The Diary of Anne Frank - Drew Anthony Creative (17 April 2025)

Complete quiet. Between 8am to 6pm. Every day. Day after day. For a little over two years. Talking nothing above a whisper. Unable to use the facilities. Or move about in other than stockinged feet. Lest a noise attracts unwanted attention. The sort of attention that could lead to your death. A fear and constant dread that is unfathomable. Yet amongst this horror comes an extraordinary testament written by a teenager, only thirteen when she was gifted what would become her famous diary. It's a true life tale that demands the utmost respect and care when being adapted for screen or stage.

Director Drew Anthony, up to this point best known for crowd-pleasing musicals, ventures into the world of drama for the first time well aware of the enormous responsibility he's undertaken. From the choice of the 1955 adaptation by Frances Goodrich and Albert Hackett that saw them win the Pulitzer Prize for Drama; to the staging of the production at the prestigious Heath Ledger Theatre; the attention to detail in the presentation of the set; and a committed cast wonderfully led by Chloe-Jean Vincent as Anne Frank. 

In Vincent, Anthony has found an actress who embodies the many facets of the title character - from childlike innocence, petulance, rare insight for one so young, stubbornness, a growing sexuality, and the frustrations that come with being cooped up inside for so long, mainly with adults. It's a wonderful performance that is captivating and heartbreaking. It's a role that demands subtlety and nuance as Anne has a frosty relationship with her mother Edith (Holly Easterbrook), a much closer one with her father Otto (Phil Bedworth), and various complications with the other characters including the three years older Peter Van Daan (Nathan Hampson), initially an annoyance who slowly becomes a tentative romantic interest. We also never lose sight of Anne's literary ambitions and her belief in the essential goodness of humanity, punctuated by moments of terror in harrowing nightmares. 

The other standout is Bedworth who imbues Otto Frank with a decency and stoicism that is quietly compelling. We empathise with a man desperate to keep his family and his guests, the Van Daans, safe at all costs. We understand without question why such a dignified and compassionate man would not hesitate in accepting the risk of another lodger entering the secret annex in Jan Dussel (Jamie Jewell). 

Vincent and Bedworth are surrounded by a cast of well drawn performances. Easterbrook makes for an elegant Edith Frank who laments the lack of warmth from Anne before her frustrations explode in the second half; Asha Cornelia Cluer, by contrast, is showier and increasingly fraught as Petronella Van Daan, a beloved fur coat the cause of several disputes. Matt Dyktynski portrays Putti Van Daan as a ticking time bomb of grievances that threatens any sense of fragile harmony. Ciara Taylor is quiet and reserved as Anne's older sister Margot who is beloved by all; Jewell brings a touch of theatricality as the outsider who becomes increasingly exasperated at having to share a room with Anne and is none too kind about Peter's clumsiness. Hampson navigates a tricky arc from juvenile antagonist to shy confidant and maybe something more with endearing skill; while Kingsley Judd and Grace Tolich are earnest and kind as the loyal helpers who provide food rations and news from the outside world. 

While the situation is bleak there are many moments of warmth, camaraderie, and good natured humour as we are immersed in this hermetically sealed world. Yet human foibles, unrelenting pressure, and the claustrophobic nature of their confinement lead to relationships fracturing as the tension mounts. It's an emotional rollercoaster not only for the characters but the audience as well. We are never left in any doubt as to the stakes with two swastikas, that horrid and despicable symbol of hatred, omnipresent as they hover over the set. Shocking too is the yellow Star of David with Jude inscribed in the centre which the Franks and Van Daans have been forced to wear in the outside world of 1942 Nazi occupied Amsterdam. They are quickly ripped asunder once inside the bookcase concealed refuge. 

Production Design (Drew Anthony), Scenic Build (Rosie Martin), and Scenic Artwork (Jesse Kaserer) create a sombre toned representation of the impressively realised, multi-tiered annex from the attic Peter resides in to the many other bedrooms and shared living space. Costumes (Coordinator, Annette Stivaletta) are also muted in tone and style with two notable exceptions - the aforementioned hint of ostentation with Petronella's fur coat, and, in the second half, with a seeming nod to Schindler's List, the red dress Vincent wears which is a sign of Anne's growing maturity. 

One element I did trip on was the deliberate choice not to use props other than significant items such as the diary itself. This meant there was a significant amount of miming by the actors when dealing with 'paperwork' or 'presents' in the Hanukkah sequence or the consumption of food and drink. Given the attention to detail for all the other elements such as the movie star posters Anne tapes to her bedroom wall this had a tendency to jar.

Lighting design by Christian Lovelady adds to the sense of claustrophobia and foreboding when needed with characters in darkness and shadow but also lends warmth to more positive sequences. Notably, scenes where Anne is reciting passages from her diary as she writes are bathed in a spotlight with the rest of the set concealed in darkness. Audio design by Jordan Gibbs is critical to give a sense of the tumult outside their hiding place including the changing nature of the war as air raids become an increasing reality as the Allies prepare for D-Day and blessed liberation of Europe. 

Yet there are two sounds that cut to the bone - the clatter of a fallen chair, and Petronella's frantic tirade at one point that had me cringing in horror, silently begging her to stop. Such engagement is testament to the immersive nature of the world that had been created.

Their discovery when it comes is gut-wrenching and sad because we know it's all too real what happened. The bookends of Otto returning to the annex to recover the diary are emotional and respectful as we learn of the others' fate, including Anne who died of typhus in a notorious concentration camp. This leaves the audience emotionally devastated yet buoyed by the honesty of the performances. 

As of writing, the production has finished its current run. I believe there are discussions for it to be mounted in other states with a possible return to Perth at some stage. There is no doubt this is a well-acted and moving piece of theatre that highlights the resilience of the human spirit even in the face of unspeakable barbarity. A well-timed reminder of what's worth fighting for even to this very day.