The Levoy Theatre Opens the Door of The Diary of Anne Frank

by Aimee Ferenz

The Diary of Anne Frank, a play written by Frances Goodrich and newly adapted by Wendy Kesselman, follows the true story of a young Jewish girl and her family as they hid from Nazi persecution during World War II. Anne wrote in her diary for the duration of their stay in the secret annex at her father’s factory, providing a rare depiction of a coming of age story during deeply tumultuous times. This story is currently being told at the Levoy Theater, under the direction of Lauren Van Embden, for this weekend only. The following article will contain the discussion of various hardships and mistreatment, due to the historical accuracy of the play, and readers should proceed with that knowledge in mind.

Lauren Van Embden’s direction, and assistant direction by Curtis Matias, is a magnificent feat. Every actor has been assisted in finding a deep understanding of their role and it shines through in their consistency and dedication. As the story unfolds, you can look around to any part of the stage and see a fully actualized idea. When an actor isn’t featured in a particular moment, they can be seen carrying out their daily patterns by cleaning, reading, or busying themselves to distract from reality. It is perfect that this constancy continues during intermission as performers stay on stage throughout. The set design by Ogren Construction is fantastic and proves to be fairly accurate to records of the Franks’ real annex. I was particularly moved by the staircase coming from the pit that leads onto the stage, acting as the only entrance into the annex. Not only is this accurate to the blueprints of the building, but it also acted as a physical depiction of their captivity. This is further brought to life by the light (Al Caggiano) and sound (Sean Pedrick) designers, who enveloped the cast in their only cues from the outside world. We experience the radio broadcasts of various historical moments, we see the light from distant explosions through the skylight window, and even the moonlight through this same window as it catches in Anne’s hair. The time period is brought home by costume design by Dina Martini, who succeeds beautifully in showing both economic class and style through their limited clothing. Carrie Ellis ties the show together with her consistent stage management and her dedication behind the scenes is abundantly clear. 

Anne Frank is depicted by Adalee Dilks who captures the difficulty of growing up in hiding with a skill beyond her years. The sweet, talkative, and naive nature of Anne when they first go into hiding is that of a young girl who does not fully understand the life that she is being forced to live. Dilks not only masters this girlish charm, but evolves with a perfected pacing from ages thirteen to fifteen. She grows into a young woman right before the audience’s eyes and Dilks maintains the sweetness of Anne in a way that makes the audience care deeply for her. Her father Otto, portrayed by Richard Curcio, does all that he can to protect not only Anne but all that come to stay with his family. Curcio is a powerhouse in this role as he commands the stage with his calm yet sturdy demeanor. The hope that Otto attempted to maintain while inside the annex flows through Curcio’s performance until the final moments. It is then, after the family has been separated and taken away, that we can see Curcio’s entire demeanor deflate into that of a broken man. I must commend both Dilks and Curcio for their clear respect for the story that they are telling.

Edith, Anne’s mother, is played by Patty Davis and  Margot, Anne’s sister, by Celine Fleenor. The two work together on stage beautifully, sharing moments with one another as Edith struggles to connect with Anne. Davis triumphs as the concerned, weary mother while also bringing a divine warmth to the role. The ebb and flow of her emotions as she is worn further down is honest and true. Fleenor’s performance of Anne’s quiet sister is a success as well, staying deep in the character throughout the entire performance. While being much more reserved, it is her rare moments of laughter that bring Margot to life on stage. The two have synchronized their roles perfectly and are a joy to watch on stage.

The Franks are accompanied by family friends, whose relationships are tested both within their family and against one another. Petronella Van Daan, played by Bobbi J. Kukal, is the mother of this trio. She struggles from the very beginning with their new life after coming from one of wealth and success. Van Daan’s interactions with many of the characters are complicated by her judgmental commentary and shallow demands. Kukal is a tour de force in this performance, exemplifying the complexity of Petronella as she suffers through her extreme change in economic class. The audience gets to witness a true range of emotions all while seeing Petronella lose her pride. Her husband, Herman Van Daan is expertly portrayed by Peter McMahon. McMahon brings his all to the stage as well, matching the energy of Kukal with masterful dexterity. McMahon also gives incredible depth and range, sinking to a low in act two that is simply devastating to watch. Their son, Peter Van Daan is brought to the stage by Jackson Smith. While working through the ages of sixteen to eighteen, Smith excels in varying his performance as Peter grows up in the story. His connection with Dilks is incredibly slow burning, first even seeming as though they would hate each other forever only to evolve into a deep connection later in life.

These characters are accompanied by Alfred Dussel (Walter Webster), Miep Gies (Noelle McLeer), Mr. Kraler (Steve Ciapanna), and three men (Jim Cook Jr., Maxwell Martini, and Jeffrey Horseman). Webster portrays an ill-humored dentist who is saved later by Miep and Mr. Kraler. He does well maintaining the short temper and particular demeanor of Dussel, but not before showing heartbreaking sincerity as he tells those in the annex of the true happenings outside of their walls. Noelle McCleer acts as a beacon of hope to the other characters, bringing Miep Gies to the stage with never ending grace. McCleer delivers yet again as she portrays a woman who helps the needy out of the goodness of her heart. She is accompanied by Mr. Kraler, who is played by Steve Ciapanna. Ciapanna also serves as a protector of the Franks and Van Daans, offering one of the few connections that they had to the outside world. Jim Cook Jr., Maxwell Martini, and Jeffrey Horseman complete the cast as both voice overs and on stage characters, featured at the end of the play when the members of the annex are taken away. Their jarring entrance from the pit as the other characters remain unaware is a perfect representation of how close the annex was to surviving World War II. 

The Diary of Anne Frank is a monumentally important story, not just in life but in this particular moment of history. It shows the importance of taking care of your fellow man and standing up to injustice, no matter what risks there may be. This is just as true now as it was in 1945, and in every year before. If given the opportunity to experience this play, I would highly recommend that you take that chance. This cast has come together to create a true masterpiece in this historical work, deserving every second the standing ovation that they received last night. There are two performances left, tonight at 8pm and tomorrow at 3pm; I highly recommend that you take the time to see this incredible performance while you can. You can purchase tickets here: https://www.etix.com/ticket/e/1039053/the-diary-of-anne-frank-millville-levoy-theatre?partner_id=100