The Diary of Anne Frank

Reviewed by Holly Bartges

Along with the Holiday celebration officially underway with all of its magical expectations, for obvious reasons, the top of the list should read The Denver Center Theatre Company’s production of The Diary of Anne Frank now playing at the Space Theatre.

Aya Cash as Anne Frank and Deirdre Madigan as Mrs. Frank in the Denver Center Theatre Company production of The Diary of Anne Frank. Photo by Terry Shapiro

Why?

The horrific reality of the Holocaust must never be forgotten. As its historical time fades into history, and attempts to convince us it never happened, we must separate truth from fanciful fiction never allowing that to happen.

With all of the documentaries, books, photos, eye witness reports nothing remains more poignant then the diary of a 13-year-old girl who In spite of all she had to face never quit believing in the goodness of humanity.

Over dramatic, over flowing with bursting hormones, unpretentious, at odds with her mother, Anne, fortunately, had not yet learned polite society’s art of keeping some thoughts to herself. Whatever crossed her young mind, flowed with an awkward fluency out of her mouth and into her diary.

Following his release from Auschwitz, her father, Otto, found the diary on the floor of their once-upon-a-time hiding place. Anne always wanted to become someone important. Little did she know just how important she would become.

Under the astute and sensitive direction of Paul Mason Barnes, the stellar cast transports themselves back to the early 1940’s. Robert Mack Morgan transformed the theatre in the round into a bare necessities hiding place for eight people. The set alone entices the heart to skip a beat even before the play begins.

Aya Cash embodies the wondrous 13- year-old Anne with an eerie physical resemblance. All we know is what Anne chose to write in her diary. Enough clues play amongst the words for an experienced actor to bring her to life. Cash takes the breath away in a dance of hope, humor, confusion, fear, and anxiety, looking forward to the future. What 13-year-old doesn’t conflict with her mother? Conflict is written in the walls of growing pains.

Deirdre Madigan’s interpretation of Edith Frank shields her anxieties for private personal moments exhibiting occasional outbursts of disgust holding the family together through strained patience celebrating tight Jewish traditions.

Wendy Kesselman’s adaptation from the original play by Frances Goodrich and Albert Hackett provides added appreciation for Jewish tradition and for what this must have meant for those living secretly in silence, striving to keep body, mind, and soul together, fearful of persecution simply because they were Jewish.

How difficult for eight people to remain completely silent from 8:00 AM until 6:00 PM in a secret annex in Amsterdam. Difficult to imagine, and yet these actors instilled the perception by their heightened characterizations.

Although Anne constantly fought with her mother, she remained close to her father, Otto, portrayed with a silent power of strength for his family by John Hutton. When Otto returns to the annex after his release, Hutton stops the heart as Otto remembers the family he lost.

Danielle Slavick takes Anne’s sister, Margot for a quiet walk of shy pent up emotion and obedient behavior of an older sister. Anne’s energy nearly explodes in solitude feeling she is always being compared to her “perfect” sister. Slavick’s expressions run deep enough to see into Margot’s heart and soul.

The Van Daan’s join the Frank’s. Leslie O’Carroll provides warm humor with Petronella with her enormously difficult time adjusting to the cramp quarters without her accustomed comforts. Verbal, emotional, O’Carroll brings a strong sense of identified human nature to the role allowing periodic quiet laughter to relieve the tension.

With little patience, Anne finds Peter Van Daan an insignificant bore until she takes the time to draw him out, getting to know him at the same time she learns to know her body and her flibbertigibbet stretched emotions. Bob Braswell does a splendid job with the insecure Peter who hates it when his parents fight.

Sam Gregory’s Hermann Van Daan tries earnestly to placate his over emotional wife, Petronella, keeping to himself as much as possible, nursing his aloneness with a blanket of feeling sorry for himself. When discovered stealing food, the built in tension nearly explodes into a thousand pieces. Demonstrating again how extremely difficult eight people with eight differing personalities, needs and wants could survive in tight quarters for two years.

Elgin Kelley’s grasp of Miep Gies who secretly set up the annex, brings food, necessities, and whatever small wants the eight people desire, risking her own life shines with loyal determined courage. Kelley’s eyes share Miep’s story with the audience.

When Miep brings Albert Dussel, wonderfully played by Philip Pleasants, into the fray Anne ends up having to share her room with him. Pleasants sees to it that Albert is not the easiest person to get along with. Anne tests his frazzled patience with her own teenage cockiness.

Having the cast stay on stage during Intermission while the audience can move about serves as a striking reminder these people dare not look outside. much less think about leaving. Such a simple production decision packs a walloped impact.

The only problem I had with this production was the introduction of the Nazi Gestapo. With every documentary I’ve seen, every book read and perused, every photograph examined, I have never seen a gray haired bearded Nazi. Although the uniforms were magnificently presented, the Nazi’s played by Mark Rossman, Michael Mallard, and Zach Evenson exhibited a much too casual appearance, moving slowly, shoulders slumped, lacking the intimidating disciplined military demeanor for which the Nazi’s were so well known.

Their entrance into the annex created the frightening reaction from the characters, jolting the audience, but for me, the jolt flew in the direction of disappointment. Because of the outstanding direction, the incredible cast, the zeroed controlled lighting designed by Charles R. MacLeod, the believable costumes designed by Susan Branch, and the overwhelming powerful last words of Otto, the disappointment in the execution of the Nazi’s became minute, but a jolting disappointment just the same.

The timing of The Diary of Anne Frank couldn’t be better in the midst of the Holiday celebration, in the midst of those who so want to believe the Holocaust never happened. Amazing how a 13-year-old girl’s love of life and people can be so chilling.

Absolutely, positively, this production does not want to be missed. When you go, pick up a copy of “Inside Out for The Diary of Anne Frank” at the Information Booth inside the Bonfils Complex. The contents contain valuable background information.