A New Era of Ballet Collaboration
Ever sit back at the theatre, ballet, or opera, totally lost in the drama and think, How on earth does this all come together? Those flawless movements, jaw-dropping costumes, the world-building sets. Well it’s all thanks to a team of seriously talented creatives.Dive into the details with us in A New Era of Ballet Collaboration.
From November 14 to 30, 2024, the Royal Ballet brings something epic to the stage: MADDADDAM, Wayne McGregor’s daring take on Margaret Atwood’s iconic trilogy, launching in Europe for the very first time. This isn’t just McGregor’s magic, though it’s the combined genius of a full lineup of creatives who come together to bring every vivid, layered moment of the story to life.
MADDADDAM brings Atwood’s dystopian world to life with fluid, intense movement and striking visual design. Dancers embody post-apocalyptic landscapes in costumes that echo organic decay and digital rebirth, while projections and lighting create a haunting, otherworldly set. This ballet boldly captures themes of survival and evolution in a powerful, immersive experience.
How does it feel to be completely surrounded by a magical, moving work of art? To be so wrapped in its energy that every sound, every image lifts you out of your seat and into a world brimming with life and vibrancy?
When artists from different fields each masters of their craft come together to create something monumental, they build more than just a performance. They create an experience, a tapestry of visual, auditory, and emotional dimensions that immerses you completely. And this is where A New Era of Ballet Collaboration truly shines. As a co-production with the National Ballet of Canada, it embodies the spirit of collaboration and collective creation, showing us how the union of talents can produce an extraordinary, layered work of art.
“Wayne McGregor’s MADDADDAM – A Visual Symphony by the National Ballet of Canada”
© Karolina Kuras
This multi-faceted experience showcases the power of a shared vision, where every member’s expertise, every contribution, is seamlessly woven together to craft a cohesive whole a piece that transcends any single talent, offering audiences a journey that’s alive with the full potential of creative unity; constructed if your like, but a group of talented people
When great production gets put together this is exactly the case. This season with the new Royal Ballet European premiere of MADDADDAM. This is an audacious creation by resident choreographer Wayne McGregor, inspired by Margaret Atwood’s iconic trilogy. But that’s not all the cast of characters behind this monumental event is as outstanding as the very building the event is housed in.
When Kevin O’Hare steps in, the Royal Ballet goes full-throttle, delivering a show that’s nothing short of an experience. Forget sitting back; MADDADDAM is all about diving headfirst into a world where every single visionary throws down their A-game. Each one, from the choreographers to the lighting designers, brings a unique spark, and together they form a seamless whole a true testament to the magic that happens when creative minds sync up and make the impossible look effortless.
Wayne McGregor, the Choreographer, He’s the movement mastermind here, blending futuristic moves with gut-punch storytelling. His choreography doesn’t just look cool; it unravels themes of survival and humanity with every twist, every leap, and every intense stare. Be prepared to feel your heart race as he takes you through the highs and lows of existence.
Wayne McGregor: “Theatres are struggling. They’ve got no resources” PAL HANSEN/ROYAL OPERA HOUSE
Wayne McGregor has reimagined Margaret Atwood’s dystopian world for the stage, with impressionistic choreography that embodies the very essence of the MADDADDAM trilogy. Since its premiere in Canada in 2022, this work has evolved. McGregor made significant changes for the Royal Opera House, saying he “refined” the choreography and made “major structural changes”. It is a piece where dance and fiction come together in a space charged with emotion, narrative complexity and visual mystery.
Always in search of new artistic horizons,
“complexity of the characters, the temporal changes and the magnitude of the details” in the trilogy‘.
“Dance doesn’t easily transcribe all of this, so I let myself get carried away in this collage approach, fluid and ambiguous,”.
Wayne McGregor
This collaboration also marks a fusion of visions between author and choreographer, with Atwood describing her style as a form of “speculative fiction”, where each element is based on “very real facts”.
Now, let’s talk Max Richter, the Composer of the Music. This guy doesn’t just score music; he paints with sound intense and melancholic. His music flows through the show like an emotional rollercoaster, hitting you with lush orchestrations, gritty electronic pulses, and soundscapes that pull you right into the heart of the story. You’ll feel it in your bones.
Then there’s Gareth Pugh, the Costume Designer, and fashion rebel extraordinaire. His costumes are pure, unapologetic attitude bold shapes, wild materials, and more edge than a knife’s blade. These outfits transform each dancer into a dystopian warrior or dreamer, reflecting both beauty and chaos. If ever a wardrobe had attitude, it’s this one.
“Wayne McGregor’s MADDADDAM – A Visual Symphony by the National Ballet of Canada”
© Karolina Kuras
Lucy Carter the Lighting Designer, sculpts with light, turning the stage into a kaleidoscope of mood and mystery. Her lighting transforms every scene, playing with shadows and colours to capture the emotions of each act. It’s like she’s painting in real time, wrapping the stage in a vibe that feels almost alive.
And Ravi Deepres the Film Designer. He’s the tech wizard, turning the stage into a futuristic canvas. His projections transform the space, pulling you into Atwood’s dystopian universe with surreal landscapes that feel like you could reach out and touch them. You’ll be transported, no plane ticket is required.
With this powerhouse team, MADDADDAM isn’t just a ballet; it’s an all-senses thrill ride that refuses to be forgotten. Bold, breathtaking, and utterly electrifying buckle up and prepare for a wild journey.
The We Not I, the Set Designer, collective brings the stage to life like a breathing organism. Their set isn’t just a backdrop; it pulses, it vibes. With bold lines and striking materials, they plunge the audience straight into a raw, beautiful, yet unsettling world perfectly capturing Atwood’s essence.
Uzma Hameed, our Chief Dramaturg, weaves each scene to give the ballet massive depth. Every move, every glance matters, under her touch, turning MADDADDAM into an epic that captures all the madness, beauty, and intensity of Atwood’s universe.
“Wayne McGregor’s MADDADDAM – A Visual Symphony by the National Ballet of Canada”
© Karolina Kuras
Chris Ekers, Sound System Designer, doesn’t just “design a sound system.” No way. He pulls us into a sensory experience where every note, every whisper is crafted to be felt in your bones. It’s like sound becomes its own character, drawing you in deeper with every beat.
The Conductor, Koen Kessels, leads the orchestra with an energy that’s off the charts. Under his baton, Max Richter’s music springs to life with hypnotic force, guiding us closer and closer to MADDADDAM’s strange, mesmerizing world.
This orchestra doesn’t just play; they embody the music. Each note they deliver builds the story, making the soundscape almost part of the set. You can feel the passion in every measure they play.
And, of course, the queen of apocalypse herself, Margaret Atwood, is here as Creative Consultant. She ensures that every single detail, from the smallest prop to the last melody, stays true to her vision. Thanks to her, each scene breathes with that unique sense of survival, hope, and transformation she’s crafted so masterfully.
The collaboration with Margaret Atwood is a dream come true for Wayne McGregor, whose work is marked by an insatiable curiosity for science and technology, themes omnipresent in the Canadian author’s work.
“The visual richness of his writing and his fascination with genetic engineering and new technologies touch me deeply”.
Wayne McGregor
Through MADDADDAM, he pays homage to this speculative vision of the future.
“Wayne McGregor’s MADDADDAM – A Visual Symphony by the National Ballet of Canada”
© Karolina Kuras
In MADDADDAM, Margaret Atwood invites us into a post-apocalyptic world where survival is an art. The story follows the Crakers, a group of genetically engineered beings striving to live in harmony with nature, alongside Toby and Zeb, two resilient survivors navigating the chaos of their shattered civilization.
As they grapple with loss, hope, and the essence of humanity, Atwood weaves a tale rich in adventure and philosophical depth, exploring what it truly means to survive and start anew in a world transformed.
This production showcases how uniting talents can overcome challenges and create something extraordinary.
Wayne McGregor also addresses institutional challenges that artists face today. A resident of the Royal Ballet for almost twenty years, he speaks of his strategic role at the institution, aiming to
“Widen access for different types of artists. My role is to help put in place structures that facilitate the integration of young choreographers into large houses like this”.
Wayne McGregor
In November, it reminds us that creativity builds bridges. The Royal Ballet is also dedicated to diversifying access to the arts, offering educational programs that inspire young talent and encourage participation.
Adapting MADDADDAM for the stage was seen as “kind of an impossible task” by McGregor KAROLINA KURAS/NATIONAL BALLET OF CANADA/ROYAL OPERA HOUSE
After MADDADDAM, McGregor is planning another daring creation, Deepstaria, inspired by a species of jellyfish with regenerative abilities. The show, which will explore “abysmal darkness” with the use of Vantablack, will be presented at Sadler’s
Wells in February. Fascinated by unexplored oceans, McGregor finds a parallel between the mysteries of space and those of the deep sea:
“We have a human object 20 billion kilometers in space, but we have only explored a few miles beneath the surface sea.”
Wayne McGregor
This winter also, immerse yourself in the magic of ballet with Cinderella, Frederick Ashton’s enchanting masterpiece performed by The Royal Ballet.
Running from 3 December to 25 January at the Royal Opera House, this production promises stunning sets, magical costumes, and exceptional performances. The live cinema relay on 10 December offers everyone the chance to experience this unique rendition of Perrault’s classic, where Prokofiev’s spellbinding music and captivating staging transport audiences into Cinderella’s fairytale world.
With MADDADDAM, the Royal Ballet provides a thoughtful and deeply engaged artistic experience. Don’t miss this unique opportunity to witness an unforgettable performance in the heart of Covent Garden. Tickets are available starting at £8, a genuine bargain for a work of this scale.
For more information and to book your tickets, visit MADDADDAM (rbo.org.uk).
If you enjoyed reading A New Era of Ballet Collaboration then why not read, The Fashion of Collaboration here
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