top of page

National Ballet’s "MADDADDAM"

It may not entirely reinvent the wheel, but it certainly ruptures conventions

WORDS BY ERIN BALDWIN | Four Seasons Centre for the Performing Arts | Toronto

NOV 23, 2022 | COMMUNITY

Siphesihle November and Jason Ferro in Wayne McGregor’s MADDADDAM. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.
From _After Dark__edited.jpg
Christopher Gerty and Tanya Howard in Wayne McGregor’s MADDADDAM. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.
From _After Dark__edited.jpg
​
From _After Dark__edited.jpg
Ben Rudisin, Christopher Gerty and Jenna Savella in Wayne McGregor’s MADDADDAM. Photo by Karolina Kuras. Courtesy of The National Ballet of Canada

Distorted computer-generated voiceovers and an orchestral score that frequently collapses into static and reverb. A sparse black stage scattered with dancers under piercing spotlights. Video projections that juxtapose wolves gnawing at a carcass with the familiar, brightly coloured images of commodity culture. Welcome to the apocalyptic world of MADDADDAM, the jarring full-length ballet spectacle inspired by legendary Canadian author Margaret Atwood’s speculative fiction, engineered by the visionary choreographer Wayne McGregor, and brought to life by a daring ensemble cast from the National Ballet of Canada (NBoC).

bottom of page