experiences to share as women with other women. Who was I to show up at their campfire and ask to be passed the talking stick? And with such really excellent coverage by so many distinguished national journalists, I couldn’t see what contribution I might make. I spent a good amount of time on both the way down and the way back talking with Emily Cutts, staff writer for the Daily Hampshire Gazette. I meant to ask her what it felt like to be a female journalist covering the story, and whether she felt she needed to try to keep a level of professional detachment from the events. I don’t know how any reporter, man or woman, could have kept their heart behind a fence, to be honest. But I never got to ask her. The bus stopped moving about 40 minutes south of Northampton and wouldn’t budge again. In a flurry of calls to family and frenzied tapping on Uber, the women and men who shared such powerful solidarity for the last 24 hours made their separate ways out into the pre-dawn darkness and frost. My lot, and that of my traveling companion, was looking more and more dire as Uber drivers started r...

Longtime Berkshire Bach Ensemble member Eugene Drucker takes on directorship of “Bach At New Year’s” Today is Wednesday December 20, 2017 and you’re listening to Episode #66 of Will Call, our final episode of the show for the year. I’m your host, Jason Velázquez, and I thank you not only for tuning in today, but for being such a fine, fine audience throughout 2017. It has been my treat to share with you news and interviews from the performing arts universe here in the Berkshires. I don’t know about you, but I can’t wait to find out where 2018 will lead us. I am so pleased to announce that this episode is sponsored by one of the newest supporters of the Greylock Glass, The Spirit Shop of Williamstown, located at 280 Cole Avenue, purveyors of fine wines, a masterfully curated selection of domestic and imported beers, local hard ciders, and a full range of liquors—if you check your cabinet and find your holiday entertaining supplies lacking, a trip to the Spirit Shop, might just be the solution you’re looking for.     At the top of the show, we heard a clip from Rondeau, one of six contradanses by Wolfgang Amadeus Mozart, performed by the Berkshire Bach Ensemble, at their 2015 extravaganza, “Bach at New Year’s — A Blast of Brass,” under the direction of Kenneth Cooper. This season inaugurates a season of change for the Berkshire Bach Society. Emerson String Quartet founder and internationally renowned soloist, Eugene Drucker takes the directorship of Berkshire Bach’s time-honored and celebratory “Bach at New Year’s”, as well as performing as featured soloist with the Berkshire Bach Ensemble. We’re joined this episode by Paula Hatch, Executive Director of the Berkshire Bach Society, to talk about this year’s Bach at New Year’s event and to look forward to 2018. A Christmas Carol First though, we had a brief conversation with Travis Daly of Berkshire Theatre Group who directs their beloved community production of A Christmas Carol again this year. And again, tickets are still available for this beloved staging of A Christmas Carol at berkshiretheatregroup.org. That was a portion of Bach’s Brandenburg Concerto No. 2 in F major, played by the Berkshire Bach Ensemble during their 2016 Bach at New Year’s. All six Brandenburg Concerto’s were performed for last year’s holiday spectacular, the final such with Kennth Cooper as director before his retirement. With me now is Berkshire Bach Society executive director Paula Hatch to describe this 2017 event and to fill us in about what’s known of the 2018 season. Head on over to http://berkshirebach.org/ for tickets and more information. Well, that’s our show for this week. I’ve been your host, Jason Velazquez, and again, I do thank you for listening today, and throughout 2017. I hope you’ll join me next year for another great season covering the performing arts in the Greylock corridor. Take care!   Bach at New Year’s Program 2017-2018 Mozart: Divertimento in D Major, K. 136 William Boyce: Symphony No. 1 in B flat Major for oboes and strings. Purcell: Chacony and Fantasias; Cebell and Fanfare; The Faerie Queen Prelude and Celebration William Boyce: Symphony No.

Razor sharp a cappella and gospel group to give free performance   from publicity materials Known for their powerhouse vocals, the MCLA Allegrettos are quickly becoming a name on the collegiate music scene. Focusing on complex vocals, rock solid technique, emotive nuances, and power; the Allegrettos deliver a sound that has no flats, avoids sharps, and only produces perfect harmony. Allegrettos A Cappella Performance Saturday, December 09 at 7:00 p.m. SereniTea Cafe and Bar 303 Ashland Street, North Adams, Mass. Free! More info. In three short years the Allegrettos grew from a 10 person Christmas caroling group, to a thirty member, award winning ensemble that has opened for the likes of Craig Harris, The Sweetback Sisters, Blitz the Ambassador, and Regina Carter. The purpose of the MCLA Allegrettos is to challenge its members in all aspects of performance, from learning vocals to developing a visually stimulating and entertaining performance to a variety of audience members. It also enriches the community by performing varying genres of music which therefore provides a sense of other musical cultures. The Allegrettos began in the winter of 2009 as the Hoosings. Freshman J. Cottle had always wanted to go caroling and for the first time, found himself in the position to do so. Together with 9 other freshmen (Jessica Jean-Charles, Kate Moore, Lizzy Mullen, Shavonne Brown, Chantel Baptista, Paul Miranda, Quincy Goodwin, Ryan Howard and Joel Siskin) the Hoosings caroled all around campus. Since then the group has tripled in size, and now focuses on Holiday, A Capella, and Gospel music, and has performed over 30 times across the state. In 2011 they were finalists in the first season of Together In Song, and won 2nd place in the first annual Lenox Caroling Festival. window['bsa_content_preview_only_'] = true;