Review: A Classic, Timeless Tale Still Proves as Relevant as Ever with THE DIARY OF ANNE FRANK

"Your Diary...you can put all those thoughts, all those feelings down on paper..." -Otto Frank

"I remember when a New Year was something to look forward to...I've given up hope a long time ago."

-Edith Frank

We all know the story, have studied it in High School English, and for some even had the experience of visiting the Annex itself in Amsterdam. For Anne Frank and her family, the time spent in the "Annex" in hiding goes down in history as a timeless story that is still being told and is still as relevant as ever. The time was 1942-1944 prior to the liberation of the Jews in Holland. Not a sound could be made, shoes were not to be worn indoors, and food was rationed, and for families of Jewish lineage, an ever-pressing fear hung in the balance of what was now their reality.

Stageworks Theatre in the Channel District of Tampa took it upon themselves to stage this timeless, illuminating piece as part of their "Emerge" Season. Karla Hartley, Producing Artistic Director promised bigger, bolder shows as part of their "Emerge" Season, and she and her team delivered ten-fold.

Starting at the top Mercy Roberts is powerfully compelling as the young Anne Frank. Her moments of Diary entries delivered as an aside directly to the audience are so perfectly crafted as an audience member you hang on to every word. Her relationship with the other characters in the Annex is perfectly grounded in the human condition, you would truly believe these people were all related in real life. Nothing is forced here, and this is what makes the performance so compelling, and believable. The natural ebb and flow seen here is some of the finest young acting I have seen for some time and Mercy should be proud of her work here.

As Peter van Daan, Evan Fineout does marvelous work here. Having most recently seen Evan in Jobsite Theater's Hand to God, this is an entirely different turn for Evan. In Hand to God, Evan was a bully and as Peter, he's a kid trying his best to find himself in a world so torn and displaced. Peter and his family are forced into a living situation opposite the Frank's and try to make the best of a rather cramped situation. His relationship with Anne blossoms into young love and their chemistry on stage is magical and so grounded. You pine for the moment where the two share their first kiss, and when it happens your heart just melts.

Jamie Giangrande-Holcom makes a strong turn as Edith Frank, Anne's no-nonsense mother with a heart of gold. The moment with the music box between her and Otto during Hanukkah is so touching. I've seen Jamie on-stage numerous times, but her turn as Edith is by far my favorite role I've seen of hers to date.

Jesse Hutson is so strong as the staunch Otto Frank. He means well and wants to do everything he can to keep his family safe. His moment at the close of the show with his final monologue will bring even the strongest person to tears. His recollection of the time at the Extermination Camps prior to Liberation was heartbreaking and will give you chills down to the final blackout. Having last seen Jesse in Mousetrap, his stirring take on Otto Frank is truly masterclass-worthy. I'm reminded of a recent performance of Fun Home in which David Mann played the father figure. Jesse Hutson's turn as Otto Frank is just as strong a moment. Jesse should be commended for his performance here.

Calee Gardener as Margot Frank is a strong addition to this already powerful ensemble. There are moments where her sickness is truly felt, and it's so intriguing to watch. Again like Anne, nothing is forced here, and she is a standout as the young Margot.

Hugh Timoney as Mr. Van Daan plays a disgruntled father so well. You can sense his frustrations at every turn. He's our curmudgeon here and it's an interesting juxtaposition to the rest of the ensemble.

Kristin Carbone is wonderful as Mrs. Van Daan. She's steadfast and loyal, but at the same time clings to material possessions. It's as if the world is slipping through the cracks around her and it's all she can do to hold on. She's a powerful presence on-stage and you can feel her bubbling at the surface from each moment to moment.

As Miep Gies Samantha Parisi is a wonderful addition. The moment in which she gives Anne her first pair of heels is a beautiful moment, and you can feel her heart for helping the families survive amidst such strife and unrest.

Paul Crane as Mr. Kraler wears his worry on his sleeve. He knows at any moment the world could turn upside down and he does his best to keep the peace. Paul is right at home here and should be commended for his work.

Lenny Agnello as the Dentist Mr. Dussel does great work here. His moment of prayer in the middle of the first act is a powerful moment. His times of frustration when he can't sleep and his constant ebb and flow in the current situation he finds himself is grounded and present. You sense his disdain and it's a great joy to watch.

As the Nazi's or in this case First and Second Man, Chris Muratti and Kaeden Quillian make their presence known. For me, this moment was a slight letdown in power. It should be as explosive as the Russian takeover in Fiddler or the onslaught of the Nazis in Sound of Music. In this instance, I wish there could've been more solicited fear. If they are meant to ransack the Annex, by all means, disturb the peace, as an audience, we want to feel as uncomfortable as the Frank's and the Van Daan's we want to feel their fear deep in our bones. When the men entered it was almost expected and less by surprise. Harness that fear and run with it, in this instance I was left wanting to feel more.

Technically sound The Diary of Anne Frank is as compelling and strong in design as it is in acting. Set Design by Frank Chavez is a beautifully realized Annex. You could sense the displacement in every movement and the cramped feeling is fully conceptualized here. Lighting Design by Celest Silsby Mannerud is exceptionally powerful here, there is a moment in which each ensemble member is realizing their dreams for their life on the outside of the Annex, and as each moment builds it creates a beautiful tableau. Sound Design by Karla Hartley lends well to the moments in the show especially the segways to the radio announcing moments in time. At times the music came on a little loud for some of the aside moments, but nonetheless, the sound worked here and lent well to the world in which the story was set. Scenic Artist Tea Roberts has outdone herself here. The walls are inscribed with diary entries, and the silhouettes of the actual family are something magical, beautifully rendered, and conceptualized. Costume Design by Jessie Sandoval blends the time period beautifully. Each piece expertly realized and lends itself well to the story.

Karla Hartley's Direction is top-notch from moment to moment. From the intimate moments between Anne and Peter to the go for blows shouting matches between the Van Daan's nothing here is forced or over the top. You get a real sense of family values here and their struggle to survive is truly realized. The moment at the end of the show with Otto is seared into my memory even hours later, and for that, I commend the work delivered here.

There is one main questionable directorial choice that was made that I struggled with on the drive home: The curtain call. For a piece as strong, powerful, illuminating, and poignant as this, I find it hard to exude thunderous applause one by one as the actors take their individual bows. You have a moment at the end that truly leaves you "gutted" the lights go black and in exuberance, the audience surmounts to thunderous applause. As much of an Ensemble piece that this is, I find it diminishing to the impact of the story and the show to have individual bows. In my humblest of opinions, it would be stronger to have the lights come up on a tableau showing a united ensemble, and unit bow and then exit or a light fade. I completely and wholeheartedly understand the need for individual bows/appreciation but for me, it would have been stronger and more impactful with a group bow.

Boasting one of the strongest on-stage ensembles in recent time The Diary of Anne Frank sets out to prove that a timeless, powerful, and illuminating tale is still as relevant as ever. The show must close on February 20th, so head on over to stageworkstheatre.org for tickets. Do yourself a favor witness this timeless tale for it is one you should not miss, and I for one am thankful to Stageworks for bringing such a powerful piece to the stage.

"In spite of everything, I believe people are truly good at heart." -Anne Frank

Photo Credit: Stageworks Theatre

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