The Daily Telegraph Thursday 1 August 2019 *** 25S
AMMY CHAPMAN,
who has died aged 81,
was a footballer and
manager whose career was
overshadowed by his part in
the betting scandal of the
mid-1960s.
The affair had begun
when Jimmy Gauld, a former
Mansfield Town team-mate
of Chapman who had retired
from the game, had
organised a network of
players prepared to throw
matches for money. The
People newspaper got wind
of the conspiracy, and for a
sum of £7,420 – worth
£150,000 today, and nearly
twice as much as he ever
earned from his match-fixing- Gauld spilt the beans and
went round the country
secretly taping conversations
with his recruits.
There were separate
allegations that Chapman
and other Mansfield players
had had a whip-round and
bribed three players from
Hartlepools United (as the
club was then known) to
throw a promotion decider - which Mansfield won 4-3
after going 2-0 down.
For his part in the Gauld
syndicate, Chapman was
suspended by Mansfield at
the end of the 1963-64
season, and in January 1965
at Nottingham Assizes – in
the first British trial to admit
taped evidence – he was one
of 10 players sent to jail, in
his case for six months.
Gauld was sentenced to
four years, while the scandal
deprived the England
manager, Alf Ramsey, of
Peter Swan and Tony Kay,
who would both have been
odds-on to make the 1966
World Cup squad.
On Chapman’s release he
was banned for life, though
the suspension was later
rescinded, allowing him to
work in the game.
Samuel Edward Campbell
Chapman was born in
Belfast on February 16 1938.
He was on Manchester
United’s books as a junior, as
well as those of Glentoran,
Glenavon and Shamrock
Rovers, then joined
Mansfield Town in 1956.
He was called up to the
Ireland “B” team in 1957,
scoring a penalty against
Romania on his debut, and
he was in the provisional
squad for the 1958 World
Cup, though he was not one
of the 17 players who
travelled to Sweden for the
tournament.
He played 50 League
games for Mansfield,
scoring 25 goals from
wing-half, then in February
1958 he signed for
Portsmouth for a fee of
£7,000. He was at Fratton
Park until 1961, scoring 10
goals in 48 games, before
rejoining the Stags, for
whom he played another
105 League games, scoring
15 goals. He became club
captain and led the side to
promotion from the Fourth
Division in 1963.
Following his release
from prison and his life ban
from football, Chapman
went to South Africa –
which because of apartheid
was not a member of the
game’s world governing
body, Fifa – and played a
handful of games for East
Rand United.
His suspension was
eventually rescinded and he
coached Portsmouth and
Crewe Alexandra. He moved
to Wolverhampton
Wanderers as chief scout,
and proved a gifted talent-
spotter: the signing of future
club favourite Andy Mutch
for £5,000 from Southport
was a particular triumph.
The club, however, was in
freefall, and when Tommy
Docherty was sacked in 1985
Chapman served as
caretaker-manager until the
arrival of Bill McGarry –
who lasted only 61 days,
making way for Chapman to
retake the reins.
With Wolves at such a low
ebb, however, Chapman was
unable to avert a third
successive relegation, to the
Fourth Division, and he left
in August 1986. His two
sons, Campbell and Cavan,
both became professional
footballers and turned out
for Wolves.
Chapman – who was
described by one of his
former Wolves players,
Dean Edwards, as “a
larger-than-life character
who always had a smile on
his face” – moved on to
Leicester City, as chief scout
and then youth
development officer.
Sammy Chapman is
survived by his wife Jeannie
and their two sons.Sammy Chapman, born
February 16 1938, died July
24 2019Sammy Chapman
Footballer and manager caught
up in the 1960s betting scandal
‘Larger-than-life character who
always had a smile on his face’ANL/REXObituaries
Cuban priest who kept the faith under Castro and helped broker a rapprochement with the US
Cardinal Jaime Ortega
C
ARDINAL JAIME
ORTEGA, the former
Archbishop of Havana,
who has died aged 82,
presided over a revival of Roman
Catholicism on the communist
island of Cuba, oversaw three
papal visits, including the historic
visit in 1998 of Pope John Paul II,
and helped to re-establish
relations between Cuba and the
US in 2014 during the terms of the
then-presidents Raul Castro and
Barack Obama. Yet his reluctance
to tackle the Castro regime in
public on human rights often
brought criticism.
Under the Batista dictatorship
the Church, long identified with
Cuba’s wealthier citizens, took a
vehemently anti-Communist line.
After Fidel Castro’s rebels
overthrew the regime in 1959,
public religious events were
banned; more than 150 Catholic
schools were nationalised,
hundreds of foreign priests were
expelled and numerous Cuban
priests, including Ortega, spent
time in military-run labour camps.
Cuba was officially declared
atheist in 1962. Yet although he
restricted its activities, the
Jesuit-educated Castro never
outlawed religious activity entirely
and Ortega, who described his year
in a labour camp as a “unique life
experience” as it placed him “in the
midst of the people”, devoted
himself to parish ministry,
travelling between churches to
keep the faith alive.
In the late 1970s Castro began to
soften towards the church, partly
thanks to the Vatican’s
condemnation of the American
economic embargo. In 1979 he
invited the new Pope, John Paul II,
to visit Cuba on his way back from
Mexico. As he had also been invited
by militantly anti-Castro Cuban
exiles to visit Miami, the Pope
decided to stop in the Bahamasinstead, a decision that “did not
please us or dispose us to renew
the invitation soon”, as Castro later
explained.
Nonetheless Ortega, who
became Archbishop of Havana in
1981, was able to begin rebuilding
the church infrastructure,
establishing new parishes,
restoring dozens of sanctuaries,
renovating more than 40 churches
and establishing the headquarters
of the Catholic Bishops’
Conference of Cuba.
The collapse of communism in
Cuba’s main patron, the Soviet
Union, led Castro to soften his
stance on religion once again. In
1992 the government dropped its
constitutional references to
atheism, and a gradual thaw in
relations began.
The previous year Ortega had
established Caritas of Havana, the
first office of the Catholic relief
charity in Cuba, which grew into
Caritas of Cuba, highlighting the
Church’s mission to the poor, and
in 1994 Pope John Paul named
Ortega the first cardinal in Cuba in
more than three decades.
To begin with, Ortega resisted
any sort of political role. “No
politics, no personal attack
questions, please,” he urged
reporters in 1995 on his first visit to
the US, “the church is not the
opposition party.” In 1998, as Cuba
prepared for the arrival of John
Paul II, President Castro allowed
Ortega to broadcast to the nation in
advance of the visit, but Ortega did
not push his luck. He described the
Polish pontiff as a patriot rather
than an anti-communist and
painted a somewhat abstract
picture of his stance on human
rights. It was left to the Pope
himself to call for “human rights
and social justice” and for the
release of all “prisoners of
conscience” from Cuba’s jails.
Venturing cautiously into amore political role, in 2010 Ortega
mediated the release, under Fidel
Castro’s brother and successor
Raul, of 75 political prisoners
arrested in a 2003 crackdown. But
activists protested when all but 12
were forced to go into exile in
Spain. There was anger, too, on
the eve of a second papal visit, by
Pope Benedict XVI in March 2012,
that the church had failed to speak
out after 70 members of the
“Ladies in White”, formed by
wives of Cuban political prisoners,
were detained and warned not to
attend papal Masses.
Ortega also provoked outrage
by summoning police to evict 13
activists who had occupied a
Havana church to push the Pope
to seek political reforms – and
when he held a special Mass to
pray for the speedy recovery of
the ailing Venezuelan leader and
key Castro ally, Hugo Chavez.
The impossibility of pleasing all
sides was illustrated by a stronglyworded op-ed in the South Florida
Sun-Sentinel in 2011 by the Yale
history professor and Cuban exile
Carlos Eire. “Although Cardinal
Ortega may seem ‘charming’ and
‘amiable’ to some,” he wrote, “the
cold, hard truth is that His
Eminence supports the political
oppression of the Cuban people by
the Castro regime, and that this is
the reason he is ‘trusted’ by the
authorities.”
But supporters of Ortega
argued that the Church could not
ignore the political realities, and
that by winning the trust of the
authorities, Ortega had helped to
build a Church which was active
and growing and had put it in a
position to press the government,
albeit behind the scenes, to
implement political and economic
reforms.
As a result he was able to act as a
go-between in the dialogue
between Barack Obama and Raul
Castro that led the two countries toresume diplomatic relations in
2014, hand-delivering clandestine
messages from Pope Francis that
urged the leaders to put aside Cold
War-era prejudices and forge a
new relationship. In March 2016
Obama became the first US
president to visit Cuba in nearly 90
years, and Ortega, in one of his last
acts before his retirement, greeted
him at the Cathedral de San
Cristóbal de la Habana.
The son of a sugar plantation
worker, Jaime Lucas Ortega
Alamino was born in the town of
Jaguey Grande, in the Cuban
central province of Matanzas, on
October 18 1936. After training for
the priesthood at San Alberto
Magno Seminary and with the
Fathers of Foreign Missions in
Quebec, he was ordained in 1964.
Two years later he spent a year in
a labour camp.
On his release he returned to
parish ministry in his home town,
working in several parishes
simultaneously because of the
shortage of priests. He also served
as pastor of the cathedral of
Matanzas; and as president of the
diocesan commission for
catechesis he began a youth
movement that included a summer
camp and a programme of
evangelisation through theatrical
works performed by them.
In 1978 Pope John Paul II
appointed him Bishop of Pinar del
Rio and in 1981 Archbishop of
Havana. He was made Cardinal
Priest of Santi Aquila e Priscilla in
November 1994.
As well as overseeing the visits
of John Paul II and Benedict XVI,
in 2015 he played host to the visit
to Cuba by Pope Francis. The
following year he retired as
Archbishop of Havana.Cardinal Jaime Ortega, born
October 18 1936, died July 26
2019Ortega acted as a trusted go-between for Barack Obama and Raul CastroGiant of the musicals whose Broadway and West End hits included Evita and Phantom of the Opera
Hal Prince
H
AL PRINCE, the
Broadway director
and producer, who
has died aged 91,
was the creative
dynamo behind
some of the late 20th century’s
great mega-musicals, among them
Evita (1978) and The Phantom of
the Opera (1986), two of Andrew
Lloyd Webber’s biggest hits, both
of which he directed when they
opened in London.
On Broadway Prince co-
produced the original West Side
Story (1957), a turning point in
musical theatre, and the first of
six collaborations with Stephen
Sondheim in a career spanning
seven decades. He went on to
produce A Funny Thing Happened
on the Way to the Forum (1962)
and Fiddler on the Roof (1964),
achieving his first directing
success with the original
production of Cabaret (1966),
followed by Follies (1971) and A
Little Night Music (1973).
Prince was a champion of the
concept musical, in which style
and spectacle took precedence
over storyline. In Follies, one of
his Broadway shows which relied
on creative staging rather than a
conventional plot, Prince tested
his stagecraft to the limit by
helping to create the spectacular
effect of a theatre being
demolished on stage, crumbling to
dust before the audience’s eyes.
While the show won seven Tony
awards (Prince shared his with the
choreographer Michael Bennett),
it was a commercial failure and
closed after little more than a
year, hobbled by unsustainable
production costs.
But Prince’s masterstroke in
Follies was trumped in London
15 years later when he staged
Phantom at Her Majesty’s Theatre
in the Haymarket, an imposing
pile specially chosen for its French
Renaissance architectural style.
The opulent auditorium under
a dramatic dome encouraged
theatre-goers in the illusion of
passing through a portal into
another world of mystery and
imagination, the ideal setting for
Lloyd Webber’s swirling Gothic
score.
Conjuring the baroque glory
of the Paris Opera House, Prince
pulled off his greatest coup de
théâtre, and a literal one – the
grand chandelier that rose into the
auditorium in the opening scene
and crashed on to the stage at the
end of the first act.
Not that Prince’s career was
unhampered by disappointments.
He had to fire the American
comedian Zero Mostel, the
original Tevye in Fiddler on the
Roof, for stealing too many scenes.
Away from Evita, Phantom and
Sweeney Todd, there were several
shows he preferred to forget.
“I had a cycle of eight flops, one
after the other, which meant eight
opening-night receptions and
eight times we opened the papers
to read goddamn awful reviews,”
Prince recalled. The ninth musicalwas Phantom, which remains the
longest-running musical in the
history of Broadway.
Although New York was his
natural habitat, Prince was an
enthusiastic Anglophile and the
West End was the scene of some
of his greatest triumphs, not
least in 1998, when he staged an
extravagant $8.5 million revival of
Show Boat with a hit-packed score
from 1927 by Jerome Kern and
Oscar Hammerstein II. Working
with an all-American cast, Princerestored many of the show’s
darker elements, considered
unpalatable 70 years before,
and plundered earlier stage and
film versions for unperformed
material.
Prince’s spectacular opening
tableau, designed by Eugene
Lee, mixing film projection,
computer technology and
conventional scenery to recreate
a 3-D Mississippi river with the
Cotton Blossom of the title gliding
into view, drew gasps from the
audience at the Prince
Edward Theatre.
While such striking
flights of fancy may
have confirmed
his mastery of
stagecraft, some
critics accused Prince
of compromising
the texts of his
shows in pursuit
of visual grandeur.
One contemporary
joked that he “loved
directing scenery”.
With his penchant
for unconventional
material like
Company, Follies and
Cabaret, John Kanderand Fred Ebb’s savage satire on
Nazism, Prince often courted
controversy. Black protesters
rushed the stage at a preview of
Show Boat in Toronto complaining
of racism. Early audiences at West
Side Story found the idea of rival
New York gangs too heady and at
the first performances 200 people
a night walked out at the interval.
With his glasses habitually
perched on his forehead like a
fighter pilot’s goggles, Prince
looked every inch the musical
impresario. Although he came to
prefer directing – which exercised
his imagination – over producing,
he regretted not confronting
more straight drama. Always
experimenting with new staging
methods, Prince presented about
three dozen musicals in the course
of his career, and was awarded a
record 21 Tonys.
An adopted child, Harold Smith
Prince was born on January 30
1928 in New York and brought
up by a wealthy Wall Street
stockbroker and his wife. When
he was eight they took him to see
Orson Welles in Julius Caesar,
and when he was old enough
he started going to the theatre
by himself. From the Timothy
Dwight School in New York he
enrolled at the University of
Pennsylvania, where he involved
himself in stage work before
graduating in the liberal arts in- He served two years with
the United States Army, stationed
with an artillery unit in Germany.
On his discharge he directed
summer stock (or repertory),
before taking a job as an assistant
stage manager with the director
George Abbott, from whom he
learned about stagecraft. As his
apprentice, Prince worked with
Abbott on Irving Berlin’s Call
Me Madam (1950) and Leonard
Bernstein’s Wonderful Town
(1953), before having his first hit as
a producer in his own right with
The Pajama Game in 1954 followed
by Damn Yankees, another
success, in 1955, which earned
Prince the tag “Boy Wonder of
Broadway” and established
him as a creative
force.
Two years later
came West Side
Story, which he
co-produced
with Robert
Griffith
and in which
Prince matched
commercial
success with
innovation. This
was his first
collaboration
with Stephen
Sondheim, with
whom between
1970 and 1981
he created six
more ground-
breaking
shows,
Company,
Follies, A Little
Night Music,
Pacific Overtures and Sweeney
Todd, before hitting the buffers in
Merrily We Roll Along.
Then, with Andrew Lloyd
Webber, came Evita and The
Phantom of the Opera, which
Prince visualised as a lavish
homage to 19th century theatre,
and for which he created a series
of stunning romantic tableaux
with the designer Maria Björnson.
As a director his first success
was She Loves Me (1963), followed
in 1966 by Cabaret, with music and
lyrics by John Kander and Fred
Ebb, a show that revolutionised
Broadway musicals and the one
that Prince said changed his mind
about the genre by teaching him
“how you could tell stories in
a fragmented fashion and use
theatre as metaphor”. It was the
first in a series of concept musicals
in which Prince, at his polished
peak as director, explored the
darker side of a traditionally
light form.
Prince staged one of the most
acclaimed revivals of the 1970s
when he invited Sondheim
and the British librettist Hugh
Wheeler to resuscitate Candide
(1974), Leonard Bernstein’s flop
from 1956. Although Prince made
imaginative use of the small
auditorium space at the Chelsea
Centre Theatre in New York,
scattering performance areas
around the audience, and in spite
of a lengthy run, the production
still lost money.
So did his Broadway staging of
Sondheim’s Sweeney Todd (1979),
with lyrics again by Wheeler and
co-starring the British actress,
Angela Lansbury, as the homicidal
landlady of the demon barber of
Fleet Street. Prince’s innovative
use of hydraulic catwalks proved
too much for the production
budget and the show failed to turn
a profit.
In 2006 Prince received a
special Tony Award for lifetime
achievement in the theatre.
Prince continued to stage
musicals well into old age, in
2010 co-directing, with Susan
Stroman, the musical Paradise
Found at the Menier
Chocolate Factory
in London. The pair
also collaborated
on a retrospective
of his work,
Prince of
Broadway, which
was premiered
in Tokyo in 2015
and opened on
Broadway in 2017.
Hal Prince
married, in 1962,
Judy Chaplin,
daughter of the
Hollywood
producer
Saul Chaplin.
They had two
children.Hal Prince,
born January
30 1928, died
July 31 2019Prince, above, in 1988. Below, Judi Dench as Sally Bowles in the original West
End production of Cabaret at the Palace Theatre. Below right, Michael Crawford
in The Phantom of the Opera at Her Majesty’s Theatre in 1986REUTERSTORONTO STAR/GETTY/KEYSTONE/HULTON/REX2 S F i a o o P i a m J d H p S T H 3 JРЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS