Here’s some of the fabulous coverage The Overcoat: A Musical Tailoring co-produced by Tapestry Opera, Vancouver Opera and Canadian Stage has drawn even before Opening Night:

Two decades after it was a theatre hit, The Overcoat tries on opera for size: John Terauds, Toronto Star

“We’re always told not to judge a book by its cover. But what if the cover makes the book? Or what if the clothes really do make the man?”

Making Words Sing: James Rolfe, Intermission Magazine

“The distinction between opera and music theatre is becoming less and less relevant. What still resonates is the soul of the piece, the spirit that makes it something greater than the sum of its words and notes.”

The Overcoat: Tailored for Opera, Gregory Finney, La Scena

“Rehearsing with the creators in the room is not something that most opera singers have a chance to do. “I dohave a lot of experience with that actually,” Sirrett explains. “It’s an incredible opportunity… there’s so much more insight.”

Gogol’s Overcoat | Revisited and Reinvented Jennifer Parr, The Whole Note

“There is a bubbling excitement in every conversation I am having with members of the creative team for The Overcoat: A Musical Tailoring, ”

Materialism Turns Tragic, Don’t Miss “The Overcoat”, Schmopera

“It seems to be human nature, the desire to own something that can transfom our lives. Instead of asking ourselves who we are, says Tennekoon, “You put all your hopes and dreams into one particular thing.”

Questions for Geoffrey Sirett – The Overcoat: A Musical Tailoring, Barcza Blog

“The Overcoat: A Musical Tailoring is beautifully rendered because it has managed to create something new and exciting while being faithful to, and drawing inspiration from, the original production. ”

The Overcoat Aims To Be Musical Tailoring At Its Finest Ludwig Van Toronto, Matthew Timmermans

With the amount of movement, lyricism, and tunefulness packed into this score, I asked Rolfe where he thought his piece lay in the gray area between opera and musical theatre. Rolfe responded that The Overcoat “has a foot in both camps.” After all, the works of Kurt Weill or Leonard Bernstein are also sung by opera singers, so “you don’t have to take a side,” he explained.