IF CLOTHES MAKE THE MAN, THEY CAN UNDO HIM.
Twenty years after it took the world by storm, the first-of-its-kind silent-theatre blockbuster The Overcoat is re-fashioned into a wholly original musical experience for the 21st century. Joined by award-winning composer James Rolfe, celebrated Canadian theatre innovator Morris Panych and his original creative team return to the drafting table to re-pattern Gogol’s 19th century tale of a lowly office worker whose life is turned upside down when he’s robbed of his new overcoat. Boasting a joyously transporting score, this Overcoat is a bold symphony of voices and movement, comedy and tragedy that addresses the universal human need for compassion, and our unfortunate tendency to deny it.
Starring, Geoffrey Sirrett in the leading role of Akakiy and featuring, Dora Award-winning tenor Asitha Tennekoon (Manager); baritone Peter McGillivray (Head of Department); mezzo-soprano Andrea Ludwig (Landlady); soprano Meher Pavri (Secretary); tenor Keith Klassen (Mokiya); baritone Aaron Durand (Sossiya); bass Giles Tomkins (Khodozat); and mezzo-soprano Erica Iris along with sopranos Caitlin Wood and Magali Simard-Galdés as the Mad Chorus
Bluma Appel Theatre
St Lawrence Centre for the Arts, 27 Front St E, Toronto, ON M5E 1B4
Barczablog: The Overcoat–A Musical Tailoring “I feel like saying “it’s about time.”!”
Globe and Mail:The Overcoat is Canadian opera’s new mantle “The Overcoat: A Musical Tailoring is without question a part of the operatic canon of the 21st century”
Operaramblings: Trying on the Overcoat New comic operas are rare. New comic operas that are actually funny are vanishingly rare. The Overcoat: A Musical Tailoring is such a beast.
Schmopera–A Perfect Fit: The Overcoat Every once in a while a work comes along where all the pieces fall into place. The Overcoat: A Musical Tailoring, which opened last night in the Bluma Appel Theatre at the St. Lawrence Centre for the Arts, was one such piece.
Toronto Star: The Overcoat is slick, visually rich and an arresting night at the opera The overall brilliance of this absurd, funny and trenchant 90-minute opera in two acts makes this a must-see for anyone who appreciates good writing, brilliant orchestration and great stagecraft