RADDEN
RADNER
RADOSTITS
RADWANSKI
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
Reginald George
THOMPSON/THOMSON/TOMPSON/TOMSON
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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