The real Anne Frank never survived the war that confined her to an upstairs apartment for more than two years, but her words live on in her now-famous diary. The Diary of Anne Frank, produced by Milwaukee Repertory Theater, does an excellent job of bringing back the spirit of Anne Frank and the times that shaped her brief life during World War II.
The tension that infuses every moment of those two years is maintained by an excellent cast under the direction of KJ Sanchez. Anne and her family, plus another family and a bachelor dentist, are all Jewish. They must all live together in the apartment, owned by a Dutch sympathizer. If they are discovered by German soldiers, the Jews – and their non-Jewish protectors – are surely destined for the German-run internment camps.
The characters must co-exist, mostly in silence, while they fear for their lives. The group moves freely about the apartment only at night, when the factory workers below them have gone home. Occasionally, tempers flare and sharp words are exchanged. But they also look after each other and try to find moments of humor in a world that seems to have turned upside-down.
In the Milwaukee production, the character of Anne is played by an adult actor. Lauren Hirte does a generally fine job of expressing the exuberance of a young girl on the cusp of adulthood. On opening night, however, her first few scenes felt forced. Thankfully, she relaxed into the role later in the show. Living with Anne is her father, whom the others look to as a leader. Jonathan Gillard Daly gives us a warm and nurturing Mr. Frank. It seems natural for Anne to turn to her father for guidance, even as she rebels against her mother (Laura Gordon). Gordon’s character tries hard to coax Anne toward adulthood. She is neither too stern nor too critical, although Anne certainly wouldn’t agree. Gordon strikes exactly the right note as a parent struggling with a teenager. It doesn’t help that Anne’s older sister, Margot (Emily Berman), is so well-behaved and quiet. When a frustrated Mrs. Frank says to her younger daughter, “why can’t you be more like Margot?” it only ignites another mother-daughter argument. Anne points out those times have changed. One can’t help but agree.
The gradual romance between Anne and a slightly older boy, Peter Van Daan, is particularly impressive to observe. They come together slowly, sweetly, moving from taunts in the early scenes to expressing thoughts they can’t possibly share with the adults. Anne’s attraction to Peter gives her life a new direction. J. Alexander Coe does a fine job of portraying Peter. He is tall, thin, awkward and clueless about how to express his feelings for this remarkable girl.
Also worth special mention are Lee E. Ernst and Deborah Staples as the quarreling Van Daans, and the group’s Dutch protectors, James Pickering and Kelley Faulkner. Larry Neumann, Jr. rounds out the main cast as the bachelor dentist.
The single set reflects the Spartan conditions of a small apartment, with very tiny bedrooms on either side of a main living unit, and a small loft above. The Van Daans sleep in the loft, and others must squeeze in wherever there’s room to sleep on the main floor. Only a few high windows offer any glance of the outdoor world.
The detailed set is beautifully lit by Thomas Hase. Costumes accurately reflect the characters’ backgrounds. The production elements create a convincing backdrop for this inspiring story of hardship, loss, and hope – amid the myriad details of daily life – that Anne and her family faced during an unspeakably cruel episode in world history.
