Sharon Hospital: A rural hospital’s routine

Dr. Ron Santos, right, director of Sharon Hospital’s Emergency Department, reviews a patient chart with medical staff.
Photo by Debra A. Aleksinas

Editor’s note: Sharon Hospital’s plans to eliminate Labor and Delivery and substitute its Intensive Care Unit with a Progressive Care Unit have captured headlines for months. This story takes an overall look at the hospital’s services.
SHARON — A bloodcurdling wail from a young child in distress pierces the calm inside Sharon Hospital’s Emergency Department, drowning out the soft, rhythmic beeps of nearby monitors. Doctors and nurses are huddled around the lone patient on this weekday afternoon in one of the department’s 10 treatment rooms, which were filled to capacity the prior evening.
Dr. Ron Santos, who has served as director of the Emergency Department for 12 years, described the ED as a no-judgment zone, where all who enter are treated with equal doses of attention and care, whether they present in dire straits or for less-serious injuries or health issues.
“We’re here to help people when they think they are having an emergency,” said the physician. “We never want to minimize their concerns.”
The ED, which is staffed 24 hours per day, seven days a week, 365 days of the year and on average treats about 40 patients per day, is often the first point of contact between patients and the hospital.
But it is hardly the only department in the 78-bed, 250,000-square-foot, acute-care hospital providing services to the community. On average, about 250 people receive inpatient and outpatient services in a single weekday, according to hospital officials.
A walk through the departments
A recent late September tour, guided by President Christina McCulloch, offered insight into the daily operations of the
community hospital, from some of the traditional services available in the full-service community hospital, to new enhancements including a telehealth kiosk allowing virtual care for oncology, neurology and infectious diseases, enhanced stroke support and care, state of the art imaging and expanded senior behavioral health and women’s health services.
McCulloch walks and talks as she approaches the Labor and Delivery unit, where two of the department’s six beds are occupied. Except for the presence of a security guard outside the hallway leading to patient rooms, all is silent.
L & D, a year after plans to close were made public
Labor and Delivery, which sees less than one birth per day, has been a controversial topic since Sharon Hospital’s parent company, Nuvance Health, unveiled plans a year ago to shutter the maternity unit and transform Intensive Care into a Progressive Care Unit.
McCulloch said the “long-term goal is to have everything available for women’s health services outside of delivering babies, either here in Sharon, or to be able to connect people to services outside of our catchment area.”
Finances are the driver
Nuvance leadership maintains the cuts are financially necessary to remain open and stable in the long-term, and are needed to staunch the $41 million in red ink annually, a situation described as “unsustainable” in an independent analysis from the hospital consulting firm Stroudwater Associates.
Part of its transformative plan is boosting investments in key services tailored to the demographic it serves. Sharon Hospital’s service population is older than Connecticut and national averages.
Connecticut’s Office of Health Strategy (OHS) plans to hold a public hearing on Sharon Hospital’s application on Tuesday, Oct. 18, via Zoom.
“I am aware that Nuvance has increased its social media and written communication about Sharon Hospital, which had been non-existent for years,” noted Nancy Heaton, CEO of the Sharon-based Foundation for Community Health, which helped fund the Stroudwater report. “I know, too, that they have conducted many small community meetings in hopes of communicating directly with residents about their intentions.”
Heaton commended the hospital for its recruitment and retention of physicians, especially primary care physicians, to the area.
Telehealth initiative
Soft light streams though the window of a cozy room with a small, round table, two comfortable chairs facing a very big wall monitor. Located just inside the entrance to maternity, the area houses a new telehealth kiosk. The fully staffed set-up allows patients to make face-to-face virtual appointments with an oncologist, neurologist or infectious disease specialist.
McCulloch explained that the kiosk was installed in response to needs expressed by the community for access to specialty services.
The telehealth kiosk fills that gap, she said. “A person can make an appointment to see an oncologist, then have labs and testing done here, without having to leave Sharon.”
Transportation is a challenge in rural areas, made especially difficult in one with an aging demographic. Sharon Hospital’s patient service area straddles the remote Connecticut/New York border area comprising 41,573 residents.
Thirty-five percent of the hospital’s total service area population is from Connecticut and 65 percent is from New York.
Radiology, behavioral services
With a tap of a badge, the heavy double door swings open to the radiology/imaging department, where an average of 12 people visit daily. We are greeted by a smiling Ken DiVestea, the unit’s director. A patient is currently occupying the state-of-the art MRI machine, so that is off-limits to the tour, but DiVestea is excited to show off a high-tech 3-D imaging mammography unit.
The hospital recently invested in a new MRI machine, as well as a state-of-the art, 3-D mammography unit, the “gold standard” for detecting breast cancer, and DiVestea said he is awaiting delivery of a new bone density system in early 2023.
“We really are trying to offer everything we can to the community,” McCulloch said.
That includes expansion of the hospital’s senior behavioral services, she said.
“Historically we’ve had a 12-bed geriatric psychiatric unit, but now we have 17 beds,” she said, making the Sharon facility one of only three geriatric psych centers in the state, serving Massachusetts, New York and Connecticut.
Patients come from either extended care facilities, or Sharon Hospital’s ED, and stay overnight with most stays involving two weeks of intensive therapy and medication adjusting for individuals suffering from dementia, anxiety, depression, schizophrenia and a range of disorders affecting the elderly.
Wound center
Treating open wounds does not sound like the kind of job that fits everyone. But for the staff at the Outpatient Wound Center, helping patients change dressings and promote healing of wounds that are post-surgery or infected, or painful or difficult to heal, is all in a day’s work. “We love what we do!” said lead nurse Tracey Waite.
A daily average of 12 patients pass through the outpatient wound unit. This department comprises a team of doctors, nurses and therapists including Waite, Dr. Amy Tocco and Dora Proe at the unit’s front desk. They provide individualized treatment to help people, such as those with diabetes or vascular issues, return to their normal daily activities. The Wound Center’s three clinic rooms have seen an uptick in patients recently, attributed to Waite’s outreach efforts.
“I go around communicating with other providers, reminding them that we’re here,” said Waite.
Surgical services
Next, we arrive at the hospital’s Surgical Unit. Dr. Mustafa Ugurlu, a general surgeon who has headed the department for the past six years, has just concluded a meeting with Susan Strobino, the unit’s Licensed Practical Nurse (LPN). Strobino emerges from the office with an armload of surgical supplies, and Ugurlu takes a few minutes to reflect on a recent increase in elective surgeries.
“Good volume” is how Ugurlu described the pace of elective surgeries. The surgeon said patient feedback reveals they are willing to travel a little farther to receive a high level of care at a hospital that is not congested and where they don’t face excessive wait times to book appointments. About 35 people per day on average are inpatients at the hospital.
Rehab a busy place
A small, green bean bag is hurtling toward my feet as I enter the hospital’s Rehabilitation Department. Giggles erupt just around the corner, where a small boy is taking delight in tossing the bean-filled pouches down the hallway. Nearby, two patients are lying on benches awaiting the physical therapist’s healing touch, and another is performing stretching exercises under the guidance of staff. Tuesdays and Thursdays, according to staff, are especially “crazy busy,” when it’s not uncommon for 60 to 70 patients to be booked for services with physical, occupational and speech pathologists.
“We see patients who have orthopedic surgeries and injuries, neurological disorders like Parkinson’s disease and stroke, vestibular and balance disorders, swallowing and voice disorders, as well as children with developmental delays or orthopedic injuries,” according to Melissa Braislin, director of rehabilitation services and cardiac rehab.
The hospital’s rehab department also offers various support groups and activities to the public, including a Stroke Support Group, Total Joint Camp and an Arthritis Exercise Class. With the exception of the exercise class, those programs are free.
Braislin said the recent closing of Outpatient Physical Therapy at Geer Village Senior Community in North Canaan led to an influx of appointments. “We have seen an increase due to Geer PT closing,” said Braislin.
Joe Brennan
The Edgewood Restaurant, a beloved Amenia roadside restaurant run by George and Anne Phillips, pictured during its peak years in the 1950s and ’60s.
With the recent death of George Phillips at 100, locals are remembering the Edgewood Restaurant, the Amenia supper club he and his wife, Anne Phillips, owned and operated together for more than two decades.
At the Edgewood, there were Delmonico steaks George carved in the basement, lobster tails from an infrared cooker, local trout from the stream outside the door, and a folded paper cup of butter, with heaping bowls of family-style potatoes and vegetables, plus a shot glass of crème de menthe to calm the stomach when the modest check arrived after dessert.
It began as a former gas station and tavern called The Narrows, on the road to Sharon, around a switchback east of Troutbeck. It became a roadhouse restaurant for weddings, bar mitzvahs, proms, graduations, birthdays and holidays with relatives. At Easter, New Year’s and Christmas, George and Anne served the food free — customers only paid for drinks as a thank-you for another good year.
It was a different time. Amenia was an isolated dairy farming community, and two large state psychiatric hospitals employed 4,000 potential diners. People needed a friendly neighborhood restaurant run by a local couple who knew everybody. They offered special-occasion favorites: fried chicken, meatloaf, sliced turkey with gravy, pork chops from nearby farms, and fresh white bread baked at 4 a.m. by George.
There was no maître d’. Waitresses, many still teenagers, greeted guests and helped them find a table. Cloth napkins and sturdy white plates sat in a knotty pine dining room that felt more like a family home than a formal restaurant. Large tables down the center accommodated families. George and Anne fed the staff before opening, and everyone ate the same meals served to customers. Everything was homemade classics of the 1950s and ’60s: cold shrimp and cocktail sauce, stuffed mushrooms, veal parmesan, King crab, clams and oysters on the half shell, chopped hamburger steak, French onion soup, fried chicken and pumpkin pie.
George was a tough but fair boss with a quirky sense of humor. Former employee Kevin Rooney, who worked there as a teenager, recalled being served a hot fudge sundae on a sweltering day — only to discover the “ice cream” was Crisco. Revenge came later in the form of a Coke spiked with Tabasco sauce.
George also kept a series of German shepherds — Rinny, Schultz and Dooley — named after a Jonathan Winters routine featuring talking beer steins. The dogs were locked inside at night for security. Tony Robert, another former employee, remembered coming in one day to find Schultz with the seat of someone’s pants in her jaws. When kids tried to sneak into a dance through the bathroom window after the fire marshal had closed the overcrowded place, George put Rinny in the restroom. Problem solved.
Anne also ran a no-nonsense operation. She marked liquor bottles at night so no one would sneak a drink, though the cleanup crew found ways around it, sipping the blackberry liquer instead. Along with cooking and baking everything from scratch, she raised their children in a life closely tied to the restaurant. The bus dropped their daughters off there after school, and one recalled doing homework while the family spent more time in the restaurant than in their nearby home.

After 23 years of long hours — often more than 100 a week — George began stepping back, at times closing the restaurant to recover. He later moved into real estate and Anne opened a successful craft store.
George sold the place in 1972. At one point, it became a lively beer joint and concert venue, featuring local bands, such as Random Concept, Little Village and Good Friend Coyote. When New York lowered its drinking age to 18 — while it remained 21 just across the state line — it drew crowds from Connecticut. Locals called them “Connecticut Rags,” kids with fancy cars who came to dance, drink and sometimes fight, rocking the floors so hard they bounced like a trampoline and shook dust from the rafters.
At closing time, they had to dodge police waiting across the state line. Sometimes Jack Rooney, Kevin’s father and the bartender, drove them home. One morning, Betty Rooney got a call from a worried mother asking if her son was there. “If he’s wearing red tennis shoes,” she said, “he’s asleep on my front lawn.”
The Edgewood also drew actors from the Sharon Playhouse and notable visitors, including Paul Newman, Cole Porter and even Supreme Court justices. George showed silent movies on a sheet in the dining room, and guests could dance to the Les Schulman Orchestra or to George and his brothers, who had their own band.
It served as a gathering place for groups such as the Eastern Artificial Insemination Cooperative and for events like the Knights of Columbus Communion breakfast. Families marked milestones there — including one that celebrated five birthdays at a Palm Sunday brunch in 1970.
Christmas dinner cost $3 and included stuffed olives, roast pig, prime rib, Virginia ham, deep-sea scallops, Long Island duck, creamed onions and, of course, crème de menthe parfait. On New Year’s Eve 1959, dinner was $15 a couple — $7.50 each for all the champagne you could drink.
The venue came to an end when the building burned to the ground in 1985.
The building is gone, but not the memories — the laughter, the music, the meals, and George carving steaks by hand. He lived a century, but the Edgewood, for those who knew it, was timeless.
Next time you’re driving to Sharon and pass the empty, weedy lot with a rusty electric meter, imagine calling George’s old number to make a reservation for a place that lives on in memory.

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Robin Roraback
Alissa DeGregorio, a New Milford -based artist and designer, has pieces on display at Mine Hill Distillery.
When I’m designing a book, I’m also the bridge between artist and author, the final step that pulls everything together.
— Alissa DeGregorio
A visit to Alissa DeGregorio Art, the website of the artist and designer, reveals the multiple talents she possesses.
Tabs for design, commissions, print club, and classes still reveal only part of her work.On the design page are examples of graphic and book design, including book covers illustrated by DeGregorio, along with samples of licensed products such as coloring pages and lunch boxes, and examples of prop design she has done for film.
The commissions tab includes samples of her pet and house portraits, as well as a new endeavor: wedding bouquet portraits.
“I love painting flowers and it’s a great way to forever preserve such an iconic part of a bride’s special day,” she said.
A shopping tab offers paintings, prints, and calendars for purchase.
Other tabs highlight the classes she teaches at the New Milford Public Library and another new venture:
“I’m starting a print club called ‘Root & Wing’. Each month, I’ll release an animal - or plant-themed – painting as a mailable 5-by-7 print with an accompanying information sheet, meditation and herbal recipe. People can purchase just one month or subscribe for the year,” DeGregorio explained.
DeGregorio considered a career in music.“My dad was a musician, always playing trumpet, piano, guitar or saxophone. As a teenager, I took quickly to the guitar and began writing my own songs, performing on my own and with a band. I thought music would be my path until my mid-twenties, when my focus switched to art.”
She recalls a childhood surrounded by art. “My mom was also an artist, creating detailed pen-and-ink drawings. Artist was the first thing I knew I wanted to be when I grew up and it was never discouraged. As a little kid, I would draw beside her, sculpt with homemade play doh, craft, crochet or paint.”
After graduating from high school in New Fairfield, Conn., and attending Naropa University in Colorado to pursue fine arts and Buddhism for a time, she returned to Connecticut to finish her degree at Western Connecticut State University. “When I was close to completing an illustration BA, a professor encouraged me to stay the extra year and double major in graphic design.”She said the extra time gave her “a strong foundation in design and storytelling. Experience in so many different creative fields has guided my practice and allowed me to pursue many avenues of art-making.”
Her mother, besides being an artist herself, runs Storybook Arts, an agency representing children’s book illustrators. DeGregorio has sometimes helped out. “I’ve always loved children’s illustration; there’s nothing better than a beautifully illustrated story. I had an insider’s eye to the nuts and bolts of the illustration business early on, and that taught me about pricing, contracts, the illustration process and also how to be business savvy but kind.”
DeGregorio likes working with authors who self-publish.She has done this both as a designer and an agent. “When I’m designing a book, I’m also the bridge between artist and author, the final step that pulls everything together. A good agent not only keeps track of timelines and contracts but is a supportive and encouraging ally to the artists they represent.”
An interesting aspect of her many talents is creating props. “I’ve done some prop work for TV and movies, such as handwritten lyric sheets for the upcoming Michael movie, or document and book props for Stranger Things. Those are fun for the wow factor!” she explained.
Of the classes she teaches, she said, “Teaching is enjoyable in that I’m helping to inspire people to have confidence in their own creativity. Watching students leave my classes feeling more joyful is its own reward.”
“I’ve been teaching adult painting classes at the New Milford Public Library for about four years now. I recently taught a series focusing on painting emotions. We talked about what the emotion meant to us, and how to represent that visually. For kids, I try to focus on process art and skill building through an activity, like designing a mythical map or board game, or Herve Tullet-style workshops.” DeGregorio has several classes ongoing through the summer.
DeGregorio’s paintings are on display at Mine Hill Distillery in Roxbury, with an artist reception on May 2 from 5 to 7 p.m. Her husband’s band, Gumbo, will play at the reception.
From May 15 to 17, DeGregorio will be at Goat Days in New Milford, where she will have art for sale.
To find out more about Alissa DeGregorio Art and all that she offers, go to alissadegregorio.com.A link to sign up for classes is also available on the site.
DeGregorio feels fortunate to have followed a path to being an artist. “I love it all and can’t believe some of the things I’ve gotten to do. I look forward to what the future may hold.”
D.H. Callahan
Minimalist works by Agnes Martin on display at Dia:Beacon.
At Dia:Beacon, simplicity commands attention.
On Saturday, April 4, the venerated modern art museum — located at 3 Beekman St. in Beacon, NY — opened an exhibition of works by the middle- to late-20th-century minimalist artist Agnes Martin.
Martin, the Canadian-born New York and New Mexico resident who died in 2004, made the kind of ambiguous abstract art that inspires countless imitators and interpreters.
At first glance, most of the pieces in the new show, “Painting Is Not the Act of Painting,” (on display until June 22) are variations on simple lines and grids painstakingly applied by the artist’s own hand using paint and pencil.
Despite their relative simplicity, it took Martin years of rejecting her own artwork to reach this level of pure abstraction. She would often take knives to paintings she didn’t like, literally slashing work that didn’t live up to her expectations. It wasn’t until she was in her 50s that she began making the work she would become known for.
That evolution is reflected in the exhibition’s 24 works.
Dia:Beacon seems like a perfect place for them. The museum is a monument to simplicity. Even the most complicated pieces are abstractions in their own ways. A straight, unpainted plywood wall with diagonal backing by Donald Judd suggests a room under construction. Michael Heizer’s singular ovoid boulder embedded into a gallery wall strikes unease into visitors.
Subtle grids and softly layered lines by Agnes Martin draw the eye at Dia:BeaconD.H. Callahan
Martin’s pieces feel at home here. In the context of such visual, if not conceptual, simplicity, her art seems louder than it might in almost any other setting. Faint blue and peach stripes gain vibrancy when compared with the all-white canvases of Robert Ryman or the large gray mirrors of Gerhard Richter, both a few rooms away. By comparison, the visibly human-drawn lines of pencil or etched-out paint seem almost complicated, and technically masterful.
It’s enough to make you ponder the name of the exhibition, “Painting Is Not the Act of Painting,” pulled from a quote by Martin: “Painting is not making paintings; it is a development of awareness. And with this awareness, your work changes, but very slowly.”
In a world where studio assistants and fabricators contribute to the output of many artists, Martin relished the act of painting. She painted nearly every day of her adult life. For her, the process was an integral part of the work, and it’s hard to look at these pieces without appreciating her hand.
This repetitive study is also demonstrated across the hall in a gallery dedicated to a single work by Andy Warhol. The piece, “Shadows,” is a study of variations on a single subject. Warhol took photos of shadows in his office and, using a silkscreen process, painted them 102 times on identically sized canvases.
Walking into the room, it may seem like the same image repeated. On closer inspection, the canvases vary widely in color and composition. The work suggests that repetition can produce unexpected forms.
Agnes Martin has become enshrined as one of the leaders of the minimalist movement of the 1960s and ’70s. Her work and artistic philosophies have inspired countless admirers. This exhibition displays a selection of important pieces from nearly 50 years of practice.
Robin Roraback
Hunt Library in Falls Village will present a commemorative show of paintings and etchings by the late Priscilla Belcher of Falls Village.
Priscilla Belcher, a Canaan resident who was known for her community involvement and willingness to speak out, will be featured in a posthumous exhibition at the ArtWall at the Hunt Library from April 25 through May 15.
An opening reception will be held from 5 to 7 p.m. on April 25. The show will commemorate her life and work and will include watercolors and etchings. Belcher died in November 2025 at the age of 95.
Christian Allyn, a close friend, said Belcher largely kept her creative work private. “Priscilla was a very private person. She kept her painting and writings to herself and only a few close family members,” he said, noting that she was self-taught.
After Belcher suffered a fall in 2024, Allyn and her neighbor, Gail Sinclair, prepared her home for her return. “During this process is when Gail and I began to uncover the volumes of art that Priscilla did throughout her life,” he said.
Belcher was born in 1930 in the Huntsville section of Canaan, the youngest of 10 children. Her family struggled during the Great Depression. “She could remember the entire family splitting one cabbage for dinner,” Allyn said. Her father died when she was nine.
She graduated from Lee H. Kellogg School, when it was still located at the Hunt Library building, and went on to graduate from Housatonic Valley Regional High School (HVRHS).She married John Belcher, foster son of local landowner Dorothy Haven, and moved in 1952 to a house in South Canaan that Haven gave them, near the South Canaan Meeting house, the “Little Red House.”
Years later, Belcher sold the home to help cover legal expenses for her neighbor, Peter Reilly, who was wrongly accused of killing his mother while a student at HVRHS in the 1970s.
Allyn described Belcher as part of a generation shaped by hardship. “Priscilla was one of the last living examples of the greatest generation,” he said. “Through that struggle, her tenacity and character were formed, which helped shape Canaan and the wider region into what it is today.”
He added that her advocacy ranged from pushing for pollution controls at the Falls Village landfill to calling for reforms in Region One schools. “Her willingness to put her house up to pay for Peter Reilly’s legal expenses, consistent advocacy of pollution controls … and reform to Region One in 2010 led this area into a far better place,” he said.
Belcher worked as a bookkeeper for the Lakeville Journal and Geer Nursing. After 1978, she devoted her time to gardening, documenting local history, refinishing furniture, attending town meetings, supporting people in recovery, and developing her painting and writing.
“She had a very hard life and often upset other people while she was intending to do good,” Allyn said. He recalled a conversation near the end of her life: “She said to me in her last days, ‘You know, I think I went a little too far with what I did in Falls Village,’” referring to her outspokenness. He added that after reflecting, “her entire outlook changed.”
The opening reception will be a celebration of Priscilla Belcher’s life, art, and legacy. All are welcome.
For more information visit www.huntlibrary.org/art-wall

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