AIRE 2008 post-poned

Dear Friends, Colleagues and Supporters of the Actors International Retreat Experience (AIRE),

The Green Wood Studio is currently in what I will call a “Development Year” and we have decided for a variety of reasons to postpone this year’s annual AIRE event scheduled for January 2008. I am in the process of making some important decisions professionally and am actively pursuing teaching, directing and acting jobs outside of my usual communities which may involve some big professional & personal changes.

That said I am working closely with our beloved faculty and administrators on refreshing and reinvigorating our experience so that when we do produce our next event it will be an even more rewarding experience for all involved. One of the things we are actively doing is scouting new geographic locations in the hopes that we can reach an even wider array of artists to come play with us. If you have any recommendations or suggestions we would welcome your input. Please send any and all feedback to Emi Clark at chicago@greenwoodstudio.org .

I know for many of you this is sad news as you were no doubt looking forward to, as I do every year, exploring, growing, and working with instructors and classmates you’ve come to love. I thank you so much for your dedication to our community and I can assure you we will be back and better than ever for our 10th anniversary season in 2009.

I will of course keep you posted, via email, website and blogspot, as details develop about the exciting changes we have planned. In the meantime I encourage you to take classes or privates with me in various cities I already visit, with any of our other instructors (Ted Hoerl, Steve Scott – Chicago, Rob O’Neill – New York, David Smukler – Toronto, Vancouver) or with someone you find in your own city so that you can keep at the top of your game. Martha Karl and Madeline Muravchik are planning to bring me to teach in Washington DC as soon as possible in 2008 in lieu of attending the retreat and if you’d be interested in bringing me or any of our other instructors to your town for a workshop I’d be more than happy to help facilitate that event.

If you have any questions, please contact me or any of our area coordinators. This week, I am both training actors & in training (YBB for those of you who know!) in Los Angeles so may be slow in responding.

Thank you all again for your friendship and support and I look forward to working together again soon.

With love,
Molly



Molly Lyons
Artistic Director
Green Wood Studio
Actors' International Retreat Experience -A.I.R.E.
lyons@greenwoodstudio.org
www.greenwoodstudio.org
http://greenwoodtree.blogspot.com

First Registrations for A.I.R.E. Actors' International Retreat Experience

As we head into our 9th annual event of the Actors' International Retreat Experience and are already receiving registrations from as far away as Washington DC, I thought I'd post our 2008 instructors and some quotes from A.I.R.E. alumni.

2008 A.I.R.E. Instructors

Ted Hoerl - Act One Studio instructor & Casting Director, teaching Auditioning with prepared monologue from contemporary theatre.

Molly Lyons – Director of the Green Wood Studio, international director/classical teacher, teaching Playing the Classics with prepared soliloquy or monologue from classical theatre.

Rob O'Neill – NY based Performer & International Movement Coach teaching Embodiment.

Steve Scott - Associate Producer of Chicago's Goodman Theatre teaching Scene Work with prepared scenes.

David Smukler - York University and Canada's National Voice Intensive teaching Voice.

You can read full bio's on the instructors and find a ton of information at:

www.greenwoodstudio.org and follow the links to A.I.R.E. on the home page.

Actor Quotes

Describing A.I.R.E. is difficult because I tend to feel as though I am exaggerating and simultaneously not even getting close to communicating the impact of the experience. Let's just say: I now measure my artistic life in terms of Before A.I.R.E. and After A.I.R.E. I expected it to nourish me as an actor; it did that, but it also fed me as a writer, as a musician, and as a human being.Come ready to work. And work. And work some more. But also to rediscover the absolute joy of this work, and to approach your entire life with a new sense of purpose and truth.
Elizabeth Bagby, Chicago actor, writer, artist

Thank you for the wonderful experience. Thank you for filling up my tank with all that good stuff.
Kenny Hull, LA actor, director, producer

I have never before been so immersed in my art -- constantly creating while also being creatively filled. The instructors are truly gifted, insightful and specific. They teach with love and respect, while being fully willing to jump in, play and learn along side you! The environment itself also fills the artistic soul. I definitely recommend it.
Lisa Benner, NY actor

I learned more in one short course with the Green Wood Studio than I did in two years at a training institute.
Melina Pyron, Soprano, actor

If you're serious about your craft, willing to do the work, and unopposed to having some fun in the process, you'll not find a better learning opportunity, or value for your money. The setting is sweet, the meals tasty, the staff welcoming and helpful. But it's the program that'll keep you returning year after year ('07 will be my third). The instructors are superb, the best group of teachers I've ever worked with. They're not simply knowledgeable, perceptive, humorous and fully human, they know how to teach.

Norm Stamper, Orcas Island actor, writer

This acting retreat focused my passion and sharpened my skills. I was given the truth about what I was doing in a useful constructive way. Your Integrity is Respected.

Tom Pickett, Vancouver actor

Every person should attend this retreat, whether they’re an actor or not. Molly Lyons and her incomparable team of instructors not only teach us to be stronger actors but better people. Through their combined genius they encourage us to face our fears and embrace our passions. Together we strengthen our work as artists and our spirits as human beings. I recommend everyone to experience what I have had the joy of experiencing, a safe, enlightening and joyous atmosphere in which to grow, learn and laugh with people who are truly inspiring.

Dan De Jaeger, Winnipeg/Vancouver/Prescott actor

I never would have had the confidence (to play the part) without having worked with these great teachers.

Annette Clark, South Carolina actor

I don't know when I've felt more alive. This work is magical and transformative.

Louise Carnachan, Orcas Island/Seattle actor, improviser, producer

The retreat is an experience I give myself as a gift as often as I can. As an artist in this unforgiving world at times it is easy to lose focus and lose the wonderment of the craft. I come to the retreat to stretch my creative muscles and fill my spirit with the magic of the work. Every year I have attended the retreat I have left feeling full of inspiration, with a new and renewed awareness of my craft, my instrument and my artistic self as a whole. I am absolutely nervous, excited, and blessed to have this opportunity. The retreat to me is a sacred place to nuture the artist within by working with people who have the same passion an love for this work. I come to refill my well!!!
Betty Lorkowski, Chicago actor

The whole week was beyond belief. I loved the commitment and the intensity we had. Everybody worked so hard; I learned so much. I came to [the retreat] alone, not knowing a soul, and left with new friends and a wonderful experience of theatre.
Robin Hall, Washington DC actor

Nowhere else have I found such immediately applicable and long-lasting coaching and career advice than this week-long intensive.
Ian Farthing, Vancouver actor

I had my first audition since I've been back and I got the part! I cannot tell you how different my experience was. I was so much calmer and 100 times more confident. Thank you, thank you, thank you.
Stephanie Pottruck, LA actor

Thank you for the life lesson.
Abe Brown, LA actor

This is where I go every year to re-open as an artist and sharpen my skill set. Plus you simply can't find better instruction - all assembled in one intensive week - anywhere else in the country. These are instructors who are Masters and it is inspiring to work with them. I can't recommend it highly enough!

Emi Clark, Chicago actor

I used to think your marketing materials claim of "life-changing event" could not be true. Now that I've attended the retreat, I know it is true.
BD Freeman, LA actor, comedian

Working with what I've got

As I reflect back on my recent work at the Shakespeare Festival, where I have had the pleasure of working for three seasons, my mind races with all the valuable lessons I learned during this one paradoxically glorious and tumultuous summer.

As the season began, I was full of doubts as to whether or not I was up to the task of playing Nurse in Romeo and Juliet and Hippolyta/Titania in A Midsummer Night’s Dream.

My friend, Ian, gave me the book Will & Me: How Shakespeare Took Over My Life by Dominic Dromgoole, currently the Artistic Director at the Globe Theatre, London. The book became my muse for creating the characters.

Feeling fairly insecure & as if my very messy life would somehow wreck my work, during rehearsals, Dominic's words about being “human” helped me a great deal. Some of the most important quotes which struck me deeply are:

• "All through my life, when wounds had opened, Shakespeare had appeared with comic balm or tragic suture, to patch things up."
• "With such a shining example of rich and creative complexity before us, how can we not attempt to be as human?"
• And, although I must paraphrase - forgive me - because I cannot find the exact quote, the idea which moved me most to trust that my life, however messy it may be, is all that is necessary to live under the text:
  The richer the text, the less we need to embellish but rather let the words remind us of what we have lived. (which was the response I wrote in my journal one night when reading the book.)

Providential timing, really, that I had this book to read during this summer. (Thank you, Ian.)

As I mentioned in the post below, my other great inspiration over the summer, during performances (thanks to my Canadian colleagues in the cast), was the Canadian television series, Slings & Arrows, about….a Shakespeare Festival in Ontario! The all too brief series (compared to mediocre American tv series which seem to go & on season after seaon ad nauseum) quickly became an addiction for me. I devoured all three seasons, including the extra features like out-takes, interviews, etc. Co-creator Susan Coyne’s comments also moved me to trust the very human experience I found myself struggling with all summer:

• If I have a mission [about Shakespeare], it is to present him as a living playwright for today.
• 400 years later, we're still laughing at a joke ... because we know who these people are ... they're human as we are.
• (About presenting theatre on tv) What we do, the theatre, might be important.

My conclusions:

Shakespeare, the actor/playwright, wrote of human behavior and it is my job as an actor to get to my most human behavior when performing. Audiences come to the theatre to see human behavior onstage; to see me “hold, as ‘twere, the mirror up to nature” and let them recognize their humanity through the expression of mine. To keep my humanity at arm’s length will keep the character at arm’s length and, therefore, the audience at arm’s length from the story Shakespeare wants us to tell.

Oddly enough, during the rehearsal process, what I feared I might lack, I discovered were the characters’ fears; what I was afraid might be “inappropriate” for the character in some given moment, I discovered was the most appropriate experience to reveal the soul of the woman in that very moment.

The character who taught me the most about myself was the one I didn’t think, initially, I was at all comfortable playing: Nurse in Romeo & Juliet. I told the director, Craig Walker, when he wanted to cast me in the role that I felt 1. too young, 2. I didn’t get the comedy of her and 3. I always thought I was more like Lady Cap.

The “too young” part was substantiated for me by, of all things, the character, Ellen, on Slings & Arrows, who said to the young woman cast as Juliet: “It’s the lot of the actress, my dear. You play the leads, the queens, the duchesses, the dreaded Nurse, then it’s a bed in [the actors’ nursing home]." I suppose the age issue was soothed a bit by the fact that our Juliet really did look about 14 and it is, primarily, in her eyes that the Nurse seems: "old", "lame", "heavy", etc., and because she is impatient for news Nurse is to bring of her love. So, thanks, Emma!

As for getting Nurse's humour, I finally decided, partly because Craig told me that, onstage, I relish being funny and also based on Dominic’s quote about “how can we not attempt to be as human?” that I would simply pour all of myself into Nurse. Now, this at a time when I have been moving through a season of my life where I felt pretty far from the woman I used to be; the woman I think I can be; the best woman I always have been.

As for being "right" for the role ....For nearly twenty years, I have longed to play Titania and I had the time of my life every second I played her. My great surprise this summer was how pleased I was when I read my R&J director’s opening night card and the description he wrote of the Nurse, as I created her, is closer to the real me than I have felt in a long time.

Without even realizing I could begin to heal & find my best self again through my work, by simply deciding to bring all I had to offer to the circumstances of each character in each play, I came damn close to finding that woman again.

Since closing, I continue walking on the healing journey which began when I felt called to get back onstage and was furthered at the Shakespeare Festival while exploring these three glorious women: to find my most honest & glorious self again. I believe the walk will take me every day closer and, now, finally, I am ready to move forward into it.

To think, a few years ago, I wondered if getting back onstage was the best choice for me; if I still had what it takes to do the work truthfully and skillfully. This summer, I found that, for me, I did indeed make the best choice and I am simply grateful and joyful every time I get onstage. I feel ready for just about any role any one wants to offer me knowing I can approach it with confidence: trusting that my “mess” is all the humanity any character needs.

I simply need to work with what I’ve got and all of it.

--ML

Photo credits of my work with colleagues this summer at SLSF:
Titania & fairies (Emma Hunter, Ashley Keefer, Kaylan Lindsay, Kyle Evans;
Hippolyta & Theseus (Ross Neill);
2 - Nurse & Juliet (Emma Hunter)

what we do might be important

This is my farewell note to the company of this summer's St. Lawrence Shakespeare Festival.

A quick farewell and wish for the future ....

Some events of recent days, & indeed of the summer, have left me feeling a real need to value what little time we truly spend on earth and to ensure that people know the impact they may have upon my life.

Several of you are responsible for getting me hooked onthe fabulous Canadian tv series, Slings & Arrows, about a Shakespeare festival in Ontario, the first two seasons of which I watched during our run and Craig kindly left me season three upon closing.

The theme of season three, watched in the past few days, re-inforced my renewed sense of communicating value to those I care about or admire. In the special features section of the DVD, I watched an interview with Susan Coyne, co-creator, writer and actor (the Shakespeare festival's administrator, for those of you who might not know) and she said something which caused in me great sentimentality - shocking I know - about our season and the affect we have had on the community here and on each other as artists.

Forgive my cutting & pasting of her words:

• If I have a mission [about Shakespeare], it is to present him as a living playwright for today.
• 400 years later, we're still laughing at a joke ... because we know who these people are ... they're human as we are.
• (About presenting theatre on tv) What we do, the theatre, might be important.

Thanks for letting Shakespeare live. Thanks for your humanity. Thanks for letting the work be important - to each other and to the community.

May you be blessed with more of the same whether we work together again or not.

Sincerely,

Molly

Romeo & Juliet review

Molly Lyons as Nurse & Perry Mucci as Romeo

Rain no obstacle to Star-Crossed Lovers

Brockville Recorder & Times
By RONALD ZAJAC
Staff Writer

PRESCOTT -- The Fort Town's first taste of Shakespearean tragedy is hardly bitter.The St. Lawrence Shakespeare Festival's Romeo and Juliet, which opened last night despite the vagaries of nature, is first of all a perfect opposite to A Midsummer Night's Dream in the festival's "Summer of Love" theme.
But it is also a perfect play to ease a local crowd accustomed to comedies, since the start of the five-year-old festival, into the darker side of Shakespeare's work.It is perhaps easy to forget how lightly this tragic tale of star-crossed lovers begins. The dialogue in the early acts is full of quick-firing puns, ribaldry and bawdy humour, lines, such as Sampson's famous "maiden-heads" pun, that one would expect to hear from some of the characters in Midsummer. Where the play turns tragic, where these lovers' story crosses a line beyond which there is no possibility of a happy ending, is in Act 3, Scene 1, when the rivalry between the Capulets and Montagues begins to claim lives. By then, the audience is already drawn in by the strength of the characters and is ready for a descent into darkness that is stunningly choreographed.
Director Craig Walker, who also doubles as this play's conscience in the character of Prince Escalus, had to make some difficult decisions to bring this production down to its practical limit of just over two hours. Gone is some of the dialogue in key moments, and audience members will have to seek reassurance in the original text that the likable Friar Lawrence (compellingly played by Tyler Murree), is forgiven for his well-intentioned but ill-fated scheme. But in return for such textual sacrifices is a tragedy that, by paring away some of the text, provides an emotional crescendo driven by raw emotion.In particular, leads Perry Mucci and Emma Hunter perform the challenging death scene almost like a dark dance, conveying the tragedy through movement rather than words. The resulting shift between the warring families from rivalry to reconciliation, upon the discovery of the young lovers' bodies, is also conveyed wordlessly, with Shakespeare's text serving more to confirm the transformation rather than effect it. This is achieved through the pacing given to the play by Walker's edits, and the effect left the small but determined opening night audience transfixed.
While there are no weak links in this mostly seasoned cast, Mucci in particular stands out because he shows himself worthy of the challenging role of Romeo after the succession of comic characters he has played in the local festival. (Indeed, on the nights he isn't playing Romeo, Mucci will be speaking in a deliberately ridiculous falsetto as Francis Flute in Midsummer.) Romeo is above all driven by an immature emotional extremism that ultimately claims his life, and Mucci, cited by Walker for his "boyish" looks, plays this with the right pitch. Similarly, Hunter captures the fluttering innocence of the 13-year-old Juliet, complete with prattling silliness, in the earlier acts, then grows up very quickly, as she is required to do, in the latter part of the play.
The entire cast, crew and indeed the audience members deserve citations of valour for what has got to be the five-year-old festival's most difficult opening night. As thunder began sounding in the distance, Murree used it to his advantage by incorporating it, at least gesturally, into Friar Lawrence's early dialogue. By the end of the intermission, artistic director Ian Farthing (Mercutio) remained optimistic, telling the audience the brunt of the storm missed Prescott and the play would continue in the Kinsmen Amphitheatre. It wasn't much later, however, when the rain began in earnest and everyone was moved uphill to the nearby tent, to see the play's denouement coincide with an invasion of mosquitoes. It is perhaps a testament to this production's power, however, that during the final scenes the slapping and shooing seemed to diminish for a moment. The mosquitoes were the result of the delay caused by the move to the tent. Festival regulars will know that by now, these Shakespeareans have learned how to time their productions to end right before the after-dark infestation begins. That is, when the weather co-operates just a little.
Despite what the weather has in store for the next few weeks, Romeo and Juliet is a production that deserves a much bigger crowd.
Published in Section A, page 4 in the Thursday, July 19, 2007 edition of the Brockville Recorder & Times.Posted 4:31:49 PM Thursday, July 19, 2007.

Molly Lyons as Nurse & Emma Hunter as
Juliet

A Midsummer Night's Dream review

Molly Lyons as Titania & Craig Walker as Bottom

St. Lawrence Shakespeare Festival off to first-rate start

Brockville Recorder & Times
By RONALD ZAJAC, Staff Writer
PRESCOTT -- Of all the Bard's plays staged at the Kinsmen Amphitheatre so far, this one is arguably the most apt.
A Midsummer Night's Dream, which opened the St. Lawrence Shakespeare Festival's fifth season on Saturday, is a romp through Shakespeare's "Green World."
It's a play that deserves to be performed outdoors, making the waterfront amphitheatre an ideal setting for it. (Friday's preview performance was indeed staged outdoors, although Saturday night's opener, given the weather, was held inside the festival's nearby tent. On the upside, the tent was full.)
The "Green World," a term coined by the late critic Northrop Frye, is the wilderness to which many of Shakespeare's comic heroes escape.
Under the trees, potentially tragic lovers like Lysander and Hermia are governed not by strict Athenian law, but by whimsical, magical beings who lure them astray with their tricks, yet have conscience enough to make everything right by sunrise.
The Prescott production not only captures the sheer joy of Shakespeare's best-known comedy, but uses the "Green World" magic of the amphitheatre to full advantage. Characters sweep down on the audience from above, while music from an unseen performer wafts over the trees during the woodland spirits' games.
This is, truly, an enchanting way to spend a midsummer's night.
It's also a worthy rendition of the quintessential Shakespearean comedy.
Director Steve Scott has remained faithful to the text and the performers, many of them festival regulars by now, do it justice.
In particular, leads Ross Neill and Molly Lyons bring the right mixture of severity and comedy to the roles of the fairy king and queen Oberon and Titania, while Michael MacDonald, whose talent for physical comedy is by now well known, is an excellent choice for the mischievous Puck.
Meanwhile, the four benighted lovers (Amanda Levencrown as Hermia, Dorian Foley as Lysander, Lisa Benner as Helena and Dan De Jaeger as Demetrius), whose confused trip through the Green World is the core of the play, are also well cast.
In particular, Benner, the delicate Hero in last year's Much Adoe About Nothing, and Levencrown, who gives a somewhat coarser edge to Hermia, make for interesting echoes of the play's two other female archetypes: the fairy queen and the amazon.
And while the St. Lawrence troupe does it for budgetary reasons, casting the same two actors for the Theseus-Hippolyta and Oberon-Titania pairings conveys the message, first delivered with a similar twin-pairing in Peter Brook's famous 1970 staging, that the worlds of the mortals and fairies mirror each other.
But for comedy of the side-splitting variety, enter the "rude mechanicals," the Elizabethan term for lower-class labourers, whose hilarious play-within-a-play, and the attempt to rehearse it, provide the real from-the-gut laughter.
All six of these characters provide the play's comedic climax with their mis-staged tragedy that serves as a satire on the potentially tragic love that has just been healed in the "Green World."
In particular, Craig Walker, as Bottom, takes on the challenge of being unwittingly elevated to main character status when Puck gives him an ass's head, while Oberon magically contrives to have Titania fall in love with him.
And here we find this play's main flaw, likely the bane of every Midsummer Night's Dream director: what to do about that ass's head.
It's a tricky dilemma. Having a character run around with a donkey's head without knowing it is the stuff of pure physical comedy, yet at the same time, the audience needs to see that confusion in the actor's face. The result, as in this case, is often a head with ass's ears, but little else to suggest a donkey Walker compensates for this forgivable problem with all the facial expressiveness Bottom demands, and throws in his own deliberately asinine laugh to boot.
This Midsummer Night's Dream comes with arguably more double-entendre than other renditions, most of it delivered through physical comedy, and there are brief moments when the physical comedy distracts the viewer from the text.
But then, one could argue this is how the Bard intended it, as Puck looks on and observes: "Lord, what fools these mortals be!"
The Shakespeare festival's "Summer of Love" continues Wednesday with the opening of Romeo and Juliet on Wednesday.
· Published in Section A, page 3 in the Monday, July 16, 2007 edition of the Brockville Recorder & Times.

Ross Neill as Oberon & Molly Lyons as Titania

The Duke & the Bard

Greetings,
Here are some audience reviews of a recent performance in Ottawa. In short, it was the 50th anniversary of Duke Ellington's suite to Shakespeare, called Such Sweet Thunder. Ross Neill, Ian Farthing and myself, all from the St Lawrence Shakespeare Festival, were asked, along with another Shakespeare company, to perform with the Impressions in Jazz ensemble.

I learned a great deal during this process, which was a bit hectic to say the least, the most important one being: my passion & joy for simply saying the words is enough to lift me. Playing a bunch of the strong, sometimes bad women, all in one night, was a thrilling experience: Lady Mac, Tamara, Kate, Titania, a witch, a brief revisit with Cleopatra, etc.

Also, I learned when I trust my scene partners, the wave of creativity really takes me on a fun surf. I was so thankful that Ian and Ross were performing with me because I know their work and can trust them. For instance, I saw them both make a really cool blocking choice when we were each taking chorus for a scene from Romeo & Juliet, so I followed suit and imitated them. I believe it made the choral bits work better and lent very tight focus to the 2 actors playing R & J.

It was as if we were influenced by the jazz and were able to jam in realy cool ways.

The music was positively inspiring and the orchestra ROCKED.

Once again, it is always rewarding to be onstage but, I must say, last minute frantic-ness aside, this was particularly FUN.

Molly Lyons as Kate from Taming of the Shrew with Ian Farthing as Lucentio, Ross
Neill as Petruchio and Emmanuelle Zeesman as Bianca with Impressions in Jazz
Conductor, Adrian Cho, looking on.

- The Duke & The Bard audience quotes:

“Your orchestra is superb - I heard the music truly come to life thanks to their passionate and skilful playing.”
Ian Farthing, Artistic Director, St. Lawrence Shakespeare Festival

“We were both extremely impressed by the show. The venue, the atmosphere, and all the little extras only complemented the quality of the performances. The pairing of music and acting made for a complete package and a very unique experience.”
Sandra Stockley

“This was a brilliant show. We enjoy baroque music and jazz - it was amazing to have them brought together like that. I've been a bardophile for years, so it was a real treat to hear music express characters. We usually feel that modern settings and costumes don't work for Will S's plays, but the jazz sure did. What a great group of musicians - we'll be keeping track of their gigs.”
Judy Benner

“A brief note to congratulate you and your musicians for your wonderful performance last night. I thought it was beautifully put together and executed.”
Jacques Émond, Programming Director, Ottawa International Jazz Festival

“Congratulations on a fabulous show last night! All ensembles were awesome and it was apparent that everyone was having a great time, enjoying both the readings and music.”
Sonia Dimitrov

“Sweet show! The music was so tight. I loved it as did the gang that accompanied me.”
Mary Catherine Jack

“Just a note of thanks to you and to all of the IJO team for the wonderful evening Tuesday. This was my first chance to hear the orchestra and I was bowled over by the precision and vibrance of the playing - fantastic achievement. The whole conception of the evening was a revelation to me. This is the kind of cross-cultural synergy that is so needed but so seldom encountered. Looking around me, I couldn't find a single face that was anything less than animated throughout the evening.”
Bob Reid

“The concert was spectacular and the audience was very appreciative. What you are doing is like a breath of fresh air in Ottawa; we are blessed with some great musicians and you have given them a high class focus for their talents.”
Keith Richardson

“Congratulations on Tuesday's performance! Everyone at my table was ecstatic; none had heard the IJO before and all said they'd be at future concerts.”
Ron Sweetman, jazz writer and radio producer

Other photos available at
http://www.impressionsinjazz.ca/gallery/v/2007-2008/CP-120607/