![]() ![]() Locations here in Toronto and also in Montreal will be easily identifiable, stand-ins one presumes for the corporatist world whose doom is sealed by a deranged bio-geneticist nicknamed Crake who sneaks a lethally infectious virus into BlyssPlus, a globally popular pill that promises enhanced sexual performance. The walls are decorated with designs for a three-act ballet that will incorporate film and animation. Paperback editions of Atwood’s celebrated trilogy - Oryx and Crake (2003), The Year of the Flood (2009), and the palindromic-titled MaddAddam (2013) - sit on a corner of the desk. McGregor’s long limbs spill from a swivelling office chair as he sits at a small desk in a sparsely furnished, windowless cube of a room reserved for visitors like him, down the hall from the company’s biggest rehearsal studio. I like to do that as a first thing.” The National Ballet of Canada’s Genevieve Penn Nabity and Kota Sato rehearsing Wayne McGregor’s MADDADDAM | Photo: Karolina Kuras I made a couple of hours of material, some of which I’ll just get rid of. ![]() “I was trying to invent, to get stuff out of my head, and working with these amazing dancers. ![]() ![]() “There were four weeks I was really making material,” says the acclaimed British choreographer Wayne McGregor. It’s mid-October, almost six weeks until the premiere of the National Ballet of Canada’s two-million-dollar aspiring blockbuster, MADDADDAM, and much remains to be done. ![]()
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