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The Seven Deadly Sins (1980)

Opera-Ballet in One Act

Music by Kurt Weill

Libretto by Bertolt Brecht

English translation by W. H. Auden and Chester Kallman Used by arrangement with European American Music, sole U.S. agent for B. Schott’s Söhne, publisher and copyright owner

First performed in Paris, June 7, 1933

Dates of Performance
June 4, 7, 10, 13, 19, 21

 

1980 Season
The Magic Flute     Falstaff

Fact or Fiction     The Seven Deadly Sins

The Turn of the Screw

 

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Cast

Elaine Bonazzi
Anna I

 

Jennifer Donohue
Anna II

 

Michael Myers
Father

 

David O’Dell
Brother

Robert Remington
Brother

 

Steven Alexus Williams
Mother

 

Stephen Koester
Dancer

Rhonda Michelle Moore
Dancer

 

Terry Creach
Dancer

 

Diane Chavan
Dancer

Creative Team

Randall Behr
Conductor

 

James Cunningham
Stage Director and Choreographer

Timothy Jozwick
Scenic Designer

 

John Carver Sullivan
Costume Designer

Arden Fingerhut
Lighting Designer

Synopsis

PROLOGUE
No. 1 Sloth
No. 2 Pride
No. 3 Anger
No. 4 Gluttony
No. 5 Lust
No. 6 Covetousness
No. 7 Envy

EPILOGUE
The opera takes place over a period of seven years, in modern times.

Anna I and her sister, Anna II, have beer packed off by their God-fearing family in Louisiana to seek their fortune in the wicked world. In the Prologue, the talkative Anna I explains that she and her sister are in fact one divided being, whose contrasting personalities make up one whole person Anna I (soprano) is a s1eely realist, never at a loss; her alter ego, Anna II (dancer) is a dreamy idealist, naive to the ways of the world. They make their way through seven cities, each a rung on the ladder to success. Each city represents one of the traditional seven deadly sins – but with a twist The only real sin for the Annas’ middle-class family is failure to climb the social scale, and so the whole catalogue of “sins” is turned upside down. Thus, sloth is the failure to keep your nose to the grindstone: pride, the refusal to compromise in order to get ahead. and so on. Anna II is a stick-in-Ire-mud, but urged on by the cool-headed reason of her sister and buttressed by the moralizing interjections of the family back home, she learns how to play the game of worldly success. Their fortune made, the two Annas return to their “little home beside the Mississippi.”

James Cunningham’s Acme Company appears through the generosity of the following Opera Guild Benefactors and Associates:

Mrs. Harris Armstrong, Mr. & Mrs. Walter Brissendon, Mr. & Mrs. Dan Broida, Mr. & Mrs. Thomas C. Coleman, Mr. Rudolph W. Driscoll, Jr., Mr. & Mrs. Ernest A. Eddy, Jr , Mr. & Mrs. J. Gabriel, Mr. & Mrs. Fielding Holmes, Mrs. Homer V. Howes, Mrs. A. C. Ingersoll, Mr. R. Knight, Mrs. L. M. Lippman, Mr. Joseph Losos, Mrs. Robert S McDorman, Mr. & Mrs. Robert Scharff, Mrs. Anne Davis Streett, Mrs. Monte Throdahl.

Additional funding is provided by the National Endowment for the Arts.

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