MCINNIS
MCINTOSH
MCINTRYE
MCINTYRE
McINNIS o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-09-17 published
John Carson
BRYAN
In loving memory of John Carson
BRYAN,
July 24, 1918 to September 8, 2003.
John C. BRYAN, a resident of Providence Bay, passed away peacefully at the Manitoulin Lodge
Nursing Home, Gore Bay on Monday, September 8, 2003 at the age of 85 years.
He was born in Spring Bay,
son of the late Robert H. and Mabel
(HEWITT)
BRYAN.
John was an avid reader with a great desire for knowledge. His hobbies included home
remodeling and he enjoyed building projects he designed. He had a
major role in the design and construction of the Manitoulin District
Cenotaph. He was a Chief Petty Officer in the Royal Canadian Navy
during World War II. He later worked for the National Research
Council of the Canadian Government as an electrical design engineer.
In 1964, he and his family moved to the San Francisco, California
area where he worked for General Electric as an electrical engineer.
He retired in 1978 and returned to Providence Bay to enjoy his great
love of family and Manitoulin. He and Phyllis traveled extensively
during their retirement. John was also a member of Royal Canadian
Legion Br. #177 Little Current, Manitoulin and North Shore Naval
Veterans Association. He will be greatly missed by his family, Friends and comrades.
Beloved husband of Phyllis
(MacINNIS)
BRYAN of Providence Bay.
Dearly loved father of Wayne
BRYAN of Winnipeg, J. Marlene
JEWELL and
husband William of Ithaca, New York and Gregory
BRYAN and wife
Stephanie of Los Angeles. Proud grandfather of Jeffrey and Erica.
Dear brother of Gordon
BRYAN (wife
Betty deceased.) Predeceased by
sister Idena
MORGAN and husband Reginald and brother Roy
BRYAN and
his wife Jean. Also survived by many nieces and nephews.
Friends called the Providence Bay United Church on Friday, September
12, 2003. The funeral service was conducted from the church on
Saturday, September 13, 2003 with Reverend Mary Jo
ECKERT
TRACY officiating. Cremation to follow.
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McINTOSH o@ca.on.york_county.toronto.globe_and_mail 2003-04-15 published
ANSLEY,
John
A.
Of Peterborough, Ontario, died peacefully, on Saturday, April
12, 2003, at the age of 61 years. He leaves his beloved wife
of 34 years Gail (née
MADORE) and their son James.
son of Mrs.
Grace PETERSON (née
McINTOSH) of Ottawa and the late Dr. Harold
ANSLEY of Ottawa and Barrie, and his late stepfather Ted
PETERSON.
Also surviving are his sister Ms. Sherrill
ANSLEY
(Jim,)
William
ANSLEY of Ottawa, cousins Susan and Kenneth
BURNETT of W. Vancouver,
Sandy and Peter
QUINN of Roberts Creek, British Columbia, and
John and Cordelia
McINTOSH of Victoria, British Columbia, and
their families. John graduated from Ashbury College in Ottawa
and attended Carleton University before becoming advertising,
sales and marketing manager in the window and door industry.
For many years he was active in community volunteer work with
a special interest in boating. His family wishes to thank Dr.
Stephan RAGAZ of Peterborough, Dr. Bryce
TAILOR/TAYLOR of Toronto General
Hospital and the loving nurses at the Palliative Care Unit in
Peterborough.
Friends will be received on Wednesday, April 16th, 2003 from
2 to 4 and 7 to 9 p.m. at the Highland Park Visitation and Reception
Centre on Bensfort Road at River Road South, Peterborough, 705-745-6984
or 1-800-672-9652. There will be a Funeral Service at the same
location on Thursday, April 17th at 2 p.m. followed by a reception.
In lieu of flowers, donations to the Palliative Care Unit Peterborough
Regional Health Centre would be appreciated. John will be missed
by his family and Friends who respected him for his integrity,
positive attitude and his humour.
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McINTRYE o@ca.on.york_county.toronto.globe_and_mail 2003-08-06 published
Linda STEARNS: 1937-2003
As ballet mistress and artistic director of the esteemed Montreal
company, she nurtured personality, flair and a risk-taking approach
to dance
By Paula CITRON
Wednesday,▼
August▼ 6, 2003 - Page R5
In the cutthroat, competitive world of dance, Linda
STEARNS was
an anomaly. As artistic director of Les Grands Ballets Canadiens,
she never played games or held grudges. Whether good or bad news,
she bluntly told her dancers what they had to hear, and in return,
her open-door policy allowed them to vent their own feelings.
National▼
Ballet▼ of Canada artistic director James
KUDELKA, who
spent almost a decade as a member of Les Grands Ballets, likens
her approach to wearing an invisible raincoat upon which unhappy
dancers spewed their venom. At the end of their tirades, she
would serenely remove the garment and say, "Now let's talk."
Linda STEARNS died at her home in Toronto on July 4, at age 65.
She was born into privilege on October 22, 1937. Her father,
Marshal, was an investment broker; her mother, Helen, was heavily
involved in charity work. The family lived in the posh Poplar
Plains▼ area of central Toronto, where Ms.
STEARNS attended Branksome
Hall.
Despite▼ their wealth, the
STEARNS children (Linda, Nora and Marshal)
were expected to earn their own livings. Helen
STEARNS had studied
dance in her youth, but a career was never an option. When eldest
daughter Linda showed a strong talent, history might have repeated
itself had not Marshal Sr. set aside his reservations after seeing
his daughter perform.
After▼ graduating from high school, Ms.
STEARNS went to London
and New York for advanced training. It was the great Alexandra
Danilova,▼ one of Ms.
STEARNS's
New▼
York▼ teachers, who pointed
the young dancer in the direction of the upstart Les Grands Ballets
Canadiens. Ms.
STEARNS joined Les Grands in 1961, and was promoted
to soloist in 1964. In a Who's Who of Entertainment entry, Ms.
STEARNS was once listed as joining the company in 1861, and she
liked to joke that, at 103 years, she held the record for the
longest time spent in the corps de ballet. In fact, one of Ms.
STEARNS's hallmarks was her sense of humour, much of it at her
own expense.
Les Grands was known for taking dancers who did not necessarily
have perfect ballet bodies, but had personality and flair, a
policy Ms.
STEARNS continued during her own administration.
Although Ms.
STEARNS had very unballetic, low-arched feet, she
was a fine classical dancer. She excelled, however, in the dramatic
repertoire: Mother Courage in Richard Kuch's The Brood, or the
title role in Brydon Paige's Medea. In later years, while teaching
and coaching, Ms.
STEARNS wore high heels to conceal her hated
low arches -- while showing off her attractive ankles.
Her performing career was cut short in 1966 when artistic director
Ludmilla CHIRIAEFF recognized that Ms.
STEARNS would make a brilliant
ballet mistress, and by 1969, Ms.
STEARNS was exclusively in
the studio. In fact, giving up performing was one of the great
disappointments of her life, although she did in time acknowledge
that she had found her true destiny. Ms.
STEARNS's astonishingly
keen eye allowed her to single out, in a corps de ballet of moving
bodies, every limb that was out of position. She could also sing
every piece of music, which saved a lot of time, because she
didn't have to keep putting on the tape recorder. Because of
her intense musicality, Ms.
STEARNS also insisted that the dancers
not just be on the count, but fill every note with movement.
Ms. STEARNS loved playing with words -- she was a crossword-puzzle
addict, for example -- and gave the dancers nicknames, whether
they liked them or not. Catherine
LAFORTUNE was Katrink, Kathy
BIEVER was Little Frog, Rosemary
NEVILLE was Rosie Posie, Betsy
BARON was Boops, and Benjamin
HATCHER was Benjamino, to name
but a few. One who escaped this fate was Gioconda
BARBUTO, simply
because Ms.
STEARNS loved rolling out the word "G-I-O-C-O-N-D-A"
in its full Italian glory. The dancers, in turn, called her Lulubelle,
Mme. Gozonga and
La Stearnova or, if they were feeling tired,
cranky and hostile -- and were out of earshot -- Spoons (for
her non-arched feet) and even less flattering names. As reluctantly
as she became ballet mistress, Ms.
STEARNS became artistic director,
first as one of a triumvirate in 1978 with Danny
JACKSON and
Colin McINTYRE (when Les Grands and Brian
MacDONALD came to an
abrupt parting of the ways;) then with Jeanne
RENAUD in 1985
and finally on her own in 1987. She retired from Les Grands in
1989. Both Mr.
JACKSON and Mr.
McINTRYE still refer to Ms.
STEARNS
as the company's backbone.
These were the famous creative years that included the works
of Mr. KUDELKA, Paul Taylor, Lar Lubovitch, Nacho Duato and George
Balanchine. Les Grands toured the world performing one of the
most exciting and eclectic repertoires in ballet. It was a company
that nurtured dancers and choreographers, many of whom reflected
Ms. STEARNS's risk-taking, innovative esthetic.
She also had time to mentor choreographers outside the company,
including acclaimed solo artist Margie
GILLIS.
Her▼ post-Grands
career included writing assessments for the Canada Council, setting
works on ballet companies, coaching figure skating, and most
recently, becoming ballet mistress for the Toronto-based Ballet
Jörgen. When she was diagnosed with both ovarian and breast cancer
two years ago, she continued her obligations to Ballet Jörgen
until she was no longer able, never letting the dancers know
how ill she was.
Ms. STEARNS loved huge dogs -- or what Ms.
GILLIS refers to as
mountains with fur -- and always had at least two. Her gardens
were magnificent, as was her cooking. Her generosity was legendary,
whether inviting 20 people for Christmas dinner, or hosting the
wedding reception for dancers Andrea
BOARDMAN and Jean-Hugues
ROCHETTE at her tastefully decorated Westmount home. After leaving
Montreal, whether, first, at her horse farm in Harrow, Ontario,
or at the one-room schoolhouse she lovingly renovated near Campbellville,
northwest of Toronto, former colleagues were always welcome.
She continued to keep in touch with her dancers, sending notes
in her beautiful, distinctive handwriting. Her love of sports
never left her, and after a hard day in the studio, she would
relax watching the hockey game. Religion also filled her postdance
life, with Toronto's Anglican Grace-Church-on-the-Hill at its
epicentre. Ms.
STEARNS was very discreet in her private life,
although another disappointment is that neither of two long relationships
resulted in marriage or children.
Ms. STEARNS was always ruthlessly self-critical, always striving
for perfection, never convinced she had rehearsed a work to its
full potential. As a result, she never made herself the centre
of her own story. Her homes, for example, did not contain photographs
glorifying the career of Linda
STEARNS.
Only▼ at the end of her
days, as she faced death with the same grace with which she had
faced life, was she finally able to appreciate how many lives
she had touched, and accept her outstanding achievements with
Les▼
Grands▼
Ballets.▼ Linde
HOWE-
BECK, former dance critic for
the Montreal Gazette, sums up Ms.
STEARNS perfectly when she
says that she was all about love -- for her Friends and family,
for life, but most of all, for dance.
Paula CITRON is dance critic for The Globe and Mail.
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McINTYRE o@ca.on.york_county.toronto.globe_and_mail 2003-03-05 published
McINTYRE, Marion (Monie) Elizabeth Daly Bean
Died on February 28, 2003 at Kipling Acres Nursing Home after
a long and devastating battle with Alzheimers. Monie was born
in Toronto June 18, 1923, the only child of Roland and Marion
Daly. She attended Bishop Strachan School in Toronto and the
University of Toronto where she earned her B.A. and M.A. in sociology.
She leaves behind her children who adored her: Diane (Dennis
LALOR), Martha, Sarah (Peter
LOCKWOOD) and Andrew (Lisa
PEDWELL)
as well as eight grandchildren: Alison and Matthew
SCHWARTZ,
Carolyn,
Michael,
Douglas and Hilary
LOCKWOOD and John and Leslie
BEAN.
She was predeceased by her second husband, Dr. Alex
McINTYRE,
the love of her life. We will always be grateful to him for caring
so much about her. Monie was beautiful and bright, creative and
colourful, tolerant and self-indulgent - and she made every day
more interesting for all of us. She loved gardening, travelling,
bridge, golf and fishing. She was always keen to learn and experience
new things and enjoyed a rich and fulfilling life. We want to
thank Sharmane
SPENCE for her wonderful compassionate, gentle
and considerate care of Mom in her final years, and Sandy
McINTYRE
for his many kindnesses over many years. Funeral arrangements
will be private. For those of you who remember her and loved
her we know you will understand, in truth, she left us many years
ago and we have been mourning her loss ever since.
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McINTYRE o@ca.on.york_county.toronto.globe_and_mail 2003-07-10 published
Dancer devoted career to Montreal company
Staff, Thursday, July 10, 2003 - Page R9
Toronto -- Canadian dancer and choreographer Linda
STEARNS has
died of cancer.
Born in Toronto on October 22, 1937, she was introduced to dance
as a youngster and went on to study in London and New York. In
1961, Ms. STEARNS joined Les Grands Ballets Canadiens are remained
with the Montreal company for most of her career, performing
works by Eric Hyrst, Brydon Paige and Ludmilla Chiriaeff.
In 1969, she became the company's ballet mistress. In 1978, along
with Danny
JACKSON and Colin
McINTYRE, she became part of the
triumvirate that directed the company. In 1987, Ms.
STEARNS became
artistic director and retired two years later.
She died in Toronto on July 4 at age 65.
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McINTYRE o@ca.on.york_county.toronto.globe_and_mail 2003-08-06 published
Linda STEARNS: 1937-2003
As ballet mistress and artistic director of the esteemed Montreal
company, she nurtured personality, flair and a risk-taking approach
to dance
By Paula CITRON
Wednesday,▲
August▲ 6, 2003 - Page R5
In the cutthroat, competitive world of dance, Linda
STEARNS was
an anomaly. As artistic director of Les Grands Ballets Canadiens,
she never played games or held grudges. Whether good or bad news,
she bluntly told her dancers what they had to hear, and in return,
her open-door policy allowed them to vent their own feelings.
National▲
Ballet▲ of Canada artistic director James
KUDELKA, who
spent almost a decade as a member of Les Grands Ballets, likens
her approach to wearing an invisible raincoat upon which unhappy
dancers spewed their venom. At the end of their tirades, she
would serenely remove the garment and say, "Now let's talk."
Linda STEARNS died at her home in Toronto on July 4, at age 65.
She was born into privilege on October 22, 1937. Her father,
Marshal, was an investment broker; her mother, Helen, was heavily
involved in charity work. The family lived in the posh Poplar
Plains▲ area of central Toronto, where Ms.
STEARNS attended Branksome
Hall.
Despite▲ their wealth, the
STEARNS children (Linda, Nora and Marshal)
were expected to earn their own livings. Helen
STEARNS had studied
dance in her youth, but a career was never an option. When eldest
daughter Linda showed a strong talent, history might have repeated
itself had not Marshal Sr. set aside his reservations after seeing
his daughter perform.
After▲ graduating from high school, Ms.
STEARNS went to London
and New York for advanced training. It was the great Alexandra
Danilova,▲ one of Ms.
STEARNS's
New▲
York▲ teachers, who pointed
the young dancer in the direction of the upstart Les Grands Ballets
Canadiens. Ms.
STEARNS joined Les Grands in 1961, and was promoted
to soloist in 1964. In a Who's Who of Entertainment entry, Ms.
STEARNS was once listed as joining the company in 1861, and she
liked to joke that, at 103 years, she held the record for the
longest time spent in the corps de ballet. In fact, one of Ms.
STEARNS's hallmarks was her sense of humour, much of it at her
own expense.
Les Grands was known for taking dancers who did not necessarily
have perfect ballet bodies, but had personality and flair, a
policy Ms.
STEARNS continued during her own administration.
Although Ms.
STEARNS had very unballetic, low-arched feet, she
was a fine classical dancer. She excelled, however, in the dramatic
repertoire: Mother Courage in Richard Kuch's The Brood, or the
title role in Brydon Paige's Medea. In later years, while teaching
and coaching, Ms.
STEARNS wore high heels to conceal her hated
low arches -- while showing off her attractive ankles.
Her performing career was cut short in 1966 when artistic director
Ludmilla CHIRIAEFF recognized that Ms.
STEARNS would make a brilliant
ballet mistress, and by 1969, Ms.
STEARNS was exclusively in
the studio. In fact, giving up performing was one of the great
disappointments of her life, although she did in time acknowledge
that she had found her true destiny. Ms.
STEARNS's astonishingly
keen eye allowed her to single out, in a corps de ballet of moving
bodies, every limb that was out of position. She could also sing
every piece of music, which saved a lot of time, because she
didn't have to keep putting on the tape recorder. Because of
her intense musicality, Ms.
STEARNS also insisted that the dancers
not just be on the count, but fill every note with movement.
Ms. STEARNS loved playing with words -- she was a crossword-puzzle
addict, for example -- and gave the dancers nicknames, whether
they liked them or not. Catherine
LAFORTUNE was Katrink, Kathy
BIEVER was Little Frog, Rosemary
NEVILLE was Rosie Posie, Betsy
BARON was Boops, and Benjamin
HATCHER was Benjamino, to name
but a few. One who escaped this fate was Gioconda
BARBUTO, simply
because Ms.
STEARNS loved rolling out the word "G-I-O-C-O-N-D-A"
in its full Italian glory. The dancers, in turn, called her Lulubelle,
Mme. Gozonga and
La Stearnova or, if they were feeling tired,
cranky and hostile -- and were out of earshot -- Spoons (for
her non-arched feet) and even less flattering names. As reluctantly
as she became ballet mistress, Ms.
STEARNS became artistic director,
first as one of a triumvirate in 1978 with Danny
JACKSON and
Colin McINTYRE (when Les Grands and Brian
MacDONALD came to an
abrupt parting of the ways;) then with Jeanne
RENAUD in 1985
and finally on her own in 1987. She retired from Les Grands in
1989. Both Mr.
JACKSON and Mr.
McINTRYE still refer to Ms.
STEARNS
as the company's backbone.
These were the famous creative years that included the works
of Mr. KUDELKA, Paul Taylor, Lar Lubovitch, Nacho Duato and George
Balanchine. Les Grands toured the world performing one of the
most exciting and eclectic repertoires in ballet. It was a company
that nurtured dancers and choreographers, many of whom reflected
Ms. STEARNS's risk-taking, innovative esthetic.
She also had time to mentor choreographers outside the company,
including acclaimed solo artist Margie
GILLIS.
Her▲ post-Grands
career included writing assessments for the Canada Council, setting
works on ballet companies, coaching figure skating, and most
recently, becoming ballet mistress for the Toronto-based Ballet
Jörgen. When she was diagnosed with both ovarian and breast cancer
two years ago, she continued her obligations to Ballet Jörgen
until she was no longer able, never letting the dancers know
how ill she was.
Ms. STEARNS loved huge dogs -- or what Ms.
GILLIS refers to as
mountains with fur -- and always had at least two. Her gardens
were magnificent, as was her cooking. Her generosity was legendary,
whether inviting 20 people for Christmas dinner, or hosting the
wedding reception for dancers Andrea
BOARDMAN and Jean-Hugues
ROCHETTE at her tastefully decorated Westmount home. After leaving
Montreal, whether, first, at her horse farm in Harrow, Ontario,
or at the one-room schoolhouse she lovingly renovated near Campbellville,
northwest of Toronto, former colleagues were always welcome.
She continued to keep in touch with her dancers, sending notes
in her beautiful, distinctive handwriting. Her love of sports
never left her, and after a hard day in the studio, she would
relax watching the hockey game. Religion also filled her postdance
life, with Toronto's Anglican Grace-Church-on-the-Hill at its
epicentre. Ms.
STEARNS was very discreet in her private life,
although another disappointment is that neither of two long relationships
resulted in marriage or children.
Ms. STEARNS was always ruthlessly self-critical, always striving
for perfection, never convinced she had rehearsed a work to its
full potential. As a result, she never made herself the centre
of her own story. Her homes, for example, did not contain photographs
glorifying the career of Linda
STEARNS.
Only▲ at the end of her
days, as she faced death with the same grace with which she had
faced life, was she finally able to appreciate how many lives
she had touched, and accept her outstanding achievements with
Les▲
Grands▲
Ballets.▲ Linde
HOWE-
BECK, former dance critic for
the Montreal Gazette, sums up Ms.
STEARNS perfectly when she
says that she was all about love -- for her Friends and family,
for life, but most of all, for dance.
Paula CITRON is dance critic for The Globe and Mail.
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