In 1973, Mike Farny had a vision: to bring affordable outdoor recreation to the residents of metropolitan Boston. Opening the Charles River Canoe Service that year, Farny became an instrumental voice in efforts to clean up the river, encouraging people to canoe, kayak, and sweep up the dirt on the riverbanks. The next year, he persuaded the Leo J. Martin Golf Course to transform its greens and fairways into a sprawling landscape for cross-country skiing alongside the Charles, allowing the public to enjoy recreation on the river even when its waters had frozen. A 15-kilometer system of trails makes use of natural snowfall and offers skiers a chance to change up their routes. Even when flakes refuse to fall, a state-of-the-art artificial-snow system shoots powder over a 2.5-kilometer loop, which rests beneath lights to allow night skiing before guests return to the cozy snack shop for hot cocoa and a bite to eat.
The high-pitched thwacks of flush drives pierce the air from the elevated hitting bays that encompass Leo J. Martin Golf Course's driving range, inspiring clubbers of all abilities to perfect their pendulous swings. With more than 30 hitting stalls replete with new artificial mats, the expansive range facilitates practice shots with all clubs or overenthusiastic legs as guests soak in sweeping views of the tree-lined New England countryside. The range faces due east, so golfers won't have to reckon with the setting sun as they follow soaring shots through the stratosphere. A selection of new and used clubs anchors the facility's fully stocked pro shop, providing pristine wares to accompany swings fine-tuned at the range or during lessons. The practice area shares grounds with the Leo J. Martin Memorial Golf Course, a 6,320-yard course that opens its grassy passageways to all aspiring pin hunters.
Inside each Sky Zone location, a wall-to-wall half-pipe made entirely of trampolines gives children and adults a venue where they can safely hop, bounce, and somersault to their hearts' content. The vast, taut, springy flooring doesn't end at the walls, but instead the trampolines continue upward to form angles perfect for crawling up, springing off, or sliding down. Visitors can meander along the bounceable terrain in the open trampoline arena, throw themselves into giant foam pits, or sharpen their competitive edges in trampoline-assisted sports such as dodgeball. SkyRobics classes merge gravity-defying fun with fitness during instructor-led workouts that include calisthenics, core exercises, and strength-building aerobics to help guests shed calories without hurting their joints or taking a wrong turn on a treadmill.
The teachers at Weston Wayland Success Learning Center have a variety of backgrounds and credentials, from early childhood education to advanced physics degrees from MIT. The staff use their vast experience and knowledge to help students tackle tough subjects and prepare for exams. They specialize in math (all the way through calculus), reading comprehension, and elements of effective writing, including grammar, punctuation, and vocabulary. They also guide students toward academic success with exam-preparation programs for the SAT, SSAT, ISEE (Boston Exam School Test), and SAT subject tests.
Originally formed in 1997 at the Peabody Conservatory, Vento Chiaro's all-female quintet of woodwind musicians captivates audiences from their resident perch on The Rivers School Conservatory's stage. Their sonic tapestry seamlessly weaves joyful flute with mischievous oboe as the deeper reeds of clarinet and bassoon invite the regal brass of French horn to frolic in the woodwind woods. On March 11, all five musicians kick off with contemporary American composer Eric Ewazen's Roaring Fork, which paints an aural picture of a Colorado landscape as rugged and beautiful as the stone woman who will one day drop all four jaws of Mount Rushmore. Conservatory artist-in-residence pianist Roberto Poli joins his colleagues for Francis Poulenc's Sextet, melding the airy notes of the quintet with the keyboard's undulating melodies. The concert culminates with avant-garde composer Elliott Carter's Woodwind Quintet, eschewing regular chord progression for surprising atonal devices and polyrhythmic construction.