Harewood House, built in the mid-18th century with money made from the sugar trade, re-staged Carnival Messiah, created by Geraldine Connor in a West-Indian-Carnival-style. It was seen as a symbolic commemoration of the Bicentenary of the Abolition of the Slave Trade. The production will need a cast of over 100 including a chorus to be recruited from the community of Leeds. This community cast will have access to a new and extensive education, skills and training programme, making participants aware of the many cultural heritages the show draws upon – their own and other peoples.

Peter Moores Foundation’s concern for this issue is demonstrated in The Transatlantic Slave Trade Gallery, Liverpool, opened at the Merseyside Maritime Museum in 1994 and initiated by Sir Peter Moores.

Daily Telegraph

‘You know that a production has been really exciting when you get up to join in the standing ovation and your knees are wobbly.’

The Guardian

Pick of the Week

‘A riot of colour, African music and joy, as the story is given an entirely fresh sound and fresher slant.… Until you’ve heard the heavy dub version of  For Unto Us a Child Is Born, you haven't lived. It is customary with Messiah for everyone to stand up during the Hallelujah chorus. Here it is more a case of persuading people to sit down.’

3 December 2008