Review: THE DIARY OF ANNE FRANK at Heath Ledger Theatre

It is a rare feat when a production can strip away the distance of history and force an audience to hold its collective breath, yet Drew Anthony Creative’s return season of THE DIARY OF ANNE FRANK at the Heath Ledger Theatre does precisely that. This masterfully directed production embraces the claustrophobic reality of Frances Goodrich and Albert Hackett’s classic script with integrity, creating a deeply atmospheric and emotional play in a single simple setting. Anchored by Chloë-Jean Vincent’s extraordinary performance, the production masterfully balances the dread of the Holocaust with a beautiful celebration of what it is to be human. Set against a tiered annex that visually traps the ensemble, this is a deeply moving, beautifully balanced piece of theatre that serves as a reminder of the value of resilience when the world grows dark. 

The annex serves as the single setting for the entire play, and perfectly evokes the claustrophobia that influences the entire show. Drew Anthony seeks to bring a heavy sparseness to the show with the set and the show’s direction, stripping everything back so much that a pen and diary are virtually the only props the show has. It is impossible to ignore how little the people living in the annex had, and the minimalism influences the characters and the plot throughout. 

As the diarist is Chloë-Jean Vincent. Vincent exquisitely balances the different parts of Anne Frank, with the mannerisms and petulance of a thirteen year old girl set against the wisdom beyond those years. There is a visible and recognisable air about a young teenage girl that Vincent captures perfectly, with mood swings and outbursts that serve as much to add drama to the story as they do to remind us of who we were and the people we know of that age. 

Knowing the other characters only through Anne’s eyes, each bears the tremendous weight of the parts in history they play whilst accentuating some character traits precisely how a teen would comprehend them. This is typified by Emma Smith as Margot Frank, Anne’s older sister. Smith positions her character as perfectly deserving of the extra attention and love that Anne believes she receives whilst showing it is something she doesn’t want. Through it all, she is a loving daughter and sister and has a dash of youthful exuberance at times. Similarly, Holly Easterbrook as Anne’s mum Edith is solid at times whilst borderline hysterical at others, seemingly complicit in the emotional tug-of-war teens can’t help but wage against their parents. 

The rock for all the characters is Otto Frank, portrayed brilliantly by Phil Bedworth. Bedworth’s stoicism and hope against all acts as a compass for Anne, as well as keeping sense for the other characters as cabin fever sets in. Matt Dyktynski as Putti Van Daan develops through the show, being the ruthless Van Daan patriarch for most of the show, becoming more human as the show progresses. Lisa Adam as Petronella Van Daan highlights the struggles of living in close confines with others ensuring respect and tolerance persist. Nathan Hampson as Peter Van Daan perfectly covers his journey through Anne’s eyes, with immature and annoying mannerisms developing into a depth and sensibility that Anne comes to admire. Jamie Jewell as Dussel is able to infuse many contrasting parts to his character, struck by emotion at times whilst coldly unemotional at others. Interestingly, Jewell’s character becomes less likeable as the plot progresses mostly because he doesn’t share the hope that is central to the play’s themes. Jamie Jewell’s ability to do that whilst keeping a deep sense of humanity is outstanding.

Kingsley Judd and Grace Tolich brilliantly portray the group’s line to the outside world as Miep Gies and Mr Kraler. Their persistence and desire to help underpin the entire show whilst their appearances are timed to relieve the tension that builds up. Indeed, the tension that ebbs and flows throughout THE DIARY OF ANNE FRANK is a significant part of the whole show, taking the characters from the slow paced boredom of their everyday lives into sharp and sudden developments that appear as quickly as they would to people in isolation. Hanukkah comes and goes, the celebration’s values of hope and triumph over adversity being as important to the atmosphere as Anne’s impromptu gifts to everyone. D-Day is celebrated as a potential turning point, whilst bombers overhead and footsteps outside maintain the threat the world poses. 

The ability of the cast and crew of THE DIARY OF ANNE FRANK to convey its values and themes is simply extraordinary. Despite knowing the fate of all the characters, I was compelled to eagerly follow the dates of Anne’s diary entries, completely drawn into hoping that they could be liberated before they were discovered. In this way, THE DIARY OF ANNE FRANK lets us believe, as Anne did, that we can rewrite history, whilst acknowledging and showing sensitivity to the fact that the Holocaust is an important part of history. The tremendous burden each person carries in making this show is evident, reminding us of the value of humanity and hope regardless of what is outside.

Reader Reviews

To post a comment, you must register and login.

Need more Australia - Perth Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...

Australia - Perth News

Get the latest news, discounts & more