The initial reaction from critics has been mixed, with some praising the spectacular designs and others lamenting a fuzzy story. The *Financial Times* noted the visual grandeur of the production, which is hardly surprising given McGregor’s reputation for pushing the boundaries of dance and design. The costumes and set pieces, likely inspired by Atwood’s vivid descriptions of a post-apocalyptic world, must have been a visual feast. However, the same review points out the difficulty in translating Atwood’s dense narrative into a cohesive ballet plot, resulting in a story that feels disjointed.
Alastair Macaulay’s scathing critique in *Slipped Disc* echoes this sentiment, describing the ballet as “thin, dull, and obvious.” His disappointment suggests that the essence of Atwood’s layered storytelling was lost in the translation to dance. This is not entirely unexpected; ballet, with its reliance on movement and music, often struggles to convey the nuanced dialogue and psychological depth that Atwood’s novels are known for.
On the other hand, *The Independent* offers a more balanced view, acknowledging the challenges of bringing *MaddAddam* to the stage while appreciating the ambition and creativity of the production. The review highlights McGregor’s ability to capture the chaotic and dystopian atmosphere of Atwood’s world, even if the story itself remains elusive.
In my opinion, the success of *MaddAddam* as a ballet lies not in its fidelity to the source material, but in its ability to evoke the spirit of Atwood’s vision through dance. McGregor’s choreography, which often blurs the lines between classical ballet and contemporary movement, is well-suited to the fragmented and surreal nature of Atwood’s narrative. The dancers’ bodies become instruments of chaos and resilience, embodying the struggle for survival in a world gone mad.
While the story may not be as clear as in the novel, the ballet’s strength lies in its ability to convey the emotional and existential turmoil of Atwood’s characters. The Royal Ballet’s production is a testament to the power of dance to explore complex themes and evoke powerful emotions, even when the narrative itself is elusive.
Ultimately, *MaddAddam* as a ballet is a fascinating experiment, pushing the boundaries of both literature and dance. It may not satisfy purists of Atwood’s work, but it offers a new and compelling way to experience her dystopian vision. For those willing to embrace the ambiguity and let the visuals and movement speak for themselves, *MaddAddam* is a thought-provoking and visually stunning piece of art.
