Theatre Review: The Diary of Anne Frank

by  Frances Goodrich and Albert Hackett

Produced and directed by Drew Anthony

State Theatre

Reviewed by Ron Lee, CSP

The Diary of Anne Frank stage play is based on the original book that was published by Anne’s father, Otto Frank and details Anne’s experiences and insights while she and her family were in hiding, living in a constant fear of being arrested by the Gestapo in Nazi occupied Amsterdam in 1942 to 1944.

Anne received a blank book as one of her presents on 12 June 1942, her 13th birthday. She had chosen the red, checkered autograph book the day before when she and her father were browsing in a bookstore near their home. She entered a one-sentence note on her birthday, writing "I hope I will be able to confide everything to you, as I have never been able to confide in anyone, and I hope you will be a great source of comfort and support”.

On 5 July 1942, Anne's 16-year-old sister Margot received an official summons to report to a Nazi work camp in Germany, and on 6 July, Margot and Anne went into hiding with their parents. They were later joined by Hermann van Pels, Otto's business partner, his wife Auguste and their teenage son Peter. Their hiding place was in the sealed-off upper rooms of the annex at the back of Otto's company building.

On 1st August 1944 Anne wrote for the last time three days before her arrest. Anne's death was confirmed in July 1945 by sisters Marianne and Rebekka Brilleslijper who were with Margot and Anne in the Bergen-Belsen concentration camp.

This production, which looks like it’s ready to tour, has a solid and dependable cast of ten that is sympathetically directed by Drew Anthony.

Chloe-Jean Vincent as Anne, in the first act, is feisty, hyperactive, talkative, defiant and she’s uncomfortable with silence. In Act 2 she becomes more reflective. 

Phil Bedworth (Otto), Holly Easterbrook (Edith), Emma Smith (Margot), Matt Dyktynski (Putti), Asha Cornelia Cluer (Petronella), Nathan Hansen (Peter), Jamie Jewell (Dussel), Gracie Tolich (Miep Gies), Kingsley Judd (Kraler) are all strong.

There was no need for a dialect coach in this production. Jewish accents would only have added complications.

Jason Gibbs’ sound design did the heavy lifting when it came to the Gestapo bursting in.

Upon hearing that this was coming I couldn't help but be reminded of the off-Broadway production that was funded by Pia Zadora's rich husband. The tiny, pouty Pia was a performer of limited talent. In 1981 she won both the Golden Raspberry Award for Worst Actress and the Worst New Star for her performance in Butterfly. Apparently the production gained a cult following in NYC's gay community. When the Gestapo stormed in, the audience yelled, "She's in the attic!" That won't happen in this production. 

If you like historical dramas, this version of The Diary of Anne Frank is worth catching.