Category Archives: Looking back

“Then & Now”: Part 3

Dave Matlow’s series of photos of demolished homes — and their replacements — have struck a chord with “06880” readers.

Here are 4 more, from his archives and today.

Whitney Street, July 2014 …

… and February 2026.

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Webb Road, April 2005 …

… and February 2026.

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Harding Lane, February 2013 …

… and February 2026.

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Windy Hill Road, October 2012 …

… and February 2026.

(“06880” regularly covers Westport real estate, history … and much more. If you enjoy features like this, please click here to support our work.)

Staples Players Rewind: “Hello, Dolly!”

Who doesn’t love “Hello, Dolly!”?

Staples Players sure did. The cast and crew dove into the 1964 musical rom-com, when they staged it as their fall 2002 production.

Former SHS media teacher Jim Honeycutt taped that, and all of Players director David Roth’s shows.

This week, in our chronological look back at highlights of past shows, we bring you that memorable “Dolly.” Click here or below to see.

(If you like these nutshells — or any other “06880” feature — please click here to support our work. Thank you!)

Homes Of “06880”: Then & Now, Part 2

Readers reacted quickly to last week’s initial installment of “06880”‘s new series: “Homes of ‘06880’: Then & Now.”

They appreciated seeing photographer Dave Matlow’s archival images of homes he photographed for WestportNow’s “Teardown of the Day” — juxtaposed with their current-day replacements.

Dave is taking new shots, from the same distance and angle. Here are 4 more houses that are now gone, along with the new ones.

Darbrook Road, March 2005 …

… and February 2026.

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Deerwood Road, September 2020 …

… and February 2026.

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Burnham Hill, July 2011 …

… and February 2026.

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Blue Ribbon Drive, July 2011 …

… and February 2026.

(“06880” regularly covers Westport real estate, history … and much more. If you enjoy features like this, please click here to support our work.)

Staples Players Rewind: “Into The Woods”

Today, we continue our journey into past Staples Players productions.

Since 2000 — when David Roth was named director of the prestigious high school drama troupe — Players has staged 2 powerful productions each year.

Longtime media instructor Jim Honeycutt filmed them all. Now retired, he has created 10-minute “nutshell” highlights of each show.

Each week, in chronological order, “06880” shares one of those nutshells.

Today, relive Stephen Sondheim’s “Into the Woods,” from the spring of 2002. It stars someone whose name is familiar: Justin Paul.

Other Players in the show include Sarah Peterson, Emma Ritter, Caitlin Collins, Toby Burns, Daryl Wein, Haley Petersen, Katie Clark, Joanna Gang, Tyler Rackliffe, and many more.

Click here or below to enjoy.

(If you like these nutshells — or any other “06880” feature — please click here to support our work. Thank you!)

Homes Of “06880”: Then And Now

One of the most popular features on the old WestportNow.com site was “Teardown of the Day.”

For nearly 2 decades local photographer Dave Matlow snapped images of area homes, just before they were knocked down.

He meticulously archived them.

Now he’s taken the project one step further.

Dave is photographing their replacements — from the same distance and angle.

Taken together, they show the changing face of Westport: the types of architecture we’ve lost, and what’s replaced them.

“Homes of ‘06880’: Then and Now” will be a regular feature here.

Thanks, Dave, for your diligence in documenting Westport — then and now.

Juniper Road, November 2014 …

… and February 2026.

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Hillspoint Road, 2005 …

… and Hillspoint Road, February 2026.

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Caccamo Lane, January 2012 …

and February 2026

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Colonial Road, September 2012 …

… and February 2026.

(“06880” regularly covers Westport real estate, history … and much more. If you enjoy features like this, please click here to support our work.)

Friday Flashback #491

Every Martin Luther King Day, “06880” remembers the famed civil rights leader’s visit to Westport’s Temple Israel.

But 3 years earlier — on April 12, 1961 — another iconic activist spoke at the same synagogue.

During Black History Month, we recall James Baldwin’s lecture. This information comes from a story on the writer’s Connecticut decade (1954-63) by Andrew Lopez, a research support Librarian at Connecticut College.  He writes:

The public lecture on the “Negro mood” was organized by Marjorie Koster Beinfield and other members of the synagogue’s social action committee.

James Baldwin, in his Connecticut days.

Marjorie and her husband, Malcolm Beinfield, were involved in many causes promoting equal rights and social justice in the early 1960s.

Their daughter, Harriet Beinfield, was 14 years old at the time and remembers Baldwin’s talk, and asking him how he tolerated white people.

She recalls with admiration his generosity in responding to her.

Malcolm Beinfield, a longtime Westport physician and surgeon, had done his medical residency at Harlem Hospital in the 1940s – the same hospital where Baldwin was born on August 2, 1924.

Lopez also notes that Baldwin wrote much of his historic essays “The Fire Next Time” at the home of his agent, Robert Park Mills, in Norwalk.

(Friday Flashback is one of “06880”‘s many regular features. If you enjoy this — or anything else on our website — please consider a tax-deductible contribution. Just click here. Thank you!)

The Beinfield family, not long before James Baldwin’s Westport visit.

[OPINION] Save 11 Beachside Common!

The Wall Street Journal wrote about it.

So did “06880.”

Last weekend, curious residents headed over to Beachside Common, to see #11 for themselves.

An estate sale drew them to the home of biotech entrepreneur/investor/scientist Alan Walton and his wife Elenor.

They bought the 1970s contemporary overlooking Burying Hill Beach in 2000, for $6.3 million. It was expanded and “reimagined” in the 1990s — for $13 million.

One view of he exterior …

With its floating staircase, periscope skylights, rainbow glazing purple carpet — and a 150-foot multicolored tile pathway that “meanders” through the house — it was not for everyone.

Alan died in 2015. Elenor died last February. The couple was a much-admired part of their tight-knit neighborhood.

In her will, Elenor told her children to sell the property.

They did. Now it’s slated for demolition.

,,, and another …

The other day, an anonymous Westporter — calling him or herself “Concerned Quirky Citizen” — emailed the Planning & Zoning Commission, Westport Downtown Association, and various other town and state officials. The writer urged “the Town of Westport and any relevant boards, commissions, and elected officials to reconsider” the teardown.

That’s a heavy lift. The Historic District Commission can only vote to delay demolition of a structure older than 50 years, for 180 days. In theory, that buys time to find a way to save a home.

In nearly every case, the owner — who presumably brought the property intending to tear it down — waits out the delay, then brings in the wrecking ball.

That will probably happen to 11 Beachside Common. But here is the anonymous resident’s plea:

“From everything that has been shared publicly, this home is not only an extraordinary piece of residential architecture, but also a physical record of technological, cultural, and artistic history.

“This property appears to represent a rare convergence of design, innovation and local heritage.

… with one view of the interior …

“The house underwent an extensive and highly considered transformation by a noted architect, resulting in a structure that functions more like a livable gallery than a conventional home. It stands out for its unconventional forms, light-filled interior spaces, and the way it integrates with its coastal setting.

“Many visitors and community members have described it as unlike anything else in the area, which suggests it may be eligible for recognition as a historically or architecturally significant resource.

“In addition to its architectural value, the home is closely associated with individuals whose work shaped modern science and technology, including contributions connected to NASA’s Apollo program and to early MRI development.

“When a building has direct ties to people whose work has had a global impact, and when that building has been consciously designed and redesigned with that legacy in mind, demolition is not just a private decision with private consequences. It is the permanent erasure of a cultural asset that could otherwise benefit the town, the state, and the broader public.

… and another …

“I fully recognize that the property is privately owned and that owners have important rights. At the same time, towns routinely treat certain structures and landscapes as part of the public good and subject them to additional review or protection when they meet criteria for historic, architectural, or cultural significance.

“I am asking that Westport, in coordination with its relevant boards and commissions, explore all available mechanisms to:

  • Evaluate whether 11 Beachside Common meets local, state, or national criteria for historic or architectural significance.
  • Consider interim measures (such as a temporary delay of demolition) to allow proper study and public input.
  • Engage with the current owner and any interested preservation organizations to explore alternatives to total demolition, such as adaptive reuse, partial preservation, sale to a preservation-minded buyer, or creative public–private partnerships.

“Preserving this structure, or even a substantial portion of it, could provide Westport with a unique cultural and educational asset. Possibilities might include limited public tours, curated events, collaborations with architectural schools or design programs, or partnerships with arts and science institutions that could interpret the technology and innovation stories embedded in the home.

… and a third …

“Many communities have successfully turned singular private properties into sources of civic pride, tourism, and long-term economic and cultural value while still respecting ownership and neighborhood character.

“Respectfully, it is hard to understand how a town benefits from losing a one‑of‑a‑kind coastal landmark that has captured the imagination of so many residents and visitors. Once demolished, it cannot be recreated. Even a modest pause, serious assessment, and transparent public conversation would be far better than allowing such an asset to vanish without a full understanding of what is being lost.

” want to be clear that I am not accusing any individual or entity of wrongdoing, and I recognize that the property may be proceeding through the standard approval and permitting channels.

“My concern is that, even when all legal requirements are followed, the loss of a culturally and architecturally significant home can still be a preventable tragedy, and I am asking that every available option be explored before an irreversible decision is carried out.

… and one more.

“At minimum, I ask that the town publicly communicate what steps, if any, have been taken to evaluate 11 Beachside Common for historic or architectural protection, and what opportunities exist for public participation in any remaining processes.

“Thank you for your attention to this matter and for your service to the community. I would be grateful for a response describing whether there are any upcoming meetings, hearings, or procedures related to this property, and how members of the public can best participate constructively.”

(Our “Opinion” pages are open to all. Please email submissions to 06880blog@gmail.com.)

(“06880” regularly covers Westport’s broad, always interesting real estate market — and every other part of local life. If you enjoy stories like this, please click here to support our work. Thank you!)

Appreciating Wayne Uccellini

Wayne Uccellini — the longtime owner and chef of the legendary Allen’s Clam & Lobster House — died last month, at 80. (Click here, then scroll down, for his obituary.)

Dave Stalling is one of many Westporters who worked at Allen’s. The Staples High School graduate now lives in Montana. But he has fond memories of his years at the restaurant. Dave writes:

It’s difficult to imagine that anyone who went to Staples High School in the 1970s didn’t, at one time or another, work for Wayne Uccellini at Allen’s Clam & Lobster House.

Wayne and his family owned Allen’s, a once beloved Westport landmark built in 1890 by Captain Walter Allen. When I was growing up, it was a wonderful restaurant and a central part of the town’s character. (The restaurant closed in the late 1990s, was demolished in 2004, and the site is now the Sherwood Mill Pond Preserve.)

Exterior and interior views of Allen’s Clam House. Today, it’s the Sherwood Mill Pond Preserve.

When I attended Staples High School (Class of 1979), it seemed like almost everyone I knew worked there — washing dishes, bussing tables, prepping food or cooking.

Wayne ran the kitchen. I can still picture him clearly: dressed in his white chef’s uniform, black mustache, always smiling, efficiently moving through the kitchen. He seemed constantly busy, yet never too busy to stop and say hello or, more likely, continuing to work while visiting.

Wayne Uccellini (left) and his brother Ron in Allen’s kitchen, 1978.

We became friends. He took me fishing and grouse hunting. When I was strapped for cash, he paid me to do yard work at his home.

Later, when I came home on leave from the Marine Corps, Wayne was always genuinely happy to see me. He’d invite me into the kitchen, always cooking something up, and say, “Hey Dave, try this.” It might be a bit of scampi, some lobster or a bowl of clam chowder to bring home. He always asked how my mom and dad were doing.

Wayne was kind, generous and compassionate, always eager to help anyone in need.

The Uccellini family.

A lifelong resident of Westport, Wayne was a graduate of Staples High School, Class of 1964, and proudly served in the US Army. He and his wonderful wife Karen raised their 3 children in Westport.

I will always remember Wayne as a cherished friend and mentor — someone who gave countless high school students their very first jobs, and left a lasting, positive influence on the town of Westport.

Wayne Uccellini 

 

Famous Artists School: A Fond Look Back

Suzanne Wilson arrived in Westport in 1969, to work at Famous Artists School.

It was her first “real” job, after studying art at Boston University. She remained at the internationally known correspondence school, headquartered on Wilton Road (now the office building just north of Bartaco) until it went bankrupt in 1972 due to  over-expansion, financial mismanagement, and a sales tactics scandal, (There were also Famous Writers and Famous Photographers Schools.)

Famous Artists, Writers and Photographers Schools logos.

After a couple of years in England, she returned to Westport. From 1975-82 — going by the name Suzanne Lemieux — she painted in oils and pastels; worked in studios including The Mill on Richmondville Avenue, and exhibited regionally.

The recent “06880” series on Westport’s arts history piqued her interest — and jogged her memory. Suzanne writes:

The prevailing condescension among local artists about the Famous Artists School was such that I had to keep my enthusiasm under wraps.

To me, the job offered the opportunity to practice, practice, practice (with free art materials); develop techniques and disciplines; learn about teaching art; most especially, to be in the company of renowned, artists and have the chance to meet some who actually made a living at it — and a good one!

Suzanne Lemieux, in her Famous Artists School days.

I felt the Famous Artists teaching was thorough. I wished that my teachers at Boston University had spent as much time and attention on me.

At FAS we addressed each student’s art piece individually. We actually painted a small picture and added comments, samples of techniques, colors, and so forth that they could apply to their art. We included a letter to provide more detail.

I admired one that Claude Croney was doing. To my surprise and delight he painted another one just like it for me!

Claude Croney’s painting for Suzanne Wilson.

My supervisor was George Passantino. He gave me some notes on how to correct the student work:

Famous Artists Schools began in a mill in Westport, Connecticut. They built a new building on the Saugatuck River, with individual offices for the faculty.

Famous Artists School, on the Saugatuck River at Wilton Road.

If you lived across the river, it was easy to get to work:

Suzanne Wilson rows to work. 

It wasn’t always so idyllic. You could get caught in the current or stuck at low tide, as all the famous artists watched out the windows. I was not spared the humorous renditions of my plight!

A criticism of the school was that the “famous” artists (“Guiding Faculty”) did not really teach the students. But they did regularly appear to give lectures and seminars for the staff. (And to attend parties.)

To my naïve viewpoint, the drinking and tomfoolery appeared glamorous rather than the self-medication that it most likely was. In my first job out of art school I felt I had fortuitously landed in the bon vivant artistic lifestyle celebrated in Paris of the 1920s. To this day I have not found anything quite like it.

We were honored to have the famous illustrator Peter Helck give us a critique on our renditions of automobiles. I boldly submitted a 30 x 40 inch “painterly” abstract piece.

Suzanne Wilson’s artwork.

Although this rather large painting took up most of the wall, Mr. Helck graciously and judiciously critiqued each illustration surrounding it until he ran out of time. The happy ending was that all the participants were invited to lunch at The Red Barn.

Extra studio space in an old mill was provided by Famous Artists School for the staff. On the spacious top sky-lit floor, artists could paint private portrait commissions, give lessons, and get together for sketch classes.

In Famous Artists’ heyday, they rented studios at The Mill on Richmondville Avenue. Today, they’re condominiums.

But there was always time for gourmet lunches and parties.

Eating and drinking well.

Some of the Famous Artists continued to rent studio space after Famous Artists Schools stopped leasing it.

Artists Robert Baxter, Alfred Chadbourn Ed Reinhardt, Bert Dodson, Ann Toulmin-Rothe and Charles Reid.

After returning from London I worked in the same building, sharing space with Ward Brackett.

Ward didn’t care to save all of his rough sketches. I was the lucky recipient.

Ward Brackett sketch.

The local cartoonists, illustrators and writers were a sociable group. They met weekly at Westport Lanes, followed by hours of congeniality. There were many famous names. Proximity to New York was a must, and brought a truly creative group to the community.

Suzanne married cartoonist Rowland B. Wilson. They moved to California in 1982; moved again to Ireland, then returned to California. They worked at Disney; she then commuted to Phoenix to work at Fox Animation on “Anastasia” and other productions. Rowland died in 2005.

She now lives in Rancho La Costa, California, and has a “nice, big home studio.” 

(“06880” regularly covers Westport’s arts scene, its history — and, as in today’s feature, their intersection. If you enjoy stories like this, please click here to support our work. Thank you!)

Suzanne Lemieux, after her return to Westport.

 

 

Westport Arts Scene, Part 4: Artists Collective Arises

This is the final story in a 4-part series about the splintering of the Westport Arts Center, into what is now MoCA\CT and the Artists Collective of Westport. (Click on Part 1, Part 2 and Part 3.) 

Our “06880” culture correspondent Robin Moyer Chung writes:

In 1996, Westport’s population was booming. Officials needed another school.

Despite a signed lease, and a promise from the schools superintendent that the Westport Arts Center would have the Greens Farms Elementary School building through 1999, he broke the lease and demanded they leave.

Greens Farms School, during its Westport Arts Center days — as portrayed by an artist with a studio there.

Greens Farms Elementary had been WAC’s home for almost 20 years.

Despite this, parents — many of them new to Westport — were upset that artists were taking up school space that could belong to their offspring.

Parents and other residents deemed the artists “frivolous,” and chastised WAC artists and board members.

The opponents did not know that the WAC had poured perhaps a million dollars — from studio rentals, dues, donations and ticket receipts — into repairs and maintenance.

Artur Holde Hall — an exhibit and performing arts space, in the former Greens Farms School gymnasium.

Greens Farms Elementary School was built in 1925. In 1991 it was listed on the National Register of Historic Places. Any work needed had to preserve its integrity. Such work was costly.

Opponents failed to acknowledge the WAC’s unique contribution to the community. It brought together national award-winning painters, musicians from international symphonies, well-known cartoonists, illustrators from major publications, an art instructor from the Metropolitan Museum of Modern Art, and emerging talent.

One artist calls the decision to take back the school “a cultural crime.”

Compo Shopping Center offered WAC administrators a small office above Gold’s Delicatessen.

Artists, staff and board members took advantage of any exhibit space they could, including Earthplace and school auditoriums.

In 2002, they moved into their own space: a gallery on Riverside Avenue.

Westport Arts Center, on Riverside Avenue.

They remained there until 2019, when Mo\CA CT opened on Newtown Turnpike (see Parts 1 and 2). 

Once again, many artists had no home.

But not all.

In a prescient move in 2014, 5 artists and WAC artistic director Helen Klisser During created the Artists Collective of Westport. The goal was to retain the WAC’s values and mission.

Four years later — amid rumors of the WAC evolving into MoCA — two Artists Collective members incorporated the organization as a 501(c)3 not-for-profit.

Their aim was to be “a more collegial group” — member-driven, with “renewed respect for local artists.”

Today there are roughly 150 ACW members. Painters, sculptors, photographers and other artists in Fairfield County inspire and assist each other in their creative process.

Artists Collective of Westport member Nina Bentley with her work, at one of the group’s quarterly shows. (Photo/Dan Woog)

A founding artist says that while some members enjoy renown and commercial achievement, the collective’s true measure of success is “how many of our members donate their time and talents to the community, and how much wall space we give to local artists who might not have any other opportunities.”

The Artists Collective partners with the Westport Country Playhouse. They host pop-up exhibits, special events and monthly meetings at the Lucille Lortel Barn.

One member says the Collective “opened the door to this whole new group of people that I wouldn’t have had the chance to know.”

The Artists Collective of Westport also opens doors for area art-lovers to meet, enjoy — and buy the works of — local working artists.

Last month — nearly a decade after the Artists Collective was formed, and Mo\CA CT opened its doors —  Mo\CA’s outgoing and incoming executive directors, Pamela Hovland and Robin Jaffee Frank, attended the opening reception for the Collective’s holiday exhibit.

It was the first time a MoCA director had attended an Artists Collective exhibit.

Though the “divorce” was difficult, and my interviews with artists from those periods dug up still-raw emotions, both sides agree that MoCA\CT and the Artists Collective of Westport have made the town’s arts community more vibrant.

That is the power of a collective passion.

(“06880” regularly covers the Westport arts scene, in all its forms. We highlight the history of our town too. If you enjoy stories like these, please click here to support our work. Thank you!)