“The Diary of Anne Frank”
Anne Frank-Alyssa Steward
Otto Frank—Justin Deurmyer
Edith Frank—Rachel Butler
Margot Frank—Miranda Young
Miep Vies—Kacey Colwell
Peter Van Daan—Andrew MacPhie
Mr. Kraler—Jake Quintanilla
Mrs. Van Daan—Pam Brown
Mr. Fan Daan—Aaron Adkison
Mr. Dussel—Randy Cook
Director—Jay C. Brown
Assistant Director/ Stage Manager—Katie Stackhouse
Set Design—Mark Umstot
Lighting Design—Ginger Angstadt
We all know “The Diary of Anne Frank” does not end happily. In any production of the show, you are left with a feeling of unspeakable waste, loss and regret, the very familiar having been made cruel and strange. The 13-year-old diarist who perished in the waning days of the Nazi death camps left behind in Amsterdam a record of optimism, anticipation and, above all, existence. “L’chaim!” she wrote, figuratively, on every page of “The Diary of a Young Girl,” before they snuffed her out and tossed her body in a mass grave.
Following his release from Auschwitz, Otto Frank, with the help of Miep Gies (who was among those who helped the group hide in The Annex) recovered Anne’s diary. Otto Frank, it must be said, favored first of all a sanitized version, with Anne’s less-than-charitable, but recognizably teenage, thoughts about her mother and her comments on her own budding sexuality expunged. The term “redacted” is generally thought to refer to military secrets which must be hidden from the public’s view, but Otto Frank actually “redacted” some of Anne’s writing before the Diary was published in book form and then transferred to the stage in the original version by Hackett and Goodrich.
As The 1997 Wendy Kesselman script honors Anne by restoring to the stage the fullness of her thoughts and refusing to bathe her in a wash of sentimentally. Anne becomes more of a real human being than a saint. She is a typical young teenage girl with all of the thoughts and feelings that any teenage girl has. She is restless being cooped up in the Annex, misses her friends, resents her mother’s authority, is a Daddy’s girl, is attracted to boys, likes to eavesdrop on the neighbors and loves to write in her diary.
Kesselman’s script ends with Otto returning to the attic where his extended family hid before being captured and transported on one of the very last death trains to leave Holland. Among papers and other refuse, he finds Anne’s diary.
And it’s Anne’s diary. She is why the people in this attic have come to represent so many millions, why their story has survived, and why it remains so extraordinary in the telling, especially in shared space.
Performance dates: Friday-Sunday, February 22-24, March 1-3, 8-10
4230 Boston Avenue
We are looking for Ushers for our upcoming production of Diary of Anne Frank. If you would like to usher, help the theatre and see the show for free…please email Jay Brown at firstname.lastname@example.org
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