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"RAD" 2003 Obituary


RADDEN o@ca.on.york_county.toronto.globe_and_mail 2003-06-28 published
COLQUHOUN, Stephen Murray
It is with great sadness that we announce that Stephen Murray COLQUHOUN died suddenly on Wednesday, June 18th, 2003 in Thunder Bay, Ontario. Steve will be sorely missed and always cherished by his wife Maria (née SALATINO,) sons Stevie and Jamie, his sisters Liz (Mike EVANS), Marg (Brian WEBSTER), Mary Louise (Paul RADDEN,) and brother Bob (Judy COLQUHOUN.) He died too young. First and foremost in Stevie's life was always Maria and his boys. He will also be missed by his in-laws Maria and Giacomo SALATINO, his wife's sisters Rosa (Cheslan CHOMYCZ,) Anna (Chris KELOS), Gina (Dan CHAMPAGNE), Aunt and Uncle Jim and Cappy COLQUHOUN. A funeral was held at St. Andrews Presbyterian Church on Monday, June 23, 2003. In lieu of flowers, a donation to a trust fund for his children, c/o any branch of the Bank of Nova Scotia, account #006870000485 would be greatly appreciated.

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RADNER o@ca.on.york_county.toronto.globe_and_mail 2003-04-11 published
Visionary performer waged war on trivial art
Her trademark was a experimental process that embraced dance, music, text, mime, clown, ritual and mask
By Paula CITRON Friday, April 11, 2003 - Page R13
Canada has lost a powerful force in experimental theatre and dance. Director, dancer, actor, writer and choreographer Elizabeth SZATHMARY died last month in Toronto.
While she will be remembered as a dynamic figure, her artistic life will remain a contradiction. At the beginning of her career, Ms. SZATHMARY was one of the gilded darlings of Toronto's burgeoning experimental theatre. At the end, she was seen by some as a marginalized, religious eccentric who put on plays in church basements.
To her long-time Friends and loyalists, however, Ms. SZATHMARY's life was a spiritual journey in which art, religion and morality were inextricably intertwined in a nobility of purpose.
Ms. SZATHMARY was born in New York on October 12, 1937, to Jewish-Hungarian parents. Her mother was an unhappy former opera singer and vaudeville performer and her father was a composer and arranger who wrote the theme for the popular television show Get Smart and who abandoned his family. Ms. SZATHMARY attended New York's High School of Performing Arts and later performed with the Metropolitan Opera Ballet under choreographer Antony TUDOR.
A ravishing beauty with masses of long, jet-black curls and compelling light-coloured eyes, Ms. SZATHMARY attracted followers throughout her career. She was, says Toronto choreographer David EARLE, a powerful, mysterious presence and a charismatic performer.
Another admirer was Canadian Robert SWERDLOW. Mr. TUDOR's piano accompanist, he fell in love with the beautiful young dancer and followed her to France where Ms. SZATHMARY danced with such companies as Les Ballets Classique de Monte Carlo and Les Ballets Contemporains de Paris. He was the first of many artists to be inspired by Ms. SZATHMARY.
"Elizabeth was a theatre philosopher who wanted to save the world through the beauty and truth of her art," Mr. SWERDLOW said.
The couple relocated to Montreal in the mid-sixties where Mr. SWERDLOW got a job with the National Film Board. One assignment brought him to Toronto, and it was Ms. SZATHMARY who persuaded him to settle there because of the city's "happening" dance scene. Performing under the name Elizabeth SWERDLOW, she first worked with Mr. EARLE and the future co-founders of Toronto Dance Theatre.
In 1969, Mr. SWERDLOW took an unexpected windfall of $30,000 and built his wife a performing venue of her own. In this way, Global Village Theatre emerged from a former Royal Canadian Mounted Police stable and the couple went on to became synonymous with a new wave of provocative, political, issue-oriented theatre.
Mr. SWERDLOW provided the words and music, and co-wrote the shows Elizabeth co-wrote, choreographed, directed and was the featured performer. Importantly, she was the visionary who came up with original concepts and her trademark, multidisciplinary theatrical process embraced dance, music, text, mime, clown, ritual and mask.
Among their better-known collaborations was Blue.S.A., an indictment of the "American empire," and Justine, the story of a young girl who gains wisdom through the vicissitudes of life. A huge hit, Justine went to New York where it won off-Broadway awards and enjoyed a long run.
Its success meant Global Village became a stopping place for others. Gilda RADNER, John CANDY and Salome BEY represented just some of the talent that passed through. Later, when Ms. SZATHMARY founded Inner Stage Theatre, she helped propel the early careers of Antoni CIMOLINO and Donald CARRIER of the Stratford Festival, Jeannette ZINGG and Marshall PYNKOSKI of Opera Atelier and Native American performer Raoul TRUJILLO.
In the mid-seventies, Ms. SZATHMARY experienced a religious conversion and became a devout Christian.
For Mr. SWERDLOW, it was the last straw in an already turbulent relationship. After the couple split up, Ms. SZATHMARY founded Inner Stage, a name that expressed her desire to produce art that would transform and heal through spirituality. To better strike out on her own, she also shed the SWERDLOW name. Until the 1990s, the main work of Inner Stage was a series of acclaimed morality tales -- or modern fables as Ms. SZATHMARY called them which toured schools from coast to coast. She also explored the storytelling power of Native American myths and turned to such themes as the plight of street youth or to the Holocaust from a teenager's point of view. Her final project, No Fixed Address, attempted to air the true voice of the homeless by both telling their stories and casting them as actors.
By all accounts, Ms. SZATHMARY was a true eccentric who personalized everything. Her computer, for example, was called Daisy. Her home was a living museum dominated by a family of cats who occupied their own stools at the dining table, held conversations and sent out Christmas cards to the pets of Friends. Spiritual sayings, religious art and theatre memorabilia covered every scrap of wall and floor space. On an even more personal level, Ms. SZATHMARY kept a journal of religious visions and dreams written in ornate calligraphy and illustrated in Hungarian folk-style art. What is more, she described ecstatic events and augurisms, including a personal affinity with bison, as if such occurrences were as routine as the weather.
In her work, Ms. SZATHMARY demanded perfection, which meant she often proved impossible to work alongside. Friends and colleagues Robert MASON, Julia AMES and Peter GUGELER all talk about Ms. SZATHMARY's middle-of-the-night phone calls -- and the fact that she brooked no criticism or contrary opinions. All the same, their devotion never lessened.
"She was a queen and we were her subjects," said Mr. GUGELER. "Elizabeth never left you once she got ahold of you."
Guerrilla theatre, grass-roots theatre, shoe-string theatre, theatre against all odds, a "let's-make-a-show" mentality -- that was the brave, artistic world in which Ms. SZATHMARY waged her war against what she saw as frivolous or commercial art. In 1989, Inner Stage lost its operating grant and from that time on she financed her own productions. During the last year that she was able to work, she earned a pitiful $5,000.
Ms. SZATHMARY continued to perform in all her productions, turning more to straight acting as her dancing powers declined. Even so, she never gave up the stage to anyone.
Elizabeth SZATHMARY died of rectal cancer in Toronto on March 28. A memorial service will be held at the Church of the Redeemer, 162 Bloor St. W., Toronto, at 3 p.m. on April 27.

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RADOSTITS o@ca.on.york_county.toronto.globe_and_mail 2003-05-13 published
By Otto M. RADOSTITS Tuesday, May 13, 2003 - Page A20
Father, husband, brother, grandfather, veterinary professor. Born April 7, 1934, in Woodstock, Ontario Died December 14, 2002, of Alzheimer's disease, aged 68.
Reginald George THOMPSON/THOMSON/TOMPSON/TOMSON (Reg) was raised on a dairy farm. He graduated with honours from the Ontario Veterinary College in 1959. Following two years of veterinary practise in Fisherville, Ontario, he returned to the college for postgraduate studies in veterinary pathology, earning a Master's in 1963. This was followed by a PhD from Cornell University and certification in the American College of Veterinary Pathologists. He was appointed to the faculty of the Ontario Veterinary College, and soon became a professor; he became head of the Department of Veterinary Pathology in 1968.
He loved teaching and sharing his knowledge with undergraduate and graduate students; he had high expectations of them. Known as "Dr. T", he would ask individual students to examine a lesion during the necropsy of an animal. Standing beside the student, he would ask, "What do you see? What does it mean?" Students came prepared for their classes and, as veterinarians, talked about their experiences with "Dr. T" many years later.
While on a sabbatical leave in Kenya, he stood in the corridor of the veterinary college and asked students to come in and look at the specimens on display. This began his interest in helping postgraduate veterinary students from Africa. Reg's excellent publication record in veterinary pathology included two well-recognized textbooks.
In 1979, he was appointed planning co-ordinator for the proposed Atlantic Veterinary College. Although the need for a veterinary college in Atlantic Canada had been determined, its location was controversial. Ultimately, Charlottetown was selected and Dr. THOMPSON/THOMSON/TOMPSON/TOMSON was appointed as Founding Dean; the first class of 52 students was accepted in 1986. In planning the college, Reg worked diligently with government agencies, animal production associations, veterinarians, and user groups to ensure that the college met the needs of Atlantic Canadians. A unique feature of the teaching and research program of the college is the Fish Health Unit, which specializes in enhancing the growth of a healthy fisheries industry in the area.
Reg's interest in history resulted in a museum in the foyer of the college where artifacts of veterinary history, such as instruments used by veterinarians in the past, are on display. Collecting whale bones around the shores ofPrince Edward Island was also one of Reg's passions. One bone was huge: a whale's vertebra, now prominently displayed in the museum. When full accreditation was granted to the college, special reference was made to the museum by officials from both the Canadian and American Veterinary Medical Associations, describing the exhibition as exceptional.
Reg received many professional kudos over the years, including honorary degrees from the University of Prince Edward Island and the University of Guelph. He was justifiably proud of the work he did.
He enjoyed camping and travelling with his wife Helen and three daughters and thrived on adventure. Roughing it was always the way to go.
Listening to big band music was a passion; he loved the music of Benny Goodman, Tommy Dorsey, Artie Shaw, Duke Ellington, and the other greats.
In 1991, when diagnosed with Alzheimer's disease, he resigned as dean; one year later, he and Helen moved back to their hometown of Woodstock. He lived at home for six years before entering Woodingford Lodge. He died peacefully surrounded by his family, with big band music in the background.
Otto M. RADOSTITS was a friend and colleague of Reg THOMPSON/THOMSON/TOMPSON/TOMSON.

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RADWANSKI o@ca.on.york_county.toronto.globe_and_mail 2003-12-11 published
An old-fashioned newsman
Distinguished journalist began humbly as a copy boy at the Hamilton Spectator and soared to the top of the Canadian Broadcasting Corporation
By James McCREADY, Special to The Globe and Mail Thursday, December 11, 2003 - Page R11
During the October Crisis of 1970, there were a lot of editors who buckled under. They followed the orders of the police and the Quebec and federal governments about not printing or broadcasting some details about the kidnapping of British Trade Commissioner James CROSS and the kidnapping and murder of Quebec cabinet minister Pierre LAPORTE.
Many editors and broadcast executives took to self-censorship, anticipating what the authorities wanted and keeping newscasts and newspapers clean. Denis HARVEY, who has died at age of 74, was not one of them.
Then editor of The Gazette of Montreal, the man he faced down was Jerome CHOQUETTE, Quebec's justice minister and the public face of authority during much of the crisis. CHOQUETTE did not want newspapers to publish the full manifesto of the Front de libération du Québec. Denis HARVEY ignored the request and published it.
The paper also broke the news that police had a photograph of James CROSS sitting on what looked like a box of dynamite. The justice minister warned The Gazette editor he could be arrested under the terms of the War Measures Act, but Mr. HARVEY called his bluff.
During the crisis, Mr. HARVEY didn't change his habits. When the paper was put to bed, he would walk to the Montreal Men's Press Club in the Mount Royal Hotel carrying the bulldog or first edition of the paper and sit at the bar and argue statistics with the sports editor, Brodie SCHNIEDER/SNIDER/SNYDER.
There would also be political discussions, some of them heated, since the man who wrote the stamp column at the paper had been called up from the reserves in the military and took himself, and the War Measures Act, quite seriously.
Mr. HARVEY was an old-fashioned newsman, a high-school dropout who rose to edit newspapers and who went on to run the Canadian Broadcasting Corporation Television news service and then the entire Canadian Broadcasting Corporation-Television network.
Denis Martin HARVEY was born on August 15, 1929, in Hamilton, where his father was a customs inspector. He left school halfway through Grade 13 and landed a job as a copy boy at The Hamilton Spectator. This was not uncommon and was the traditional route for a young person coming into the newspaper business. Journalism schools were all but unknown and university-educated reporters and editors were rare.
He went from copy boy, ripping the wire copy off the machines, to listening in for police tips on radio scanners. He became a sports writer and in 1952 quit the paper and went to travel in Europe for six months. He came back to the Spectator as a general reporter the next year.
He did everything, from labour columnist to business writer. At 26, he was city editor of the Spectator and then news editor. In 1961, he was executive editor and held that job for five years.
In 1966, he moved to The Canadian Magazine, a joint venture with the Toronto Star. It meant leaving Hamilton after 21 years, but it was the first step to the most important job in his career editor of The Gazette, which he took over in 1969, the year he turned 40.
Mr. HARVEY was tough. He scared people with a gruff demeanour, which at times seemed like something out of The Front Page. When he arrived at The Gazette, it was losing the newspaper war with rival Montreal Star. Many editors had cozy sinecures. Almost right away, Mr. HARVEY fired the head of every department but one. When one editor came into his office and said he had found another job and was giving two weeks' notice. HARVEY shot back: "Two hours' notice." The man was gone in less.
However, he inspired loyalty in his staff of reporters and editors.
"He could be tough but he stood up for his staff. And he was completely honest and honourable. A stand-up guy," said Brian STEWARD/STEWART/STUART, who covered city hall at The Gazette and was later hired by Mr. HARVEY at the Canadian Broadcasting Corporation. "You always wanted to impress him."
One night at Martin's, a bar next door to The Gazette, there were complaints about a sports picture in the paper. The photographer said to Mr. HARVEY: " I'd like to see you do better."
Next night he was at the Forum for a Canadiens game. Along with two regular photographers, he took pictures which, unsigned, went back to the office for selection. His picture made the paper.
It was a combination of hot news stories and the ability to turn around a failing newspaper that made his reputation at The Gazette. The police strike in 1969, the October Crisis, riots and labour battles made the period one of the most exciting in the paper's history.
Having secured his reputation as an editor, Mr. HARVEY was lured away to television in 1973 to become chief news editor at Canadian Broadcasting Corporation Television News in Toronto. His colleagues told him he was crazy.
"My newspaper Friends said: 'How can you make the transition?' Mr. HARVEY said years later. "But I'm surprised more people don't. I believe in changing jobs."
Although he didn't know anything about television, he told people: "I do know pictures." He went to CBS in New York for a crash course in television news.
Canadian Broadcasting Corporation-Television News was as much of a mess as The Gazette had been. There had been a series of editors who hadn't managed to get a handle on the place. Mr. HARVEY took quick action and made it more professional, spending less time on bureaucracy and more time on the main newscast.
One night, an old-time producer was called into his office and the new chief news editor asked him why he hadn't gone with a fresh lead story. The producer replied he couldn't order anyone to do that -- that was the lineup editor's job. Mr. HARVEY disagreed and said: "Put on your coat and go home." The man kept his job, but worked on the desk and not as a producer.
During his short reign at Canadian Broadcasting Corporation News, he brought in fresh faces and got television reporters to think about breaking stories instead of following newspaper headlines. Audience levels rose and so did Mr. HARVEY, moving up the ladder at the Canadian Broadcasting Corporation. But the promise of a big paycheque lured him to a three-year stint at The Toronto Star starting in 1978.
There, he was first in charge of the editorial page and then became editor in chief and vice-president. He left the Star in 1981 and was replaced by George RADWANSKI, the future federal privacy commissioner, who had worked for him at The Gazette. Mr. HARVEY returned to the Canadian Broadcasting Corporation, taking over sports for the English network. By 1983, he was vice-president of the entire English network of the Canadian Broadcasting Corporation.
He held that job for seven years. He used to say his favourite part of the job was the power to do programming. He changed the face of the Canadian Broadcasting Corporation and it has stayed that way. Mr. HARVEY took the Canadian Broadcasting Corporation all Canadian -- it took several years but he stopped running American program in prime time.
"We have handed over this most powerful medium to a foreign country," he told a broadcasting conference in 1990. "Nowhere else in the world had one country imported the total television of another country."
Along with Canadian content, one of his lasting creations was the Canadian Broadcasting Corporation's news and current-affairs specialty channel Newsworld. He left the Canadian Broadcasting Corporation in 1991 and worked off and on as a broadcast consultant. He spent a lot of time travelling and took up some rather un-tough-guy hobbies, such as bird-watching and going to the ballet.
Mr. HARVEY, who died after a brief struggle with cancer, leaves his wife Louise LORE, and Lynn and Brian, his two children from an earlier marriage.

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