This week, a Margaret Atwood classic comes to life on stage at The National Ballet of Canada. Inspired by Atwood’s post-apocalyptic trilogy of the same name, MADDADDAM explores themes of technology, colonialism and greed—and where our humanity lies amidst it all.

MADDADDAM was first created at the National Ballet in 2022 by choreographer Wayne McGregor. After the world premiere in Toronto, and a sold-out London premiere with The Royal Ballet, the show is making its return to Toronto from June 13-21.

The story opens in the aftermath of a bio-engineered apocalypse, where Jimmy believes himself to be the only human being left. He’s haunted by memories of his former best friend Crake—a scientist who created a new race of hominids called Crakers—and Oryx, Crake’s partner and the love of Jimmy’s life. 

Along with a group of fellow survivors, Jimmy must navigate the past and present of this post-apocalyptic world, where the terrifying consequences of unchecked experimentation, corruption, and greed run rampant. McGregor’s interpretation is not a direct translation of Atwood’s novels, but channels the core sentiments of her work, inviting audiences to consider how eerily relevant they are to our world today. 

With bold costumes, colourful stage design, and a captivating score from composer Max Richter, MADDADDAM is certainly not a traditional ballet. NBOC Principal Dancer Koto Ishihara describes the piece as “visually striking” — citing the production’s unique use of colour and technology.

“I’m in love with Max Richter’s music, so I feel like with the stage set, and then with the music, and then Wayne’s choreography, I feel like I’m inside of the book, inside of the music, and it feels very special,” Ishihara says. 

Ishihara worked with McGregor when he created the piece back in 2022, and will return to the world of MADDADDAM this week. She will once again star as Oryx, the mysterious female character at the heart of the story who is drawn to both Jimmy and Crake. 

“Oryx is attracted to both of them, but in very different ways,” Ishihara says. “She is a very mysterious character who exists between human and something beyond. Her past was very difficult. She was separated from her family and lived without a sense of safety and love, so she had to adapt in order to survive.”

In 2022, Ishihara had just recovered from a back injury. She knew firsthand that McGregor’s work was very physical—she first danced his iconic ballet Chroma 15 years ago, and again in 2019 at The National Ballet. But she also knew that MADDADDAM would be big—so she dove in, and began working with McGregor as he created the piece. 

“When I heard that he was creating a full-length ballet, I was so excited because he really challenges you to go beyond traditional movements,” Ishihara says. “It was a very challenging time for me, very intense but very fun—I enjoyed every moment of it.”

As she revisits MADDADDAM three years later, she tells us that things are calmer this time around, and she’s taking the time to refine her character.

“I have been enjoying adding on things that I didn’t do last time,” she says. “It’s been really wonderful to come back to this piece.”

MADDADDAM is on stage at the Four Seasons Centre for the Performing Arts from June 13-21.