In late summer 2002, Liminal produced Bertolt Brecht and Kurt Weill’s lesser-known epic sung ballet, The Seven Deadly Sins. Liminal’s hour-long electric cabaret featured the original German score sung by mezzo-soprano Lyndee Mah, a live chorus of male singers, a digital orchestra by John Berendzen, and live piano by Stephen Alexander. The performance included a cast of 12 and was directed by Bryan Markovitz (who received a 2003 Portland Drammy for this work) with movement direction by Catherine Egan and Amanda Boekelheide, and an original Liminal translation by Emily Ford that was projected in supertitles above the stage.
The short, yet technically demanding opera took place at Panorama, a run down cavernous queer dance club and college-age meat market. The strange mix of high and lowbrow entertainment brought together diverse audiences for a totally unexpected evening of live and electronic music, a constant flow of dance and action, and a dazzling array of lights and media.