[November 30 at 12pm
December 1 at 8PM
December 2 at 3PM
Fleck Dance Theatre,
For $10 student matinee tickets:
call Jody Cook 416.973.4000 ext.4856
(Complimenrary ticket for 1 teacher per class)
Soulfully danced to the Quincy Jones' R&B rendition of Handel's Messiah, this production will leave you singing "Hallellujah!" throughout the holiday season. Infused with tap, African-Caribbean dance, ballet, jazz and contemporary dance, this unique celebration of life and music is a holiday festivity to be enjoyed by all ages. Featuring David Cox (former "Stomp" dancer) and the Ballet Creole tour de force dancers.
Watch the CBC radio YouTube Interview with Artistic Director, Patrick Parson, and a pictorial of past shows since 2002.
GETTING TO THE HARBOURFRONT CENTRE
Starting on Monday Nov 5th 2012 and continuing on to late spring 2013,
Queens Quay will be open to westbound traffic only between Bay Street and Lower Spadina Avenue, requiring a diversion to eastbound buses on the 509 HARBOURFRONT route.
**A paper transfer is required at Union Station to board the 509 Harbourfront bus & a paper transfer is required to access the subway at Union Station after arriving there on the 509 Harbourfront bus**
Coming to Harbourfront Centre by TTC -
The westbound 509 bus from Union Station stops on the Queen’s Quay on the north side of the street in front of the Subway restaurant
Leaving Harbourfront Centre by TTC -
The eastbound 509 bus to Union Station stops on the south side of Lake Shore Blvd at Lower Simcoe Street – student groups will have to walk up from Harbourfront Centre on Lower Simcoe St to Lake Shore Blvd to catch the east bound 509 bus.
Parking - for anyone arriving by personal vehicle, please use our underground parking garage. Once you reach the lights at Lower Simcoe St and the Queen’s Quay W turn left to enter the garage on the West side of the Queen’s Quay terminal. Parking is $12 and the ticket machines ONLY take credit card and change, NO BILLS accepted.
In Search of the Soulful Messiah
Michael Crabb of the National Post in a review of a past performance of Soulful Messiah stated that “with artificial snowflakes falling on Sugar Plum Fairies across the GTA, it’s a relief for dance lovers, especially those not obsessed with toe shoes and tutus, to know that there is an alternative to the ubiquitous candy-coated Nutcracker—besides those high kicking Rockettes at the Hummingbird Centre.”
While Soulful Messiah cannot compare in age with the original 264-year musical score that inspired the piece, Ballet Creole’s Artistic Director, Patrick Parson has created a riveting holiday production that joyously celebrates Handel's legacy through modern day dance and music.
Soulful Messiah’s dance movements are a captivating cornucopia of popular, contemporary and African-Caribbean dance that complement the unique musical score from the CD “Handel’s Messiah: A Soulful Celebration” to create an evening of pure delight. The music is produced by Grammy Award winner Quincy Jones and features the likes of Stevie Wonder, The Boys Choir of Harlem, Vanessa Bell Armstrong Patti Austin, and Al Jarreau to name a few.
“Each year I keep singing the praises of Ballet Creole’s ‘Glorious Soulful Messiah…the tour de force of utter joy should be on everyone’s Christmas event list,” exclaims Paula Citron noted dance critic.
While Mr. Parson’s inspirations are many, he fervently explains that, “I always wanted to do something that runs parallel with The Nutcracker. Moreover, I wanted it to be something that all cultures can find aspirations of joy and hope. When I listened to the music, I realized it runs through the gamut of Black music – the Caribbean, the Highlife, the Jazz, the Soul – I became convinced, this is most fitting.”
Ballet Creole has been active on the Canadian dance scene since August 1990. The company tours locally and internationally. It also comprises a musical Ensemble (Creole Drummatix), and a School, which offers full and part-time programs for professionals, pre-professionals and the community at large. Ballet Creole’s high-eergy works range from African ritualism to abstract modern, with a repertoire, driven by the rhythm of the drums.