As the mainstream ballet world frets about staying relevant, San Francisco filmmaker and producer Kate Duhamel is taking the art form’s future into her own hands. With the new immersive ballet-rock show “Fury,” she is pushing the art form all the way to the apocalypse.

Inspired by the feature film “Mad Max: Fury Road,” George Miller’s Oscar-winning survivalist flick starring Tom Hardy as Max and Charlize Theron as fellow antihero Furiosa, “Fury” spins a one-hour survivalist romance that leaves classical fairy tales in the dust.

“We’ll be in the desert, we’ll have explosions and sandstorms,” Duhamel says. “We’re trying to situate ballet into a new context.” The Dogpatch club/performance space the Midway provides the context for the Friday-Saturday, Sept. 14-15, premiere of Duhamel’s take on “Max,” reimagined with in-the-round staging, concert-style standing room and two bars (after all, one does get parched out in the salt flats).

The “we” she refers to is a crack team of creative accomplices: pop-art-rock band Yassouand violinist Kristina Dutton, star dancers from Lines Ballet and San Francisco Ballet, choreographer Danielle Rowe, costume designer Vasily Vein, creative director Luke Acret and art director/animator Brandon McFarland.

In the lawless wasteland of “Mad Max,” the artists pretty much got to write their own rules. “I didn’t give them a lot of instruction,” Duhamel says. “Part of what’s fun for me is everyone’s bringing what they have.” It was an opportunity that Yassou couldn’t pass up.

“We’ve always wanted to put on shows like this,” said composer-guitarist James Jackson, who describes the band as a “creative content group.” “Multimedia, bringing different genres and contradictory elements into one show, and making it encompass and overwhelm the senses is what excited me,” said lyricist and vocalist Lilie Hoy on a joint phone call.

他们的成分范围从宁静的电子undscapes to Hoy’s plaintive vocals to pounding beats that drive the action. “We treated it like we were scoring a film, so the whole thing is pretty much one continuous piece of sound,” Jackson said. Violinist Dutton also composed a string quartet, and the musicians and dancers will meld into one ensemble that spreads across two stages linked by a catwalk.

“The music is everything to me,” says Rowe, who is also the associate artistic director of SFDanceworks. By her side at a conference table were Duhamel, Lines dancer Babatunji, who plays Max, and S.F. Ballet’s principal dancer Frances Chung, cast as the Keeper of the Seeds. “The battle scenes make you want to dance – the bass and the drums are just awesome,” she says. “When you have a more atmospheric track, it’s just supporting the movement.”

Pointe shoes aside, Rowe’s “Fury” choreography looks very little like classical ballet. She brought ideas into the studio, but working with dancers like LINES’ Adji Cissoko as Furiosa and Michael Montgomery as the War Boy Nux, and S.F. Ballet’s Dores André, Luke Ingham and Jennifer Stahl, she was eager to let them riff.

“Babatunji is a hip-hop dancer, and the way he moves is incredible,” Rowe says. “He was helping Luke find a different way of getting off the floor, referring back to some of these awesome moves he’s capable of doing, and teaching Luke how to do it. It was so exciting.”

The cross-pollination flowed in all directions. “Dani’s got steps, and then naturally my body will do something to it,” says Babatunji. “Max is out there in the waste, he’s coming to life, he’s finding purpose. It’s almost taking that character, putting him in your body, and what would he do with these movements that she’s giving?”

For Chung, now in her 18th season with the Ballet, it’s been about connecting with other artists. “My first interaction with Adji is I put my hand on her face,” she says. “I do another movement where I brush my hand across my face and I turn to the audience. And for some reason, in that one moment, it was really powerful. This is why I’m doing the project – the process for me is the most important thing when it comes to making art.”

Duhamel brings her own creative bona fides to the caravan. Her resume includes dance films for Lines and S.F. Ballet, and her role as a trustee of both companies greased the wheels of casting and scheduling. “Fury” is her first foray into producing live performance.

“I feel like I’ve jumped off a cliff a little bit,” says the affable and seemingly unflappable rookie. “My whole thing was, ‘Let’s do this on a relatively limited scale, show everybody what we’re talking about.’ And now it’s huge.” If “FURY” flies – rather, if it explodes – she’d love to do more high-concept, high-production shows.

“The world’s looking for more,” she says. “They’re looking for new, they’re looking for more layers, they’re looking for more collaboration. I want people to say, ‘That can happen.’ ”

“Fury”:8:30 p.m. Friday and Saturday, Sept. 14-15. Ages 21 and over. $28-$125. The Midway, 900 Marin St., S.F.www.furyshow.com