Directed by Spark Sanders-Robinson
Conducted by Philip Eames
Featuring pianist Nathaniel Kong
Music by Kurt Weill | Libretto by Bertolt Brecht – 4 Stars
The Seven Deadly Sins, composed in 1933 in Germany, is a ‘sung ballet’ that seamlessly intertwines music and dance to craft a striking coming-of-age narrative which follows two Annas—one a singer and storyteller (Anna I) and the other a dancer (Anna II)—who leave their home in old Louisiana and journey to the big city in search of fortune for their family.
Throughout their travels, they are pursued by a male vocal chorus representing their family, alternately chastising them for laziness and warning them of the city’s moral dangers. Though seemingly distinct, the two Annas are inextricably linked, sharing the same fate as they navigate a world fraught with temptation and survival.
Under the assured direction of conductor Phillip Eames, with pianist Daniel Kong providing a steady yet expressive foundation, the music seamlessly underscored the drama of the piece. Laura Scandizzo’s rich, emotive vocals captured the pathos of Anna’s journey, her performance deeply entwined with the movements of the dancing Anna, Mia Rashid.
This challenging narrative was brought to life through Spark Robinson’s thoughtful direction, which skilfully animated the characters and heightened the story’s tension. One of the production’s most striking choices was the use of simple white masks to embody the ever-present male gaze—faceless spectators watching Anna night after night, as well as her transient lovers and abusers. This haunting visual motif deepened the ballet’s darker themes.
The male chorus of Benjamin Oxley, Matt Gaskin, Gordan Costello and Mathew Avery delivered a perfect blend of mock-serious choral precision, emphasizing the moral hypocrisy of the family as a voice of capitalist society.
Mahagonny Songspiel, performed after the interval, serves as a precursor to The Rise and Fall of the City of Mahagonny, offering a glimpse into the decadent, morally decayed world Brecht and Weill would later expand upon. Katie Miller-Crispe joined this act’s ensemble as Soprano. The audience would likely find the music familiar, particularly the well-known “Alabama Song.” The piece carries a tonal and thematic resemblance to Brecht and Weill’s more frequently staged The Threepenny Opera.
Mahagonny Songspiel unfolds as a series of loosely connected songs sharing many thematic parallels with The Seven Deadly Sins. However, maintaining a clear narrative proved more challenging, and for me, the staging of this piece was not as strong, making it harder to engage with the dramatic intent.
With limited means, Operantics proved that they could still do full justice to these works, delivering a performance that was both engaging and evocative.
OPERANTICS – https://www.operantics.com.au/programme
Artistic Director: Katie Miller-Crispe
Production Design/Director: Spark Sanders Robinson
Hair & Make Up: Rachel Dal Santo and Paula Santos
Production Photography: Rosa Doric
Mosman Art Gallery 7:30pm February 21-22, 2025
