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Mystic CT Obituaries and Death Notices
Tuesday, April 18, 2017Henry Phelps, the proprietor of one of the stores.” It described Phelps as an “accomplished electrician.”SEE ALSO: Town of Rodney retains mystical beauty - and 13 residentsFamily members whose roots are 200 years deep in this fertile soil want to share Nitta Yuma with the world, and they have plenty to look at — including nine buildings constructed before the Civil War.“A lot of people preserve their home place, the house they grew up in,” says 60-year-old Henry Vick Phelps III, who grew up on this property and and still lives here, as does his sister, Carolyn May, and his 28-year-old son, Vick. “But we went a little further and kept the other buildings, too.”Phelps credits his grandparents, Henry and Dorothy Phelps, for having the good sense to let the structures be.“We’d like to have a coffee shop, a place where people can stop and relax and then go through the buildings,” Phelps says. “We want to reconstruct the houses back to their original form. We’d like to work with the Delta and serve as an ambassador for the South and for tourism. It’s not going to happen overnight, but it’s something we can do steady along.“I think our audience would be anyone with a passion for old houses and the South and architecture.”Bear tracks and buried dollsNitta Yuma means “bear track” or “trail of the bear” in the Choctaw language.It was settled in 1768, with an original population of 25. In 1805, Burwell Vick purchased the land with jewels from the Choctaws.The land eventually became a plantation owned by Vick’s son, W.H. Vick, who developed what's called the 100 cotton seed in 1843, a seed that that helped planters maximize pounds of cotton per acre and was eventually sold commercially.BILLY WATKINS: Tale of the kid who couldn't throwIn 1901, when the nearly 6,000 acres was divided among the four children, Henry Phelps became owner of the family homestead. It’s now in the hands of his grandchildren and a great-grandchild.And while some of the buildings still need to be renovated, others are ready for viewing.Among them: The general store/doll house and its thousands of occupants.The dolls were owned by Dorothy Cole Phelps, mother of Henry III and Carolyn May.“Her father and uncle owned a funeral home,” May explains. “She and her friends used to act like they were having funerals. They would bury dolls and say a prayer over them.“Later on in life, the memory of burying those dolls bothered her. She started collecting them when she was 35. She died in 2011 when she was 99. What you see here are the dolls she collected over the course of 60 years.”They sit side by side on rows of shelves. Others st...
Monday, March 13, 2017Memorial Hospital in New London.She was born on February 16, 1936, in Groton, the daughter of Albertus and Pearl (Edwards) Prentice. She worked for many years as an assembler at Acme Wire in Mystic.She is survived by her beloved grandchildren, Kevin Matthewson and Ashanti Matthewson.All services and burial will be private for the family. To share a message of condolence or remembrance with her family, please click the link. Get free real-time news alerts from the Groton Patch.
Monday, October 10, 2016Broadway, causing much consternation and even outrage among critics who had failed to discern meaning in its murky symbols and suggestions of mysticism, Mr. Albee attended anews conference ostensibly to discuss the play but ended up lecturing on the subject of criticism.“It is not enough for a critic to tell his audience how well a play succeeds in its intention,” he said; “he must also judge that intention by the absolute standards of the theater as an art form.” He added that when critics perform only the first function, they leave the impression that less ambitious plays are better ones because they come closer to achieving their ambitions.“Well, perhaps they are better plays to their audience,” he said, “but they are not better plays for their audience. And since the critic fashions the audience taste, whether he intends to or not, he succeeds each season in merely lowering it.”Several of his plays opened abroad before they did in the United States, and his work was often more enthusiastically welcomed in Europe than it was at home; even some of his most critically admired plays never found the wider audiences that only a Broadway imprimatur can attract.“Maybe I’m a European playwright and I don’t know it,” he said in an interview with The Times in 1991, adding: “Just look at the playwrights who are not performed on Broadway now: Sophocles, Aristophanes, Shakespeare, Marlowe, Molière, Ibsen, Chekhov, Pirandello, Beckett, Genet. Not a one of them.”Never a Critic’s DarlingA clever speaker in interviews with a vivid sense of mischief and the high-minded presumption of an artist, Mr. Albee was wont to confront slights rather than dismiss them, wielding his smooth, sardonic wit as a verbal fly-swatter. “If Attila the Hun were alive today, he’d be a drama critic,” he said in 1988.Interactive Feature Reviews of Edward Albee’s PlaysReferring to the “hysterical, skirt-hiking appal-dom” of critics after his 1983 play “The Man Who Had Three Arms” opened (and quickly closed) on Broadway, he said: “You’d have thought it was women seeing mice climb up their legs.”And yet he was among the most honored of American dramatists. Beyond his Tonys — including one for lifetime achievement — he won three Pulitzer Prizes.His major works included “A Delicate Balance,” a Pulitzer-winning, darkly unsettling comedy about an affluent family whose members reveal their deep unhappiness in shrewd and stinging verbal combat; “All Over” (1971), directed on Broadway by John Gielgud and starring Colleen Dewhurst, about a family (and a mistress) awaiting the deathbed expiration of an unseen, wealthy man; “Seascape” (1975), another Pulitzer winner, a creepily comic, slightly ominous meditation on monogamy, evolution and mortality that develops from an oceanside discussion involving an elderly human couple and a pair of anthropomorphic lizards; and “Three Tall Women,” a strikingly personal work drawn from memories of his adoptive mother, scrutinizing, in its various stages, the life of a dying woman. The play had its 1991 premiere in Vienna but earned Mr. Albee a third Pulitzer after it appeared Off Br...
Monday, September 26, 2016Broadway, causing much consternation and even outrage among critics who had failed to discern meaning in its murky symbols and suggestions of mysticism, Mr. Albee attended anews conference ostensibly to discuss the play but ended up lecturing on the subject of criticism.“It is not enough for a critic to tell his audience how well a play succeeds in its intention,” he said; “he must also judge that intention by the absolute standards of the theater as an art form.” He added that when critics perform only the first function, they leave the impression that less ambitious plays are better ones because they come closer to achieving their ambitions.“Well, perhaps they are better plays to their audience,” he said, “but they are not better plays for their audience. And since the critic fashions the audience taste, whether he intends to or not, he succeeds each season in merely lowering it.”Several of his plays opened abroad before they did in the United States, and his work was often more enthusiastically welcomed in Europe than it was at home; even some of his most critically admired plays never found the wider audiences that only a Broadway imprimatur can attract.“Maybe I’m a European playwright and I don’t know it,” he said in an interview with The Times in 1991, adding: “Just look at the playwrights who are not performed on Broadway now: Sophocles, Aristophanes, Shakespeare, Marlowe, Molière, Ibsen, Chekhov, Pirandello, Beckett, Genet. Not a one of them.”Never a Critic’s DarlingA clever speaker in interviews with a vivid sense of mischief and the high-minded presumption of an artist, Mr. Albee was wont to confront slights rather than dismiss them, wielding his smooth, sardonic wit as a verbal fly-swatter. “If Attila the Hun were alive today, he’d be a drama critic,” he said in 1988.Interactive Feature Reviews of Edward Albee’s PlaysReferring to the “hysterical, skirt-hiking appal-dom” of critics after his 1983 play “The Man Who Had Three Arms” opened (and quickly closed) on Broadway, he said: “You’d have thought it was women seeing mice climb up their legs.”And yet he was among the most honored of American dramatists. Beyond his Tonys — including one for lifetime achievement — he won three Pulitzer Prizes.His major works included “A Delicate Balance,” a Pulitzer-winning, darkly unsettling comedy about an affluent family whose members reveal their deep unhappiness in shrewd and stinging verbal combat; “All Over” (1971), directed on Broadway by John Gielgud and starring Colleen Dewhurst, about a family (and a mistress) awaiting the deathbed expiration of an unseen, wealthy man; “Seascape” (1975), another Pulitzer winner, a creepily comic, slightly ominous meditation on monogamy, evolution and mortality that develops from an oceanside discussion involving an elderly human couple and a pair of anthropomorphic lizards; and “Three Tall Women,” a strikingly personal work drawn from memories of his adoptive mother, scrutinizing, in its various stages, the life of a dying woman. The play had its 1991 premiere in Vienna but earned Mr. Albee a third Pulitzer after it appeared Off Br...
Mystic News
Tuesday, April 18, 2017Henry Phelps, the proprietor of one of the stores.” It described Phelps as an “accomplished electrician.”SEE ALSO: Town of Rodney retains mystical beauty - and 13 residentsFamily members whose roots are 200 years deep in this fertile soil want to share Nitta Yuma with the world, and they have plenty to look at — including nine buildings constructed before the Civil War.“A lot of people preserve their home place, the house they grew up in,” says 60-year-old Henry Vick Phelps III, who grew up on this property and and still lives here, as does his sister, Carolyn May, and his 28-year-old son, Vick. “But we went a little further and kept the other buildings, too.”Phelps credits his grandparents, Henry and Dorothy Phelps, for having the good sense to let the structures be.“We’d like to have a coffee shop, a place where people can stop and relax and then go through the buildings,” Phelps says. “We want to reconstruct the houses back to their original form. We’d like to work with the Delta and serve as an ambassador for the South and for tourism. It’s not going to happen overnight, but it’s something we can do steady along.“I think our audience would be anyone with a passion for old houses and the South and architecture.”Bear tracks and buried dollsNitta Yuma means “bear track” or “trail of the bear” in the Choctaw language.It was settled in 1768, with an original population of 25. In 1805, Burwell Vick purchased the land with jewels from the Choctaws.The land eventually became a plantation owned by Vick’s son, W.H. Vick, who developed what's called the 100 cotton seed in 1843, a seed that that helped planters maximize pounds of cotton per acre and was eventually sold commercially.BILLY WATKINS: Tale of the kid who couldn't throwIn 1901, when the nearly 6,000 acres was divided among the four children, Henry Phelps became owner of the family homestead. It’s now in the hands of his grandchildren and a great-grandchild.And while some of the buildings still need to be renovated, others are ready for viewing.Among them: The general store/doll house and its thousands of occupants.The dolls were owned by Dorothy Cole Phelps, mother of Henry III and Carolyn May.“Her father and uncle owned a funeral home,” May explains. “She and her friends used to act like they were having funerals. They would bury dolls and say a prayer over them.“Later on in life, the memory of burying those dolls bothered her. She started collecting them when she was 35. She died in 2011 when she was 99. What you see here are the dolls she collected over the course of 60 years.”They sit side by side on rows of shelves. Others st...
Monday, March 13, 2017Memorial Hospital in New London.She was born on February 16, 1936, in Groton, the daughter of Albertus and Pearl (Edwards) Prentice. She worked for many years as an assembler at Acme Wire in Mystic.She is survived by her beloved grandchildren, Kevin Matthewson and Ashanti Matthewson.All services and burial will be private for the family. To share a message of condolence or remembrance with her family, please click the link. Get free real-time news alerts from the Groton Patch.
Monday, October 10, 2016Broadway, causing much consternation and even outrage among critics who had failed to discern meaning in its murky symbols and suggestions of mysticism, Mr. Albee attended anews conference ostensibly to discuss the play but ended up lecturing on the subject of criticism.“It is not enough for a critic to tell his audience how well a play succeeds in its intention,” he said; “he must also judge that intention by the absolute standards of the theater as an art form.” He added that when critics perform only the first function, they leave the impression that less ambitious plays are better ones because they come closer to achieving their ambitions.“Well, perhaps they are better plays to their audience,” he said, “but they are not better plays for their audience. And since the critic fashions the audience taste, whether he intends to or not, he succeeds each season in merely lowering it.”Several of his plays opened abroad before they did in the United States, and his work was often more enthusiastically welcomed in Europe than it was at home; even some of his most critically admired plays never found the wider audiences that only a Broadway imprimatur can attract.“Maybe I’m a European playwright and I don’t know it,” he said in an interview with The Times in 1991, adding: “Just look at the playwrights who are not performed on Broadway now: Sophocles, Aristophanes, Shakespeare, Marlowe, Molière, Ibsen, Chekhov, Pirandello, Beckett, Genet. Not a one of them.”Never a Critic’s DarlingA clever speaker in interviews with a vivid sense of mischief and the high-minded presumption of an artist, Mr. Albee was wont to confront slights rather than dismiss them, wielding his smooth, sardonic wit as a verbal fly-swatter. “If Attila the Hun were alive today, he’d be a drama critic,” he said in 1988.Interactive Feature Reviews of Edward Albee’s PlaysReferring to the “hysterical, skirt-hiking appal-dom” of critics after his 1983 play “The Man Who Had Three Arms” opened (and quickly closed) on Broadway, he said: “You’d have thought it was women seeing mice climb up their legs.”And yet he was among the most honored of American dramatists. Beyond his Tonys — including one for lifetime achievement — he won three Pulitzer Prizes.His major works included “A Delicate Balance,” a Pulitzer-winning, darkly unsettling comedy about an affluent family whose members reveal their deep unhappiness in shrewd and stinging verbal combat; “All Over” (1971), directed on Broadway by John Gielgud and starring Colleen Dewhurst, about a family (and a mistress) awaiting the deathbed expiration of an unseen, wealthy man; “Seascape” (1975), another Pulitzer winner, a creepily comic, slightly ominous meditation on monogamy, evolution and mortality that develops from an oceanside discussion involving an elderly human couple and a pair of anthropomorphic lizards; and “Three Tall Women,” a strikingly personal work drawn from memories of his adoptive mother, scrutinizing, in its various stages, the life of a dying woman. The play had its 1991 premiere in Vienna but earned Mr. Albee a third Pulitzer after it appeared Off Br...
Monday, September 26, 2016Broadway, causing much consternation and even outrage among critics who had failed to discern meaning in its murky symbols and suggestions of mysticism, Mr. Albee attended anews conference ostensibly to discuss the play but ended up lecturing on the subject of criticism.“It is not enough for a critic to tell his audience how well a play succeeds in its intention,” he said; “he must also judge that intention by the absolute standards of the theater as an art form.” He added that when critics perform only the first function, they leave the impression that less ambitious plays are better ones because they come closer to achieving their ambitions.“Well, perhaps they are better plays to their audience,” he said, “but they are not better plays for their audience. And since the critic fashions the audience taste, whether he intends to or not, he succeeds each season in merely lowering it.”Several of his plays opened abroad before they did in the United States, and his work was often more enthusiastically welcomed in Europe than it was at home; even some of his most critically admired plays never found the wider audiences that only a Broadway imprimatur can attract.“Maybe I’m a European playwright and I don’t know it,” he said in an interview with The Times in 1991, adding: “Just look at the playwrights who are not performed on Broadway now: Sophocles, Aristophanes, Shakespeare, Marlowe, Molière, Ibsen, Chekhov, Pirandello, Beckett, Genet. Not a one of them.”Never a Critic’s DarlingA clever speaker in interviews with a vivid sense of mischief and the high-minded presumption of an artist, Mr. Albee was wont to confront slights rather than dismiss them, wielding his smooth, sardonic wit as a verbal fly-swatter. “If Attila the Hun were alive today, he’d be a drama critic,” he said in 1988.Interactive Feature Reviews of Edward Albee’s PlaysReferring to the “hysterical, skirt-hiking appal-dom” of critics after his 1983 play “The Man Who Had Three Arms” opened (and quickly closed) on Broadway, he said: “You’d have thought it was women seeing mice climb up their legs.”And yet he was among the most honored of American dramatists. Beyond his Tonys — including one for lifetime achievement — he won three Pulitzer Prizes.His major works included “A Delicate Balance,” a Pulitzer-winning, darkly unsettling comedy about an affluent family whose members reveal their deep unhappiness in shrewd and stinging verbal combat; “All Over” (1971), directed on Broadway by John Gielgud and starring Colleen Dewhurst, about a family (and a mistress) awaiting the deathbed expiration of an unseen, wealthy man; “Seascape” (1975), another Pulitzer winner, a creepily comic, slightly ominous meditation on monogamy, evolution and mortality that develops from an oceanside discussion involving an elderly human couple and a pair of anthropomorphic lizards; and “Three Tall Women,” a strikingly personal work drawn from memories of his adoptive mother, scrutinizing, in its various stages, the life of a dying woman. The play had its 1991 premiere in Vienna but earned Mr. Albee a third Pulitzer after it appeared Off Br...
