Biden Announces Key Nominees

Three Blind Mice, Hot Cross Buns, Mary Had a Little Lamb. These are the songs third graders across the country are playing on the recorder in music class. Elementary students have been learning how to play the recorder, a simple, open-holed woodwind instrument, since the 1950s. Recorders are the perfect instrument for first time musicians because they are inexpensive and it is easy to produce sound using one. In fact, third graders at C.V. Starr Intermediate School are continuing the long-held tradition.“Recorders are great for learning to read music, lots of the woodwind instruments follow the same finder placement, the instruments are cheap and indestructible, and every kid can succeed with the recorder,” said music teacher Danielle Ortiz-Welsh.Students learned the notes last month–the line notes or every-good-boy-does-fine and the space notes or f-a-c-e. This week, they are learning finger placement and reading rhythm and notation.“Is every hole on the recorder a note,” asked Beatrix Lasko.“Beatirix is one step ahead,” said Ortiz. “That’s right–every hole is a line or a space note.”The class gets in the ready position–good posture, with the thumb covering the hole underneath the recorder and the left hand pointer finger covering the first hole for the note B.“Ready and one, two, three,” said Ortiz.Ta-ta-ta-rest-ta-ta-ta-rest“That sounded a little squeaky,” said Ava Ava Billar, “we need to play a little softer.”By the end of class, students who had struggled with the squeaks and figuring out the rest notation had mastered the first line of Hot Cross Buns. By the next class “Gently Sleep” or “When the Saints Go Marching In.” After that, who knows… Carnegie Hall!

Brewster High School students interested in child development are getting the chance to study the subject at a college level without leaving Brewster.In Nicole O’Sullivan’s class, The Development of Children, students are learning about child development and getting hands-on experience in the classroom. The course, which is offered through Syracuse University’s Project Advance, allows students to earn three college credits at a fraction of the cost. While college students would pay $6,500 for the course, Brewster students pay $345.“It’s a great class for students who want to pursue a career in child development,” said O’Sullivan, “We have guest speakers from the community including a speech pathologist, social worker, bilingual educator, principal, and teachers. I love it when I hear back from former students who are studying child development in college or are working in the field.”This week, the class is fanning out across the district to observe and assist in middle school classrooms at Wells, intermediate classrooms at C.V. Starr and elementary classrooms at JFK. In total, more than 30 teachers have opened their doors to the students.The juniors and seniors who take the class have a range of interests and ideas about their future paths. “I want to be a school psychologist,” said Elyse deSaint-Leon, “My favorite unit so far in the class has been Erikson's stages of development. It spoke to me–no matter how old you are, you are still developing.”In addition to the high school child development class, Elyse volunteers in Cara Johansson’s second grade class where she reads with students, helps with writing and interacts during play time.Kadance Golash is interested in becoming a mental health social worker. She volunteers every week in Michael Tomassi’s second grade class.“I am focusing on how kids interact with each other and how they overcome their problems,” she said.Hanna Krempler, a senior, who will be attending Marist College for a combined bachelor’s and master’s degree program in education next year, wants to be a seventh grade English teacher, following in her mother’s footsteps.“I love to read and I think seventh grade would be a good grade to teach,” said Hannah.Kayla Disla, who speaks Spanish, is planning to work with elementary school students and get her ENL certification. She also volunteers at JFK every Friday.One student, Ava Stano, also attends BOCES for child development and education. She volunteers in Barbara Huestis’ fourth grade classroom helping students stay on task.In each of the classrooms, SUPA students listen to questions, give supportive feedback and smile. The teachers who are inviting and flexible and who have been through the process themselves, remind them how proud their families must be for their interest in child development and happy to get the college credits for a fraction of the actual cost.

Last night, a group of A.C.T. of Connecticut’s most devoted supporters had the rare opportunity to step inside the creative process during a working rehearsal of the theater’s much-anticipated production of Fiddler on the Roof. Directed by Artistic Director Daniel C. Levine and featuring the music direction of Bryan Perri, this unique rendition of the timeless musical promises to be an unforgettable exploration of storytelling, culture, and history.A Story That Hits Close to Home“This is my story. I feel very, very connected to it, and it is very, very personal,” Levine fought back tears as he addressed the attendees. As the grandson of Russian immigrants and a Jewish person who grew up immersed in the teachings of remembrance, Levine’s connection to Fiddler on the Roof is deeply rooted in his family’s history.“In Hebrew school, we’re taught to always remember to never forget. The moment we stop remembering, atrocities can happen again. Bearing witness is essential and creates a responsibility, and that’s a cornerstone of our production.”Levine’s one-of-a-kind approach underscores this ethos. Throughout the performance, the entire cast of 25 remains on stage, symbolizing collective witnessing. Even when not directly involved in a scene, the actors—seated on scenically designed risers—serve as silent observers, embodying the ever-present weight of history.Levine says, "This artistic choice highlights the interconnectedness of the characters’ lives and their shared experiences, reflecting the communal struggles and triumphs of Anatevka. By keeping the cast visible, we emphasize that each individual’s story is part of a larger narrative. The village’s collective memory and resilience take center stage, amplifying the universal themes of tradition, change, and survival. My hope is that this artistic choice also invites the audience to engage more deeply, fostering a sense of solidarity and shared responsibility for these timeless stories."Innovative Vision Meets Timeless TraditionFiddler on the Roof traditionally opens with the iconic number, “Tradition.” However, Levine’s vision offers something bold—a prologue that sets the stage in a deeply emotional and meaningful way before the familiar song begins.“I didn’t want to simply restage the original Broadway production,” Levine explained. “This is a story that my family has lived, and I wanted to bring that intimacy and authenticity to every moment.”Levine’s desire to make the production personal extended to the casting process. “When actors came into the audition room, I looked for those who, in a sense, felt like my family. It’s more than talent; it’s about storytelling and connection. These actors could be my aunts, sisters, or brothers. That’s why they’re here.”Original Choreography with Cultural RootsCollaborating with choreographer Josh Assor, Levine ensured the movements in this production evoke the emotional core of Jewish culture while reimagining some of the classic choreography originally created by Jerome Robbins. The result is a dance language that feels rooted in tradition yet fresh and dynamic.Music That Speaks to the SoulUnder the music direction of Music Supervisor Bryan Perri, A.C.T.’s 11-piece orchestra provides the evocative soundtrack that breathes life into the village of Anatevka. Songs like “Tradition” and “Miracles of Miracles,” previewed during last night’s rehearsal, moved both cast and audience members alike.“There have been a lot of tears during our rehearsal period,” Levine confessed, highlighting the emotional gravity of the material. “We don’t shy away from the darker parts of the story. That’s where the truth lives.”A Production to RememberSet in the small Jewish village of Anatevka in Imperial Russia at the turn of the 20th century, Fiddler on the Roof is a story of faith, family, and the struggle to balance tradition with change. Through Levine’s innovative direction and A.C.T.’s exceptional cast, this production will not only honor the original but also challenge audiences to reflect on their own role in bearing witness to history.ACT of Connecticut’s Fiddler on the Roof opens on February 6 and runs through March 9, 2025. Don’t miss the chance to experience this reimagined masterpiece that promises to resonate with audiences long after the curtain falls.Purchase tickets https://www.actofct.org/fiddler-on-the-roof*This image was taken during a working rehearsal of Fiddler on the Roof