★★★★½
The Diary of Anne Frank premiered on Broadway in 1955 and won several Tony Awards, including Best Play and Best Actress. In 1956, it won the Pulitzer Prize for Drama.
The original script was written by Frances Goodrich and Albert Hackett, in close collaboration with Anne’s father, Otto Frank – the only survivor. It was updated in 1997 by Wendy Kesselman, who chose to restore more of Anne’s original voice, Judaism, and history of the Holocaust. She also created a darker ending.
Producer Drew Anthony chose to use the original script for this production, currently performing at the Heath Ledger Theatre, primarily because of the close association with Otto Frank. He says you can hear Otto’s voice in the script, and this is certainly a very moving component. The device of Otto returning to the now abandoned annexe after the war and discovering Anne’s diary, deftly frames and contextualises the narrative.
After viewing a recent Perth production that was high on innovation and design but failed to successfully deliver the narrative, it was refreshing and satisfying to view an old-school, well-made play with a focus on authenticity and narrative strength.
This is a moving production with consistently strong performances from all cast members. It is a compelling drama that draws the audience in and creates an immersive experience of the Holocaust.
The set, designed by Drew Anthony, captures the character and claustrophobia of the annexe in which Anne’s family and the Van Daans hide for two years. Striated light dapples the set at the start of the play.
Similarly, streaky artwork by Jessie Kraserer on the walls evokes a sense of a hastily constructed, secret place, with numerous beds littering the stage and a single window linking the inhabitants to the outside.
Chloë-Jean Vincent as Anne Frank bursts onto the stage with all the passion, optimism and youthful exuberance of the spirited Anne. Vincent lights up the stage. The scenes in which she writes in her diary are particularly compelling.
The writing is intelligent, poetic and a beautifully insightful depiction of the day-to-day life of ordinary humans trying to survive an extraordinary situation. Lovely pinprick lighting creates a sense of intimacy and privacy.
What stands out about this production is the kindness and humanity of the characters, which provide a stark counterpoint to the horror and brutality of the holocaust. The horror is cleverly depicted through the sounds that bring terror – bovver boots marching, fighter planes, harsh angry German voices, and footsteps all convey the danger that lurks just outside.
But mostly, the play is about the ordinary everyday existence of the characters, trying to get on with each other in their cramped quarters.
The ensemble works together as a well-oiled machine to depict the discipline and restraint the two families must exhibit in order to coexist and survive. Kingsley Judd portrays their host with depth and compassion. Phil Bedworth captures Otto Frank’s intelligence, depth and kindness as well as his deep grief.
Holly Easterbrook plays Anne’s mother Edith with dignity and grace – and also powerfully portrays her anger at Mr Van Daan’s selfishness. Emma Smith as Anne’s sister Margot cements the kindness and dignity of the Frank family culture with her good nature and love for her dear sister and family.
Lisa Adam and Matt Dyktynski both bring some great comedic moments to their roles as the flirty Mrs Van Daan and the irritable sook, Mr Van Daan. As well as having finely honed comic chops, Dyktynski also brings a great emotional moment to the role late in the play when Mr Van Daan is wracked with shame.
Nathan Hampson as their son Peter successfully captures the evolution of his character from a shy, nerdy, immature boy to the one and only young man who will capture Anne’s heart. The intimacy of their connection is beautifully moving and poetic in its simplicity, innocence and tenderness.
Jamie Jewell as the latecomer Mr Dussell does a good job of conveying the awkwardness and claustrophobia of the outsider. There is a powerful moment when he genuflects and prays over and over. The look of desperation and terror on his face is a meta moment in which we see a reflection of every Jew in Europe at that time.
The costumes by Annette Stivaletta also bring a lovely authenticity to the production. In particular, the classic red dress and heels Anne wears on her first ‘date’ with Peter beautifully evoke a sense of a girl on the cusp of womanhood and also provide a stark counterpoint to the tragedy of the ending. This is the only scene in which Anne expresses her potential as an adult, in all her beauty, charisma and coquettishness.
Drew Anthony’s direction uses a lot of silence to convey the oppressive sense of fear and acute ‘listening’ of the characters. The scenes are well choreographed, and the use of mime to evoke a multitude of props cleverly keeps the action crisp and clean.
It would be interesting to view the 1997 iteration of the script, which is said to be a more realistic depiction of the antisemitism and horror the families face. However, there is something to be said for the charm, kindness and authenticity of the original script.
Perhaps the youthful optimism and hope infused in Anne’s final words are what audiences need to cling to at this particular moment in history:
“In spite of everything, I still believe that people are really good at heart.”
The Diary of Anne Frank is presented by Drew Anthony Creative. It runs to 26 July at the Heath Ledger Theatre. State Theatre Centre of WA, 174/176 William Street Perth WA 6000.
Tickets are available here.
Website: https://www.drewanthonycreative.com.au/the-diary-of-anne-frank
Socials: https://www.instagram.com/drewanthonycreative/
Photo credits: Amanda Humphreys
