The Seven Deadly Sins / The Human Voice Review: abstract, intimate double bill of opera in need of more context
12 September 2026 | 19:30 | Charing Cross Theatre, London
⭐⭐ | PR - Invite
Last night's press night for The Seven Deadly Sins / The Human Voice was certainly met with intrigue, as this operatic double bill comes to London's Charing Cross Theatre, directed by Alejandro Bonatto. The production's strengths lie in its vocal performance and commitment to the material. For those that enjoy opera and musical theatre, the sung-through quality is highly admirable.
Our close proximity to the stage at the Charing Cross Theatre allows a closeness that feels immediate and personal, something large-scale opera houses cannot provide. Unfortunately though, the stories of both pieces are a challenge to follow. Audiences aren't given a lot to contextualise the two operas, preventing us from emotionally connecting with the characters and investing in their actions.
This is largely down to the unconventional nature of the writing itself. The Seven Deadly Sins, composed by Kurt Weill and libretto by Bertolt Brecht, is known as a ballet chanté (sung ballet) which lends itself to a satirical critique on industrial capitalism. While The Human Voice, composed by Francis Poulenc after Jean Cocteau's 1930 monodrama, is an emotionally intense second half, where a woman has one last phone call with her lover who is set to marry the following day, triggering a severe depression. As someone new to these operas, their intention can often be lost, as its reliance on symbolism is perhaps intended for those with pre-knowledge on the works.
The creativity behind the production is fascinating, with some particularly memorable imagery. New Zealand soprano Katherine McIndoe stars in both, where her talent and determined presence elevates the evening. Both narratives share a woman being psychologically pushed to her limits, although their difference in dramatic tone make the double bill feel disjointed.
Andreas Skourtis' production design is well considered, complimenting the alienating feel of Brecht's work and holding a fluidity between the pair. The company's use of space creates a strong atmosphere, and the same setting between the two stories gives a sense of connection: that these central women share a very similar experience.
Another visual highlight is in the costumes, which are somewhat surreal and theatrical, helping to distinguish the difference in characters and shape the visual identities across the shows.
If you are considering booking to see The Seven Deadly Sins / The Human Voice, I strongly recommend reading up on their contexts if you aren't already familiar. Especially the social-political environment of 1930s Europe, in how this frames the first's commentary on Nazi Germany. After a live piece of entertainment, we want to feel as if we have taken something from the evening. But as these pieces reach almost a century-old, they struggle to hold much resonance with audiences today. A unique night nonetheless, and something fresh for a limited 10-show run at the Charing Cross Theatre until the 19th September.
Head to the Charing Cross Theatre website for more: https://charingcrosstheatre.co.uk/index.php
