Clark Art Concludes Music in the Manton Series with Pianist Benjamin Hochman

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Williamstown, Massachusetts—The Clark Art Institute concludes its three-part Music in the Manton concert series with pianist Benjamin Hochman on Friday, May 2 at 6 pm in the Manton Research Center auditorium.
 
According to a press release:
 
Hochman presents a solo piano recital centered around brilliant American composer Matthew Aucoin's The tracks have vanished, a work inspired by Aucoin's forthcoming opera Demons, itself based on Dostoyevsky's eponymous novel. The recital program draws on an intricate web of interconnected themes, including nihilism and life under Russian totalitarianism (Ustvolskaya's Preludes) and the genre of opera transcriptions, including operas by Wagner and Gluck.
 
$10 ($8 members, $7 students, $5 children 15 and under). Advance registration encouraged. Capacity is limited. Accessible seats available.

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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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