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Seven Deadly Dinners

Seven Deadly Dinners is an immersive dining experience, conceptually created to take diners through the seven sins, allowing them to contemplate the ideas of morality in a new and different way. Taking inspiration from Dante's vision of hell as well as common depictions of each sin/emotion, every space provides an entirely different experience.
Attendants enter the building and first encounter a vision of hell. Dark, damp and rotting, this hallway serves as a transportation space from sin to sin and is a reminder of where committing any of the sins may lead you to end up (as one of the trapped souls).
 The first sin room diners would enter is wrath. This manifests as a space created from large, smashed, reflective spikes that hang off of the ceiling and walls. Creating a sort of sinister carnival funhouse feeling, the attendants move through the space until they reach the end. Here they find a single glowing spike that sticks up from the floor. Upon opening this there's a selection of small canapes for them to try that are based on which foods scientifically promote anger and irritability (tomatoes, wheat, spices).
 The next space after wrath is sloth, this takes the form of an open plan living, dining and kitchen space that appears to have fallen into disrepair due to someone being too lazy and slothish to look after it. Rubbish clutters surfaces, wallpaper is peeling off and everything is grimy and dusty. Moving through the living space the attendants come to a dilapidated kitchen, here they find that they have to cook their own food, for the organisers are too lazy to do it for them. They have to prepare a small microwave dinner for themselves - this is after all the laziest of food preparation techniques.
 Leaving sloth through the kitchen door, the diners find themselves in a courtyard looking towards a fast food restaurant. Entering this they each select a meal they would like from an ordering screen, being given a collection number which is called when it's time for them to collect their food. The food however is all mixed up so that everyone has received the wrong dish, it is forbidden that they swap these and so each person is envious of someone else getting to consume their selected course.
 Exiting envy and moving through the hell hallway the attendants come to a tunnel. This is experienced one by one through a mask made from mirrors, meaning that to look at the space you also have to look at yourself - a form of vanity often associated with pride. Each sin has an animal said to correlate with it, the animal of pride is the Peacock and so that is the inspiration for this space. The tunnel itself has the same textures and colours as a close up of a Peacock feather and this passageway leads to a central cylindrical room. This space is lined with feathers and has a central table upon which is a super juice, made from ingredients that seem to have superpowers (anti-oxidants, elixir of life type things) that the prideful would love to consume. This drink has a long straw through which it can be drunk, meaning that the removal of the mask isn't necessary - you are required to look at yourself as you suck up this liquid, which is sure to be a pride destroying experience. There is then a second tunnel through which you can move on to the next sin.
 Following on from pride is greed. Greed takes the form of a large, incredibly opulent maze, taking diners through many twists and turns, it's almost as though somebody wants to show off their incredible wealth and the greed that they exhibit by keeping it all for themselves. Within this maze there are a number of "dining points", at which people have the opportunity to consume foods and drinks that are often thought of as particularly ostentatious (Lobster, Caviar, Champagne, etc). The maze eventually leads to lust.
 Lust is physicalised as a smoky bar/burlesque club in which diners drink cocktails whilst watching a burlesque performer do a routine in an oversized glass (that is a scaled up version of the one they are drinking from). Scents and music are utilised to help create the intended atmosphere. The space can be used as a resting point, an area to sit and relax before moving onward once again. Leaving here the attendants move through greed in a different route to the next sin.
 Following on from the second trip through greed, the diners reach the final sin of gluttony. This room is intended to mimic fatty innards and would be incredibly warm, to create the feeling of being inside a gut. The fatty structures are moist and the entire space smells like a deep fat frier, it's a disgusting thing to be trapped in. Reaching the midpoint of this meandering area, the attendants are encouraged to put their arms through the wall of fat into an unseen area, they can then grasp and remove a small box that has the same textures as the room they're in. Inside the box is a small portion of an astonishingly rich brownie - so rich that anymore than a bite would be overindulgence and far beyond what would usually be considered as gluttonous.
Gluttony is the final sin and marks the official end of the dining production, after this space attendants would have the option to stay for drinks in an adjoining bar to discuss and consider their experiences further.


Amber Griffiths

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  • Performance and Exhibition Designer

Project Tags

  • Immersive Theatre
  • Immersive Dining
  • Dining
  • Immersive Performance
  • Immersive Installation
  • Interactive Installation

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