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C A N N O P Y

Art is True North

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Hubs & Huddles column of Cannopy Magazine, which focuses on multi-purpose performance centres
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National Ballet’s "MADDADDAM"

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Siphesihle November and Jason Ferro in Wayne McGregor’s MADDADDAM. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.

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

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).

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