Creative Team :: It started with a photo...

A few months back I was wasting the usual amount of time checking out the newsfeeds on my Facebook account when I stumbled across some really cool promo photos from one of my connections. Much to my surprize, my buddy Vince Hemingson had taken up photography! He was already a talented writer and notorious blogger, so why should I be surprised that he was now delving into the art of photographic imagery? He's obviously creative, right?

The photos I stumbled on were part of a "Fashion Editorial" project for his course at Langara College. When I saw them I knew immediately the Vince was exactly the right person to shoot our promo-photos for Trouble in Tahiti! So I popped off a quick email and much to my surprize he responded almost immediately with a resounding, YES! Thank you Vince!

We booked the shoot the following week and to make it even more special, Vince contacted the very talented stylist Scarlett Ballentyne to help us with the shoot - incidentally she was the stylist for the "Fashion Editorial" so I was pretty chuffed that we scored both of them! The entire process took about 2 hours from make-up to modelling and Vince made it so fun and easy! I think the proof is in the pudding as they say!

I've included a link here to Vince's Fashion Editorial because I think these are amazing shots and you should check them out. You can also visit his website to see all his "Tattoo" images and read a little more about the man behind the camera.

Scarlett also has a great website/blog. Not only is she a great stylist, but she's a top representative for hip jewelry line called Stella and Dot. Need some swag? Scarlett is the lady to call! 

Shows We Like :: 4th Edition!

Veenesh Dubois
Under The Mango Tree

It would seem that the inspiration for most theatre comes from adversity or struggle. Trouble in Tahiti centres around a married couple who are struggling to get back to the magic of love that they experienced when they first met. This is not an uncommon topic and segways nicely into the next installment of "Shows We Like".

Producer, playwright and actor Veenesh Dubois is no stranger to the Fringe stage. Her show, Under the Mango Tree is returning to the Vancouver International Fringe Festival after its successful debut in 2009. Since then she has toured the show on numerous Fringe stages (Winnipeg, Edmonton, Toronto) along with many other independent theatres to rave review.

Under The Mango Tree is about a daughter's love and yearning for her father. The father lives in a small village and wants to find fame, fortune and better opportunities, so he leaves his family behind and emigrates to Canada. The story follows the letters that the daughter and the father exchange between one another.

This play is inspired by Dubois' own personal experience of being a young girl who grew up on a dirt floor hut in Ba, Fiji and being abandoned by her father who emigrated to Canada to make a better life for his family. While her father eventually sent for her, the play explores Dubois' own feelings around being abandon in Fiji and her family's immigration story to Canada.

Under The Mango Tree would appear to be another example of the complexity of family. The play itself has garnered rave review, described as "A tremendously told story" (Edmonton Sun), "Evocative & Entertaining" (Eye Weekly Toronto), and "An Emotional Roller Coaster" (NorthWest Interviewer - Sheryl McKay).

We can't wait to see Dubois in action! And this shouldn't be difficult as she is sharing the stage with us at the Firehall Arts Centre for the duration of the 2011 Vancouver Fringe Festival.

For more information about Dubois and Under The Mango Tree visit her website! And stay tuned for highlights from Day 2 of Trouble In Tahiti rehearsals. Staging starts today!

Website: vancoco.ca
Blog: vancocoblog.blogspot.com

Facebook: facebook.com/VanCOCoOp

Twitter: @VanCOCoOp

eMail: info@vancoco.ca

Trouble In Tahiti :: Rehearsals :: Day 1

2/3 of our Trio!
Grant and Katherine
getting cutesy!

Wow, what a day! We just completed our first day of rehearsals and this show is going to be magical! After a productive and inspiring "Day 1" we thought it might be interesting to share with our readers a little bit about the rehearsal process in the "World of Opera".

In the "World of Opera", singers are expected to arrive on the first day of rehearsals fully prepared and ready to begin staging. This means you are completely studied, memorized and have sorted out your own dramatic intent on the day you arrive. This is quite different from the "World of Theatre" where actors are encouraged to arrive with an idea of the framework not to the point where the organic process can't take place. When there is music involved things just have to happen differently!

Trouble in Tahiti is a very ensemble driven show and because of this, we are taking time at the beginning of our rehearsal period to make sure that the show is flowing the same for everyone. We need to ensure that we are all breathing in the same energy and that our emotion flows from a very organic speech-like space. Our music director, Kathleen Lohrenz Gable, has arrived equipped to assist in making this happen, by encouraging us to deliver our text in the same dramatic shape in which we would speak them; ensuring that we are not merely singing the right notes, with the right rhythms, at the right time. Basically she is pushing us all to bring our individual and collaborative performances to the next level and to YOU our audience.

We accomplished a lot today! So it's time for some rest as tomorrow begins our first day of staging rehearsals.

Don't forget we open on September 9th! You can get your tickets at www.vancouverfringe.com!

"STRUT"-ing our stuff! Tahiti Cast Member Grant Wardlow visits the iMambo Studios!

On Friday morning we had a unique opportunity to shoot a STRUT video! Trouble in Tahiti Cast Members Grant Wardlow and Natalie Burdeny headed down to the iMambo studios at 910 Richards Street with a script in hand. We were greeted by Kim Elton, CEO of iMambo and Fringe Executive Director, David Jordan.

While we waited, we got to hear a professional shoot for a local sports-caster and were able to catch up on our hockey news - an interesting update on Sidney Crosby of the Vancouver Canucks. Grant jokingly commented... maybe we should get him to do this for us!

But NO! Grant was a trouper. It took only 3 takes to get it down and the STRUT staff made it super easy! Meanwhile, Natalie managed to snap a couple of shots we thought you might enjoy!

Grant getting some quick tips on how to deliver the STRUT!

The STRUT cameraman making sure Grant looks just right!

Not only did this guy run the camera...
he had one hand running the script for the
teleprompter at the same time! Glad
we came prepared with USB stick in hand!

Grant in action! Perhaps he just found another calling!
At minimum we'd love Grant to STRUT with us again!

As soon as the STRUT video becomes available we'll let you know! Now if only we can get our hands on the blooper reel!

Now for the plug! If you've got a website, you need a STRUT! Go check out the iMambo/STRUT for more information. It's actually quite reasonable and really fun too!

Even More Shows We Like!

SINCE YOU LEFT US
What if the greatest love
of your life is you dog?
by Susinn McFarlen

The entire process of producing a "Fringe" show has been exceptionally rewarding! Not only because we get the chance to produce a rarely performed work and bring a new genre to the "Fringe" in Vancouver, but because we have met so many really interesting people along the way. Susinn McFarlen is one of them!

The day we met Susinn it was an instant "LIKE". Susinn is just plain cool! An award winning actress, with a tonne of experience in the theatre world, and a great new play to boot! We love creative people and undoubtedly she'd have some words of wisdom to share with us.

But alas, we're not here to just tell you how amazing Susinn is... you'll have to be the judge of that! She has written a play called "Since You Left Us". It has been 3 years in the making and the final results will come to fruition at the Firehall Arts Centre on September 8th.

The inspiration for this play is quite interesting and admirable. We at VanCOCO get it because we are ultimately doing the same thing in our own genre! In Susinn's own words... "Three years ago I counted the number of men over the age of 50 on stages in Vancouver. This was AFTER Bard closed. There were over 20 of them. However, not a single woman over the age of 50 was working. Right then I was determined to write a play that had interesting characters for older women. I knew that if I wrote great parts for women, I could get the best women in Vancouver to play them - because none of us were working. And I was right!".

And thus, Susinn started on her three year journey as a first-time playwright. She has already had some noteworthy success! This year she was invited to the prestigious Banff Playwright Colony to workshop the play for 2 weeks with a dramaturge and a cast and as a result she won the Larry Lillo and John Moffat Prize at this years Jessie Richarson Awards which is helping to cover the costs of self producing.

So what is the play about? Well here's the skinny...

Fanny hasn’t been home to visit her family in 15 years. Not since she sobered up. From the moment she walks in the door and sees her sister’s old dog eating dinner in a high chair and the rest of the family arrive drunk from 2 for 1 night at the local Hooters she knows it’s gonna be a difficult weekend. But when her mother’s drunken boyfriend passes out on top of the dog the entire visit is derailed. This outrageous new comedy takes us on an adventure that is unexpected and heartbreaking. SINCE YOU LEFT US is about making peace with the family you have, not the one you wish you had.

If you want to read more about Susinn, go to her website!

If you want to WIN TICKETS to her show... go here! (Beware... your going to need a dog and a camera to make this happen!).

If you want to read about the AWARD WINNING Cast and Crew (which includes a 4 legged cast member)... go here!

Other than that... just go see it!

Choreography is in the Bag

Our Choreo Genius!
Andrea Rabinovitch

Well, we spent the last two days working out our step-cross patterns and our step-ball-changes with Andrea Rabinovitch and we can't wait to show you our new grooves in the Firehall.

Below we have a dance step we call, "I am praying that I make it through rehearsal week." I am thinking this may be all the dance craze this coming fall.

Katherine... you are late for High-Tea!

And a "Family Picture second to none"!

We poke fun, but seriously we are soooo happy with the hard-work and effort that our trio put in for the last two days and just know our audiences are going to love your new dance moves.

Don't forget! We open on September 9th at the Firehall Arts Centre (280 East Cordova). Opening night is half-price night so if you're counting your pennies, you can't go wrong with a $6 ticket!

Buy them here!

Stay tuned for tommorrow's blog installment of "Shows We Like"... where you'll get a chance to meet the wonderful Susinn McFarlen and learn about her show "Since You Left Us!".

More Shows We Like!

So we are back to share more "Shows We Like". This time we'd like to share a little about a production that we get to share the stage with at the Firehall Arts Centre (280 East Cordova).

Winner of last years "Pick of the Fringe Award," Awkward Stage Productions will be presenting the musical SMILE. Not only are we super stoked that we get to see a whole lotta puppet action with their show, but we are super excited about Awkward Stage Productions mission. If you haven't heard of them yet, Awkward Stage Productions is committed to providing real life performance and production opportunities to youth in that awkward transition from childhood to adulthood, and from play acting to professional performance. Last year Awkward Stage had the youngest cast in the Fringe Festival with their production of "13". Their productions provide not only youth performers, but youth musicians, technical crew, production assistants, etc. with professionally guided theatre experience.

Not only does Awkward Stage take on one cast of youth, but they take a second, slightly older cast, to mentor the younger cast which has a huge benefit to both casts, resulting in what we are sure will be life long relationships.

Kudos to you Awkward Stage and the cast and crew of SMILE, we can't tell you how excited we are to see your show.

Plus an interesting note: PUPPETS DON'T SWEAT!



If you enjoyed that video, check out their bi-weekly YouTube updates on "The Lives of Puppets".

Check back tomorrow for photos and tales from our first two days of choreography with Andrea Rabinovitch!

FRINGE SHOWS WE LIKE!!!

A big part of the Fringe Festival is the spirit of creativity and friendship that goes along with it. Here at VanCOCO we are producing our first ever Fringe show, and what we hope is the beginning of a tradition of bringing new audiences to opera. That being said, we would like to take a moment to share with our readers some of the other shows at the Fringe that we are very excited to see.

Last February our friend and actress/playwright Lynna Goldhar Smith invited us to be apart of the Fringe Festival at the Cultch. Unfortunately the venue was not a good fit for us, but we got a chance to hear about her new script called Sally Lives Here and how excited she was that she was coming back to do a Fringe Show after a long time away from the Fringe Festival.

Lynna says, "I love the spirit of the Fringe Festival. I love the unbridled creativity. I am so happy to be part of it again after all these years." We love it too Lynna and we are glad that you are at the Fringe Festival with us, even though we are not in the same venue. We will definitely be in line to see your show.

Watch the Trailer Here:


And for more information and show times on Sally Lives Here, please visit her website or you can follow her on Twitter! And if that's not enough, you can read about other exciting "East Side" Fringe productions on our producers collaborative page! We'll be telling you about a few more of these talented people in days to come!

Introducing our Music Director Kathleen Lohrenz Gable

We just can't explain how excited we are that Kathleen Lohrenz Gable will be joining us as our Music Director for Trouble In Tahiti! In just five short days she arrives to share with us her expertise at the keyboard and to help us shape and nuance this sparkling, yet darkly dramatic score that Mr. Bernstein has given to us.

Kathleen is joining us from Saskatoon where she currently teaches Applied Piano and is the Music Director for the Music Theatre Ensemble at the University of Saskatchewan. Most of us in the cast however, know her from our fond days of Opera NUOVA (Newly United Operatic Vocalists Association), Edmonton's national level opera training program.

Kathleen is very busy trying to catch all of her university students up so that she can join us here in Vancouver for the Fringe Festival, but she had some time to tell us about an exciting encounter she had personally with Leonard Bernstein.

When my husband and I were on our honeymoon to New York City we had an opportunity to observe Leonard Bernstein as he conducted the Portland Youth Orchestra who were sitting first chair beside the New York Philharmonic. We watched a rehearsal in the afternoon when the harpists was having difficulty with the score. Berstein was working hard with him and it was a tense moment. We decided to attend the concert later that evening. At the concert the harpist absolutely played his part perfectly and Bernstein gave him kudos with an OK sign in his conducting pattern. As a teacher of many students of this age this gesture greatly affected me. I was very emotional and decided that I was going to meet Mr. Bernstein. We simply walked past all of the check-points where people had security passes and tickets to meet Leonard Bernstein. We had no such documentation and felt that our only hope was to march straight past the check-points. We walked up to his dressing room and knocked on the door. He called out to come in. We entered and there were about thirty people in the room. I waited in line and in a couple of minutes he talked to me. I told him that I was a teacher and how the day and concert had affected me especially because I was passionate about working with young people. He took my head in his hands and told me to keep doing what I was doing because I was doing very important work. I have NEVER forgotten a moment of this encounter. What a privilege!!

What a privilege indeed! And thank you so much for sharing that story with us! Mr. Bernstein was right, the thing that you are doing is very important and we are so proud and honoured to have you come to Vancouver and share your passion with us!

If you didn't get a chance to read the previous blog post "Bernstein - A compulsion to share!", now is the time to do so. Kathleen's story is living proof that Bernstein truly believed in education and people!

Take the Lenny Quiz!

Okay time for a bit of brain teasing! Grab a pen and paper, and when you are ready start the clip... test your musical knowledge and see how many of the questions you can answer correctly!



Let us know how many you got correct by leaving a comment below!

Tahiti-toids! Indulge your mind...

We thought it was time for a few little factoids, or "Tahiti-toids" as we like to call them, about the show.

Trouble in Tahiti is a one-act opera in seven scenes composed by Leonard Bernstein with an English libretto by the composer. The opera received its first performance on 12 June 1952 at Berstein's Festival of the Creative Arts on the campus of Brandeis University in Waltham, Massachusetts to an audience of nearly 3,000 people. The work is about 40 minutes long. The NBC Opera Theatre subsequently presented the opera on television in November 1952; a production which marked mezzo-soprano Beverly Wolff's professional debut in the role of Dinah. Wolff later reprised the role in the New York City Opera's first staging of the work in 1958. Bernstein's later opera, A Quiet Place (1983), incorporates Trouble in Tahiti in the form of an extended flashback, and both versions are regularly performed worldwide. (Source: Wikipedia)

Premiere:      6/12/1952

                      Waltham, Massachusetts

                      Elliot Silverstein

                      Conductor: Leonard Bernstein

                      Company: Brandeis University

Moods:          Comic, Romantic

Subjects:       Contemporary, Relationships, Society

Style:             Musically, Bernstein indulges in many of the styles he is most recognized for. The heroine's first aria has a wistful melancholy reminiscent of Aaron Copland's earlier vernacular works and of Bernstein's later writing in West Side Story, while the jazzy interludes harken back to the score Bernstein wrote for On the Town.

Vernacular:    Bernstein tried to make his opera as real as possible. He wanted everything about it to be believable. He even went to great lengths to write in language that would be heard in everyday speech during that time. “All the music [in Trouble in Tahiti] derives from American vernacular roots, as do the words. And the words are very carefully set so that they will sound in the American cadence and with the American kind of syncopated, almost slurred quality”.

Inspiration:    While it was rumoured that the troubled young couple was based on Leonard Bernstein himself and his new bride, Felicia Monealegre, there is another, perhaps more plausible, theory that the story is based on the relationship of Bernstein’s own mother and father.

Do you know any interesting facts about Bernstein or Trouble in Tahiti? If so, we'd love for you to let us know! Simply leave a comment below!

Cast Corner: The Fabulous Katherine Landry

We are so excited to have the fabulous Katherine Landry filling out our trio for Trouble in Tahiti. Here is some interesting tid-bits she had to share with us.

Q: Vancouver Concert Opera Co-Operative is a "Concert Opera Company" what do you think the advantage is of branching into the staged world of the Fringe Festival?

A: Opera is meant to be a 'complete' art form: not only heard but seen as well. This is an opportunity for us to go beyond great music and provide audiences with a truly theatrical experience.

Q: We are the first opera at the Vancouver International Fringe Festival, do you think that opera can be a regular part of the Fringe Festival? If so what other operas do you think might fit in well with the regular Fringe crowd?

A: I hope opera will become a regular addition to the Fringe! I recently performed in one of a series of short operas premiered in a salon style setting called "The Opera Project". This was an opportunity for local composers to try their hand at opera for the first time in a condensed setting. These short works were outstanding and I think the Fringe would be perfect for further experiments!

Q: One last question, what is the most bizarre thing you've done or seen on stage?

A: I suppose this isn't really so bizarre as funny. I was in the chorus for the first time with Vancouver opera for their last production of Aida in 2002. One evening I was waiting in the wings for my 'Ethiopian Slave' entrance and we heard laughter and light applause from the audience. As we were shoved out on stage by the 'soldiers', I saw the tenor trying not to laugh as he looked up stage towards us. Apparently the horse he rode in on had decided to poo right there on the stage - luckily a costumed supernumary was on hand to sweep it up before we slaves made our entrance and had to kneel in it!

Make sure you check back tomorrow for our fun and unusual TAHITI-TOIDS!

Bernstein - A compulsion to share!

One of the great things about performing a work from a 20th Century composer is all of the little tidbits of information that are available out there on the world wide web. Below are a few clips we thought you would enjoy!

This first clip we stumbled across is from an interview in which Bernstein briefly discusses his "love for people" and "compulsion to share".



It is abundantly clear from the next two clips that Bernstein was committed to sharing and education. He was not only a prolific composer, but a renowned conductor and was committed to sharing his own experiences with young conductors about art, music, and the relationship between the two, along with exploring the relationship of "self" with "the arts", and being one's best possible "self"!



When one considers Bernstein's dedication towards self and the arts it is not hard to consider that the inspiration for Trouble in Tahiti may have been a personal one. While it was rumoured that the troubled young couple was based on Leonard Bernstein himself and his new bride, Felicia Monealegre, there is another, perhaps more plausible, theory that the story is based on the relationship of Bernstein’s own mother and father. Perhaps Bernstein was giving us a personal view into his own life story!



We hope you enjoyed these little clips! Stay tuned for the Lenny Quiz!

Cast Corner - Ed Moran (Baritone) on Trouble in Tahiti

Baritone Ed Moran will sing the role of Sam in our upcoming production of Trouble in Tahiti. As one of the show's Co-Producers we thought you might find it interesting to hear some of his thoughts on the show and what his experience has been thus far as a Co-Producer.

Q: What excites you most about this show?

A: I performed in this show a hundred years ago during my undergrad at the University of Alaska and believe it or not I actually sang the Tenor part in the trio. Trouble in Tahiti was the first Opera I was ever in and it has excited me ever since. The music is stunning particularly because of the juxtaposition of the trio, which is very jazzy, against the two main characters Sam and Dinah who sing with a very operatic lyricism. The interaction between Sam and Dinah is very exciting and yet also very puzzling to me. At times I look at them and think, they really do love each other they just argue like any other couple, then at other times wonder, how are these two still together? I guess because I am an optimist, I look for the happy ending in this show and see the drama as just an average day in the life of Sam and Dinah.

Q: Is there a defining moment in your life when you decided that Opera was your lifes calling.

A: Yes, very much so. While I was in my undergrad at U.A.A. I began to sing in the Chorus with Anchorage Opera. My second or third show with them was Verdi's Un Ballo in Maschera. In this production the scene just before the ball took place in front of the curtain. While this was happening the chorus, in all of their fanciest ball costumes, took the stage behind the curtain. As the curtain swiftly rose, the entire Chorus took two giant steps directly towards the audience. At this precise moment there was an audible gasp from the audience and the energy that ensued gave me goosebumps. Later on in the act, after Renato had be assassinated, I had the good fortune of being placed very close to the front of the stage. Each night I could look past the "4th wall" and see the audience sobbing in their seats. I decided at this moment that this would be my path. I absolutely adore that I get to take people away from their own world for a few hours and bring them into a world of beautiful music and drama. There isn't anything better for me on this earth.

Q: Can you give us a little sneak peak of what your show is going to look like?

A: Well... I suppose I can give you just a little sneak peak...  I really wanted to show how Sam and Dinah's life together (or at least this particular day in it) is shallow and one dimensional. For this reason we are playing around with silhouette's. The scenes with Sam or Dinah will be projected onto a flat surface and everything with be as deadpan and flat as possible. To experience the entire vision you will simply have to come and see the show.

Cast Corner - Paul Just (Tenor) on Tahiti and Opera

Tenor Paul Just was next on our list to catch up with. Here are a few interesting tid-bits about our Trio Man #1.

Q: What excites you about this opera?

A: For me, this opera walks that very fine line between musical theatre and opera. It has all those exciting syncopated and jazzy rhythms and crunchy, yet satisfying chords that you find in the musical theatre of this era, but the arching, grandiose lines that you so often associate with opera are found here, as well; most often heard in the scenes with Dinah. The juxtaposition of the two very distinctive styles is blended wholly and so very organically by Bernstein. It can satisfy the palate of most any music-theatre goer.

Q: Tell us about your first experience with Opera.

A: My first experience hearing an opera was when I was two when my father would play Minnesota Public Radio for me when they laid me down to sleep in my crib. Even as a two year old, I still have memories of laying in my crib and hearing the first chords of Bizet's CARMEN and my parents told me that I didn't fall asleep until the final chords of the opera. That should have been a telling factor about my choice of career. Fast forward to my first year of university when I was cast as Ben Budge in Benjamin Britten's re-imagining of John Gay's THE BEGGAR'S OPERA. It was a great show. Lots of good, fun, rollicking music for the Men of the Road. Britten has never been my favorite composer to sing or listen to, but his re-working of this opera opened my mind to him, if only a little. But, being on the stage, working as a unit with fellow-singers, a conductor, orchestra - it was something that I never forgot and I love it today as much as I did then. Well, perhaps a little more.

Keep checking back to hear more news and info about our upcoming performances of Trouble in Tahiti as part of the Vancouver International Fringe Festival.

Cast Corner - Natalie Burdeny (Contralto) on Tahiti and "Fropera"

So we had a little time in our busy schedule to catch up with Ms. Burdeny our Founding and Artistic Director and ask her a few questions about the upcoming run of Trouble in Tahiti at the Firehall (Sept 8-18th). Here is what she had to say:


Q: What do you think is significant about the characters in this show?

A: I think the fact that the story is completely transportable into the “now” even though it was written in the 1950’s is significant. A lot of the times we experience opera as sort of a fantasy, when in actual fact, these characters could be people you know today, or maybe there are characteristics about them that is reflected in our own personalities. Even thought the trio seems to be a little nonsensical at times, I equate them to today’s vision of the media… if Facebook could sing, it would be our “Greek Chorus”… the mundane events that keep us entertained and sculpting the world before our eyes; albeit our singing Facebook Trio sounds quite beautiful!

Q: VanCOCO is producing the first Opera at Vancouver International Fringe Festival, do you think that Opera can be a regular part of the Fringe Festival? If so what other "Operas" do you think might fit in well with the regular Fringe crowd?



A: The answer is YES YES YES! The Fringe format lends itself well to one-act and experimental opera. This alone is a reason to keep opera as a part of the Fringe. With a one-act you have the challenge of telling a story in a very condensed amount of time which means we, as artists, have to be very clear of our intention. From a dramatic development standpoint, this is a great avenue for the singers to grow as actors. Not to mention, that we’re bringing the art form to a broader audience. Who knows… maybe someone who has never seen an opera will leave saying… “I want more… where do I get it?”!

Check back frequently to hear what the rest of our creative team has to say in the weeks leading up to our performances at Firehall Arts Center!!!

 

"Doa--Daa--Day--Day"

There are only a handful of recordings of Bernstein's Trouble in Tahiti including a couple of film versions. Our favourite is the BBC film version taped in 2001 that features Stephanie Novacek as Dinah and Karl Daymond as Sam. If you love MAD MEN you'll likely LOVE this.

Prelude ("Doa--Daa--Day--Day"), Scene 1 and 2



Scenes 2 and 3



Scene 4, Interlude, and Scene 5



Scene 6 ("What a Movie!...Island Magic")



Scene 7



We hope you enjoy these clips as much as we have!

All Things Tahiti!

Okay, so we've been remiss! But it's time to fix that! With the 2011 Vancouver International Fringe Festival only weeks away, VanCOCO is in high-gear with planning for our production of Leonard Bernstein's Trouble in Tahiti.

Our cast and crews are set, our promo materials are ready, rehearsals are scheduled and we're just tickled to be stepping out onto the Fringe Stage!

Over the next few weeks, we'll be blogging some interesting (well, we hope it's interesting) factoids and information about the upcoming show.

For now, we hope you will enjoy our MUSICAL TRAILER!



Advance ticket sales have begun and you can purchase your ticket on the Vancouver Fringe website - just click here!