★★★★★
It’s the start of autumn and on this peaceful Melbourne evening, the sun sets in a glow over Melbourne’s Athenaeum Theatre. There’s a natural surge of energy rising in the foyer tonight with the opening of Drew Anthony Creative’s The Diary of Anne Frank, and this one will stay close to the heart.
With a stream of light bringing a hopeful warmth through a rooftop window, it shines onto seven makeshift beds. A tub of water, a small wooden dining table, and a few scattered chairs are thrown across the stage in what appears to be a hastened exit. You Are My Sunshine echoes with the air of the era, and we are set for a memorable tale.
The audience is inquisitive, gentle chatter on a Thursday evening until Mr Frank enters, stopping to pick up some items of memorabilia, holding them to his heart and then breaking into sobs.
A true story taken from real events, The Diary of Anne Frank derives from a young girl’s own thoughts, words and feelings that were published by her father after he survived hiding in the Secret Annex in Amsterdam during World War II.
This play takes place across the span of two years, starting on Monday, 6 July 1942, when the Nazi soldiers have taken over the city. In a desperate act of survival, Anne’s father, Otto Frank (Phil Bedworth), hides his wife (Holly Easterbrook) and daughters Margot (Ciara Taylor) and Anne (Chloe-Jean Vincent) above his workplace.
Joined by Mr and Mrs Van Daan (Matt Dyktynski and Asha Cornelia Clueer), their son Peter (Nathan Hampson) and Mr Dussel (Jamie Jewell), the eight of them live in secrecy until 1944, when they were unfortunately captured.
Being gifted with food and supplies throughout that time, however, their good friends Meip (Grace Tolich) and Mr Kraler (Kingsley Judd) are outside of the annex and risk their lives to assist.
Every time the hidden group hears a car engine start up, tyres screeching to a halt, a buzzer go off, the phone ringing, a door opening, a creak in the downstairs floorboards – they freeze in fear of what may come.
Constantly in flight or fight mode, there is never a moment to feel free and to rest easily. But whilst there is this constant uncertainty, Anne’s story highlights above all else – a spirit that dances in hope. Her dreams are strong for a brighter future, and we are taught about incredible human compassion and the gift of giving and kindness.
Whilst Anne must survive with resilience and tolerance through the terrible events surrounding her, this story has become one of the most important firsthand accounts of the Holocaust.
With real characters and insight, this is a window to an important part of history we should remember. War affects all people, no matter who you are, your race or religion. The feeling of helplessness for matters beyond our control can be suffocating. But within our human nature, our strength lies in where hope survives.
One voice can inspire a million, and Anne did just that – as she said “I want to go on living even after my death.” And what an impact she has made on so many.
In an incredibly uplifting performance, Chloe-Jean Vincent as Anne Frank is full of sweet innocence, radiating positivity even with the crisp voice of a cheeky, confident teen. She is captivating in every moment, and prances across the stage like a kitten chasing a ball of light – only it’s Anne that is all the light needed on the stage.
She is the forward motion that gives life to the dismal residence, and without her brightness, “we’re going to forget how to dance.” Vincent’s performance truly makes you feel all of what Anne is feeling with a strikingly emotional performance.
Phil Bedworth as Anne’s father, Otto Frank, gives perfect sincerity as the mild-mannered, gentle, thoughtful and always caring soul. The love he has for his family pours out in every action, and he leads with honest emotion. It is a deeply moving portrayal of a loyal and loving father caught up in horrendous circumstances.
Playing his wife, Holly Easterbrook gives moments of incredible dramatic brilliance as her character evolves over the years of trauma. Her relationship with both of her daughters is relatable, and whilst she is mostly controlled, Easterbrook crafts her role with such precision that she allows us to see her stifled emotions and a suffocated voice.
Emma Smith plays Margot, the ‘good daughter,’ who is obedient and kind. Smith is clever here to present a character that runs alongside her sister Anne, always encouraging and supportive, but never overshadowing. This helps to showcase her polished, natural talent, drawing us into the story where all the people are believable.
The pairing of Matt Dyktynski and Asha Cornelia Cluer as Mr and Mrs Van Daan is a partnership that allows each to elevate their performances. Dyktynski is a powerful presence on stage, bringing anger and force in a fierce tone that is articulated superbly.
In contrast, Cluer brings out a more bubbly and social personality for that time, with slight flirtatious notes to her characterisation despite the conditions. The couple’s suffering is felt throughout the play, with losses from so many directions. But with disappointments, the focus must be on survival, even with the frustrations that may come along with that, and this, perhaps, is what their son feels the most.
Peter Van Daan, played by Nathan Hampson, embodies the unsure nature of a teenage boy while brilliantly portraying his character’s development. We see the shift in his thinking, yet understand an almost cowardly wincing when his father overpowers him. It is an outstanding performance.
Jamie Jewell’s Mr Dussel grows from strength to strength throughout the performance, while Kingsley Judd brings a quiet bravery and determination to Mr Kraler, further strengthening this talented cast.
Grace Tolich as Miep is like happiness in a jar. The residents in hiding eagerly await her visits, and her warmth and optimism radiate beyond the stage to the audience.
One of the highlights of this production is the use of a spotlight, both on the performers and on powerful props. This gives emphasis to Anne’s words spoken out from her diary.
Interestingly, the choice to mime items such as cups, bags, smoking pipes and presents rather than use physical props adds power to the scenes. It strengthens the sense that the families must cope with the bare essentials, while also allowing the audience to engage their imagination.
In a hidden attic filled with “I couldn’t,” The Diary of Anne Frank replaces them with a defiant “I will.” And sometimes that belief in something is the most beautiful part of being human, and the reason we endure.
The Diary of Anne Frank is presented by Drew Anthony Creative and runs to 14 March 2026 at the Athenaeum Theatre. 188 Collins Street Melbourne Vic 3000.
It then runs at the State Theatre Sydney from 28 March.
Tickets are on sale now for Melbourne here and Sydney here.
Website: https://www.drewanthonycreative.com.au/
Socials: https://www.instagram.com/drewanthonycreative/
Photo credits: Amanda Humphreys
