Abstract: The play Sieben is a musical staging of the seven mortal sins, which are slightly modified from their original meaning: Greed, envy, inertia, anger, gluttony, condescendence, and sexuality are portrayed and processed by the group in songs composed for the play by Berlin-based singer Susanne Betancor. Each actor, some of them with intellectual disabilities, represents one sin. The actual play and behind-the-scenes reflections on the songwriting by the directors and the performers are shown alternately.

Details: Another stage has been erected on the stage, which can be entered left and right via two staircases. The seven performers, five women, and two men sit spread out on the stage. The play starts with a musical staging of the song “Über sieben Brücken muss du gehen”, a GDR pop classic by the group Karat from the 70s. Then, for the first time, a reflection of the directors is shown, which is conveyed in the format of a video message that is cut in between the staging. The two directors, visual director Antje Siebers, and music director Bärbel Schwarz, make comments on Susanne Betancor’s song, which is supposed to portray “Greed”. Lastly, they suggest she communicate via WhatsApp. The staging of Greed follows. The main character repetitively sings “I’m a bargain hunter, I’ve got a Payback card, I don’t pay my Wi-Fi” as well as other such comparable statements. He is accompanied by the other actors. At times, the song takes a more aggressive tone, and the main actor just shouts “Geiz!” (“Greed!”). Then six actors sit down on stage, wearing red pointed hats. One performer plays the electric guitar. Few set pieces from Snow White are read out, especially those that portray the vanity of the queen. Psychedelic music accompanies this. Once again there is a video message. Bärbel praises the new song that Susanne composed for the play. Then Antje plays a bar, and Bärbel questions if this bar is meant to be or if it is a mistake. In the next video message, the performer of Envy thanks Susanne for the song. He says it is good, only the flutes are annoying him. The staging of Envy follows. Flute playing alternates with descriptive chants, which represent different expressions of envy. At times, the actors talk at the same time, interrupting each other with complaints about envy experiences. Then everyone gathers in front of the stage, the Envy actor plays the electric guitar and climbs the stairs. As he does so, everyone joins in a chorus about Envy. The fragment ends with a riff by the Envy performer. Again, a version of “Über sieben Brücken must du gehen” is sung, with the actors taking turns singing the verses. Afterward, Antje and Bärbel take a stand on the “Indolence song”. They tell Susanne that they have reworked it into a song about “Laziness”. The lead actress of Laziness then asks Susanne, again in a video message, to make her song longer. The stage is shown. The actress portraying Laziness stands on the upper platform while the others below her walk in circles. In a piano piece, idleness, symbolized in bathing, is sung about. The reflection of the music piece on anger is shown. Bärbel and Antje criticize one of Susanne’s songs - in the process, they fight about minor issues. The main actress of Anger complains in another video message to Susanne that another actor should sing along to “her” song. The staging of anger follows. The actors take turns stepping to the edge of the stage and shouting things they are angry at towards the fourth wall. There are overlaps and interruptions. Finally, the lead actress yells, “Shut up, it’s my turn now.” A metal-like piece of music follows, in which it is sung that she can’t stand horses and that she hates them. After that, the production returns to the motif of Snow White. The first meeting with the seven dwarfs, the entry into their dwelling, as well as the divination of the mirror is depicted. All actors wear pointed hats, six sit as if in a cave under the stage, while an actress plays an electric guitar. There follows another musical reflection by the directors, now on the gluttony song. The two seem stressed and drink alcohol. One actress wishes to add electronic elements to her song about gluttony. The staging follows, with the song lyrics consisting of a stringing together of various dishes and foods. The singing turns into loud drumming, and instead of enumerating types of food, the performers shout “devour” (“fressen”) and “shut up” (“halt die Fresse”) at the top of their voices. A video showing the director eating is shown at the same time. It cuts to another video. One of the actresses, the representative of condescendence, is recorded confessing to Susanne, in tears and completely distraught, that she can’t hit a difficult note in her opera-like song. The representation of condescendence follows. The seven performers walk across the stage. As they do so, they look condescendingly at and through the fourth wall, with the leading actress, in particular, making arrogant remarks about the audience’s clothing choices. The scene transitions into an opera, which is sung flawlessly by the leading lady. In the next video, the performer of “Avarice” is shown. He suggests to the songwriter Susanne that if she still doesn't have Wi-Fi after moving into her new place, she to steal the neighbour’s Wi-Fi. The Snow-White theme is taken up again. Once again, everyone wears pointed hats, and one performer, the actress of “Lust”, plays the electric guitar. The staging slowly moves into the final sin, which is lust. The lead actress repetitively sings “I touch you... You touch me” to a mournful melody, and she enumerates body parts, playing the drums. The stage goes dark. The drums get faster and louder. The other performers dance obscenely across the stage to strobe lights. Slowly it gets brighter again - the six actors line up while the drums continue to play. Slowly and insistently, everyone counts to seven - then the play ends on stage. The last video shows Susanne, supposedly in her new apartment, telling the others that she now has Wi-Fi.