REVIEW: The Diary of Anne Frank
- Natasha Dyson
- Mar 10
- 2 min read
“How wonderful it is that nobody need wait a single moment before starting to improve the world.” - Anne Frank
There are so many reasons why The Diary of Anne Frank has inspired and compelled humanity for the last eighty years, and its current relevance cannot be overstated. This March Melbourne’s Athenaeum Theatre steps back in time to present the original staged production, complete with 1940’s jazz standards to set the scene.
This Pulitzer, Tony and New York Drama Critics’ Circle Award winning play by Frances Goodrich and Albert Hackett marked Anne Frank’s introduction into the theatrical canon, and with the exception of ‘The Diary of a Young Girl’ book itself, presents the most publicly familiar dramatisation of life in the Secret Annex.
This Drew Anthony Creative production does not seek to stray from the source material, honouring the 1955 script in every element. This notably included directorial and acting choices reminiscent of a more presentational time in theatre. Personally, I found the play’s 70-year-old dramatic naturalism style made it harder to connect with the intimacy and claustrophobic nature of the setting. Although I understand the choice to present the heightened reality and caricatures of a teenage girl’s diary, it unfortunately read as discord between the size of the theatre space and the size of the story.
That said, the cast were cohesive in their approach to this period piece, settled into characters they previously embodied in last year’s successful WA season. Chloe-Jean Vincent is a vibrant, headstrong Anne, balanced by the warmth and care shown by Phil Bedworth as Otto. I particularly enjoyed Holly Easterbrook’s interpretation of Edith Frank (Anne’s mother) throughout their tempestuous relationship. The emotional turmoil of Anne’s adolescence is a fascinating grounding point for these families; I believe this play would be a heartbreaking watch for parents.
One creative choice I couldn’t understand was the intermittent miming of props. The minimisation of the families’ belongings was already evidenced by the thoughtful set and Annette Stivaletta’s effective costumes. Where I was at first pulled from the story by concern that a prop was missing, I was then caught in confusion at why there might be physical glasses of water, but invisible presents and cake. I was no longer focused on the characters’ experiences, but on actors’ miming skills.
I believe there is space for a new adaptation of The Diary of a Young Girl, perhaps sparing some of the theatricality and exposition of the 1955 script, allowing Anne’s words to speak for themselves. It is not lost on me the rarity that one of the most enduring examples of the Holocaust’s impact is the perspective of a teenage girl. I hope stories like hers continue to be told.
The Diary of Anne Frank is an important watch, dignified and considered in its approach to the source material. I would recommend this play to anyone who has never had the chance to hear Anne’s story. Her unique perspective on war and optimism continues to be a poignant reminder for us all.
Click here for tickets to The Diary of Anne Frank playing in Melbournes until 21st March with a Sydney season starting from 25th March.
