The Diary of Anne Frank

When I took time out of my hectic schedule to attend a production of Goodrich and Hackett’s The Diary of Anne Frank at the Delaware Theater Company, I was not expecting the play to provide a respite from the stress of the daily grind; however, director Meredith McDonough’s focus on the optimistic characters warranted the show one of the most curiously pleasant ones I have seen in some time. While remaining faithful to the famed Holocaust tragedy chronicled in Anne Frank’s diary, the refreshingly human interactions of the characters in this rendition portray the hardships – yes - but also the humor the strong personalities derived from their stint in hiding in Frankfurt, Germany. Thematic unity created by a talented blend of acting and direction left all audiences enamored throughout the two-hour afternoon at the theater.
           
The stage lights up to reveal a conservatively-lit, cluttered space – the celebrated annex that hid the Frank family, the Van Daan family, and lone dentist Mr. Dussel (John Morrison). The characters shuffle in, introduced to their home for the coming months, and immediately command the stage. Brief scenes characteristic of the days spent by the eight people in the cramped quarters reflect on the lighter moments that allow the character interactions – rather than the wartime persecution – to shine. Focus on events including Hanukkah and visits from friend Miep (Maggie Kettering) feature striking performances, particularly by Joel Leffert, Geraldine Librandi, and Paul Nolan. Leffert captures in his portrayal of Otto Frank the complex emotional conflict between desires for basic privacy and a general compassion for his family and friends. Nolan and Librandi’s Mr. and Mrs. Van Daan, respectively, balance Mr. Frank’s empathy with refreshing humanity. In a particularly moving scene, a quarrel between the couple reveals Mrs. Van Daan’s attachment to her fur coat and her resistance to sell it even in times of extreme economic hardship. A developing relationship between Anne (Sarah Kapner) and Peter Van Daan (Henry Raphael Glovinski) further lighten the somber context and allow the audience to smile along with the characters even in the midst of trial.
           
Effective transitions under the direction of Meredith McDonough complement the truthful acting in communication of the families’ perseverance in times of struggle. Radio broadcasts and charmingly intelligent monologues delivered by Kapner’s Anne effectively blend the vignettes and maintain the fluidity in danger of being lost in the otherwise disjointed mix of scenes. Most resonant, perhaps, is the continuation of the action onstage even during the intermission. As a somewhat perplexed audience stirs and begins to drift into the lobby, the families onstage continue to clean, eat, read, and dress, driving home the tenacity of the characters and their commitment to live life even in hiding. While lighting design usually do not detract from the atmosphere carefully created by the actors and the director, occasional use of worklights illuminate the technical aspects of the stage and bring audiences back to an unwelcome reality for a moment. A heart-meltingly tragic finale, however, compensates for technical shortcomings.
           
Not the depressing reminder of the suffering associated with presentations of Anne Frank’s story, the Delaware Theatre Company adaptation presents a fresh perspective on the tragically intelligent heroine and her family. The clearly demonstrated theme remains to float through audiences’ minds long after the actors take their bows.        

Back