
U.S. Representative Jahana Hayes (D-5) spoke out against closing Sharon Hospital’s maternity unit at the Sharon Town Green Oct. 16, 2022.
Patrick L. Sullivan
U.S. Representative Jahana Hayes (D-5) spoke out against closing Sharon Hospital’s maternity unit at the Sharon Town Green Oct. 16, 2022.
SHARON — The state Office of Health Strategy (OHS) denied Sharon Hospital’s request to close its labor and delivery (L&D) services Monday, Feb. 5.
This is OHS’ final decision in a five-year fight between Sharon Hospital and members of the local community, led by grassroots organization Save Sharon Hospital, over the closure of the hospital’s labor and delivery services.
OHS determined that Sharon Hospital’s application for a Certificate of Need (CON) failed to meet the statutory requirements intended to protect the “quality, accessibility, and cost-effectiveness of care” in the region served.
“The applicant has failed to meet its burden of proof” that this closure would not negatively affect local health care, the office wrote, coming up short in meeting four of the six criteria set forth in state law:
— That the closure would be consistent with the Connecticut Statewide Health Care Facilities and Services Plan.
— That it would improve quality, access, and cost effectiveness of care.
— That the hospital had good cause for reducing access to services by Medicaid recipients or indigent persons — more than 48% of Sharon Hospital’s labor and delivery patients paid through Medicaid in 2021.
— That the closure would have no negative impact on the diversity of health care providers and patient choice.
The decision concluded: “Based upon the foregoing Findings of Fact, Conclusions of Law and Discussion, the Certificate of Need application of Sharon Hospital to terminate L&D services is hereby ordered DENIED.”
This decision in large parts echoes the OHS’ “preliminary decision,” handed down Aug. 29, 2023, which determined that L&D closure would failed to meet the agency’s criteria for a CON: “public need, access to care and cost-effectiveness.”
Sharon Hospital owner Nuvance Health appealed this proposed final decision Oct. 18. The brief and exceptions filed by the hospital argued, in effect, that the Sharon Hospital primary service area has less need for an operating maternity ward than it has for the cessation of financially unsustainable services.
On Nov. 8, 2023, Nuvance counsel Ted Tucci presented an oral argument for the closure of Sharon Hospital’s L&D services, saying that the proposed final “decision threatens Sharon Hospital’s ability to continue delivering care to Northwestern Connecticut.”
Nuvance Health originally filed a Certificate of Need to close the hospital’s maternity unit with OHS in January 2022, citing an annual loss of $3 million, staffing difficulties, and underutilization of the services as its key reasons for the proposed closure.
The $3 million loss at the hospital’s L&D unit contributes to the hospital’s overall annual losses of over $20 million.
In a brief statement to The Journal on Monday, Feb. 5, Sharon Hospital spokesperson Andrea Rynn wrote: “As a small community hospital within a non-profit health system, Sharon Hospital faces substantial financial and operational challenges to its continued operation of a Labor & Delivery unit.”
Since first announcing the intention to close the maternity ward in 2018, the hospital has faced stiff opposition from local community members led by grassroots 501(c)(3) organization Save Sharon Hospital.
Community members celebrated the state’s decision to maintain maternity services in Sharon.
Lydia Moore, president of Save Sharon Hospital, wrote her views in a statement to The Lakeville Journal: “We are so thankful and thrilled that the state has agreed with our community that the Sharon Hospital maternity unit must stay open! In its final decision, the state clearly shows its understanding that we need safe, high-quality, local access to labor and delivery, despite our rural location. Thank you to everyone in the community that helped us get here. It has been a long fight, but we did it!”
Rynn, on behalf of the hospital, said, “Sharon Hospital will continue to be transparent with our staff, community, and other stakeholders regarding our efforts to ensure the sustainability of Sharon Hospital.”
She said: “We will be considering all options available as we reassess our path forward.”
SHARON — Angela Derrick Carabine, 74, died May 16, 2025, at Vassar Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino