The Seven Deadly Sins

Past Production

The Seven Deadly Sins is an intimate cabaret experience with opera singers, ballet dancers, and a composition by Kurt Weill written in 1933 during a tumultuous epoch in his native Germany. The work critiques capitalism, weaves in popular music stylings of the era, and, through song and dance, will envelop the audience into a story of sin and revelation. The opera centers on the duality of the opera’s personae, Anna I and Anna II. She/They embark on a seven-city pursuit of the American dream. In turn, they uncover each of the seven deadly sins: pride, covetousness, lust, wrath, gluttony, envy, and sloth. As is the case with all Discoveries series productions, this is not your standard opera.

Brian Clowdus (Serenbe Playhouse, Founder & Executive/Artistic Director) will direct.

Performed in English with English supertitles

Le Maison Rouge at Paris on Ponce


VIP Seating Upgrade for Four
(Must have performance tickets in addition to upgrade)

- Front row table seating
- Includes a bottle of wine, two drink tickets, fruit and cheese board, shrimp cocktail, and chocolate cake
-Table service

VIP Seating Upgrade for Two
(Must have performance tickets in addition to upgrade)

- Table seating** on raised platform or main floor
- Includes a bottle of wine, fruit and cheese board, and chocolate cake
-Table service

**May be seated with other patrons

Get the Feeling of the Show

Total time estimate: 1 hour 40 minutes


Composer: Kurt Weill
Librettist: Bertolt Brecht
Premiere Date: June 7, 1933

Anna I (who sings) and Anna II (who dances) are two facets of one personality. At the behest of her family, they travel to six different American cities in order to make enough money to build a little house on the banks of the Mississippi. In each city, she/they encounter a different deadly sin, and Anna I (the practical side) rebukes Anna II (the artistic side) for engaging in sinful behavior–that is, behavior which hinders the accumulation of wealth.

Anna I sets out the plot, explaining the relationship between her and Anna II (“Actually, we’re not two persons, only one”) and their quest, and identifies the rest of the family: a mother, a father, and two brothers.

Anna’s parents note that she has always been lazy but in other ways has been a dutiful child, while the brothers intone, “Idleness is mother of all vices.” The Family closes with a prayer that God will keep Anna on the path that leads to prosperity and happiness.

Anna I and Anna II are in Memphis. Anna II’s new clothes have made her stuck up. When she takes a job as an exotic dancer, she tries to turn it into art, to the displeasure of the paying customers. Anna I scolds her for her pride and reminds her that she must do what is demanded of her.

The Family notes with displeasure that the Annas have not been sending enough money. They are in Los Angeles, and things are going quite well until Anna II witnesses acts of cruelty and rebels against injustice. Then Anna I reminds her that such anger will make her unemployable and therefore useless, so she must set it aside.

The family has received a letter from the Annas in Philadelphia. They are making good money, but Anna II’s contract specifies that she may not gain any weight, even a gram. They recall that Anna II loves to eat and acknowledge her hardship but trust her to remember that a contract is a contract.

In Boston, Anna II has found a wealthy lover, but she prefers another man, who is poor. Anna I points out that the rich lover will not tolerate divided loyalty. Anna II rebels, but finally gives in reluctantly and renounces the poor lover.

The Family learns that the Annas are in Baltimore. Men are committing suicide over Anna II, which will increase her earning power, but they fear she will get too greedy. They hope she will be moderate and not make herself too unpopular to earn money.

From San Francisco, Anna I tells us that Anna II is worn out and envious of those who do not have to work hard. Anna I preaches of the need to renounce the pleasures of the world and promises a reward to come. The Family seconds her, saying that strict self-control is the path to glory.

The Annas return to Louisiana after seven years. The house is complete, and they rejoin the Family.

Courtesy of the Kurt Weill Foundation for Music

Sponsored by the Molly Blank Fund of the Arthur M. Blank Family Foundation

The Discoveries series

The Discoveries series is dedicated to audience members who are seeking new works, new ideas and fresh perspectives. These are not your standard operas.


As part of The Opera’s effort to bring opera to new audiences all over Atlanta, these productions are performed in exciting alternative venues that we don’t traditionally perform opera in.


Many operas are in a foreign language. Supertitles are similar to subtitles in a film, except they are projected above the stage. These translations will help you follow what’s happening on stage.

What to Wear

There is no dress code at The Opera and you will see everything from jeans to evening gowns and formal suits. Most people use it as a chance to enjoy dressing up in their own style.

Arriving in Good Time

If you are late, you will have to sit the first act in the back and then in the intermission ushers will show you to your seat. Plan ahead to arrive with extra time.

Directions to Discoveries series Venues

Enhance Your Visit


Discoveries series performances include events either before or after the performance. As part of the Backstory program, these experiences allow audience members to learn more about the opera, open a conversation around important topics, and participate with the cast in conversation, dancing, and many other formats. Free for ticket holders.

Familiarizing Yourself with the Story

Because of the foreign languages, classical music, and often complex plots, you will very likely enjoy the performance better if you spend a few minutes familiarizing yourself with the story and characters in advance. Some people even like to listen to the music in advance and others prefer to let it wash over them during the show and perhaps look it up afterwards.

Characters & Cast

Anna I
Sept 28, Oct 1, 3, 5, 2017

One half of the protagonist’s persona, sings and acts only.

Jennifer Larmore

Atlanta native and Grammy-Award winner Jennifer Larmore is an outstanding American mezzo-soprano, well known for her versatility, natural beauty, and stagecraft.

Anna I
Sept 29, 30, Oct 4, 6, 2017

One half of the protagonist’s persona, sings and acts only.

Gina Perregrino

Praised by Opera News as a “standout”, young mezzo Gina Perregrino is already garnering attention on stages around the country.

Anna II

One half of the protagonist’s persona, acts and dances only.

Meg Gillentine

Meg Gillentine has many years of success on Broadway, film, television, and commercials. Broadway and National Tour credits include Cats, Fosse, The Frogs, and The Producers.

Costume & Set Design


Kurt Weill
(1900 – 1950)

Kurt Weill was born on March 2, 1900 in Dessau, Germany. The son of a cantor, Weill displayed musical talent early on. By the time he was twelve, he was composing and mounting concerts and dramatic works in the hall above his family’s quarters in the Gemeindehaus. During the First World War, the teenage Weill was conscripted as a substitute accompanist at the Dessau Court Theater. After studying theory and composition with Albert Bing, Kapellmeister of the Theater, Weill enrolled at the Berlin Hochschule für Musik, but found the conservative training and the infrequent lessons with Engelbert Humperdinck too stifling. After a season as conductor of the newly formed municipal theater in Lüdenscheid, he returned to Berlin and was accepted into Ferruccio Busoni’s master class in composition. He supported himself through a wide range of musical occupations, from playing organ in a synagogue to piano in a Bierkeller, by tutoring students (including Claudio Arrau and Maurice Abravanel) in music theory, and, later, by contributing music criticism to Der deutsche Rundfunk, the weekly program journal of the German radio.

By 1925, a series of performances in Berlin and at international music festivals established Weill as one of the leading composers of his generation, along with Paul Hindemith and Ernst Krenek. Already at nineteen, he decided the musical theater would be his calling. In 1926, he made a sensational theatrical debut in Dresden with his first opera, Der Protagonist, a one-act work on a text by Georg Kaiser. Weill considered Der neue Orpheus (1925), a cantata for soprano, violin, and orchestra on a poem by Iwan Goll, to be a turning point in his career; it prefigured the stylistic multiplicity and provocative ambiguity typical of his compositional style. Modernist aesthetics are most apparent in the one-act surrealist opera Royal Palace (1926) with a libretto by Iwan Goll (exceptional in its incorporation of film and dance), and the opera buffa Der Zar lässt sich photographieren (1927) with a libretto by Georg Kaiser. By this time in his career, Weill’s use of dance idioms associated with American dance music and his pursuit of collaborations with the finest contemporary playwrights had become essential strategies in his attempts to reform the musical stage.



Bertolt Brecht
(1898 – 1956)

Bertolt Brecht, original name Eugen Berthold Friedrich Brecht (born February 10, 1898, Augsburg, Germany—died August 14, 1956, East Berlin), German poet, playwright, and theatrical reformer whose epic theatre departed from the conventions of theatrical illusion and developed the drama as a social and ideological forum for leftist causes.

Until 1924 Brecht lived in Bavaria, where he was born, studied medicine (Munich, 1917–21), and served in an army hospital (1918). From this period came his first play, Baal (produced 1923); his first success, Drums in the Night (Kleist Prize, 1922); the poems and songs collected as Die Hauspostille (1927; A Manual of Piety, 1966), his first professional production, Edward II (1924); and his admiration for Wedekind, Rimbaud, Villon, and Kipling.

During this period he also developed a violently anti-bourgeois attitude that reflected his generation’s deep disappointment in the civilization that had come crashing down at the end of World War I. Among Brecht’s friends were members of the Dadaist group, who aimed at destroying what they condemned as the false standards of bourgeois art through derision and iconoclastic satire. The man who taught him the elements of Marxism in the late 1920s was Karl Korsch, an eminent Marxist theoretician who had been a Communist member of the Reichstag but had been expelled from the German Communist Party in 1926.



Rolando Salazar

Rolando Salazar is the assistant conductor, assistant chorus master, and the music administrator for the Atlanta Opera. He has served as assistant conductor and pianist at The Bellingham Festival of Music, as assistant conductor at La Musica Lirica in Novafeltria, Italy, and as coach/conductor for the Harrower Opera Workshop. He serves as artistic director and conductor of the Georgia Piedmont Youth Orchestra while maintaining a guest-conducting schedule, most recently in performances with the Georgia State University Orchestra, Johns Creek Symphony Orchestra, Georgia State University Opera, and the Ozark Family Opera. Mr. Salazar also keeps an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for engagements with major orchestras and opera houses worldwide. A student of Michael Palmer, he is a graduate of Georgia State University with a Master of Music in Orchestral Conducting and an Artist Diploma in Orchestra and Opera.


Stage Director

Brian Clowdus

Founder & Executive/Artistic Director of Serenbe Playhouse, Brian Clowdus is an actor, educator, director, and producer. Brian received his BA in Theatre & Dance from Amherst College graduating Magna Cum Laude, with highest distinction for his Thesis Work and holds an MFA in Acting from The University of South Carolina. Brian is also the CEO & Creative Director of Brian Clowdus Experiences which is taking his environmental work all across the country. He has performed/directed in Tokyo, London, Canada, Central and South America, The Caribbean, NYC, LA and in almost every other major city in the United States. He has had the fortune of working with many major theatres and entertainment companies including: The Shakespeare Theatre Company, Surflight Theatre, Shawnee Playhouse, Park Avenue Theatricals, New Bedford Festival Theatre, The British American Drama Academy, Holland America Cruise Lines, Tokyo Disney, The Debaun Performing Arts Center, New London Barn Playhouse, The LAB Theatre, Theatre South Carolina, Aurora Theatre, Fabrefaction Theatre Company, Stagedoor Players and of course Serenbe Playhouse. Brian was named the Top Artistic Director in Atlanta and one of the Top 20 Atlantans to Watch by Creative Loafing as well as Top 15 under 40 by Atlanta Homes and Lifestyles Magazine. Brian won the 2016 Suzi Bass Award for Best Director of a Musical for Miss Saigon, which was awarded 5 other awards including Best Musical, making it the most awarded show of 2016.

Via Serenbe Playhouse