Review: 'The Diary of Anne Frank'

by Laura Stratford.

Before reading our review listen to our interview with Amy Dawson (Anne Frank) in YorWorld here.

The Diary of Anne Frank, brought to us by York Theatre Royal in conjunction with the Touring Consortium Theatre Company, is in the last week of its run in York before it embarks on a UK wide tour. After going to the Press Night last week, it was clear to see that the production already had a buzz about it; and deservedly so, because this is a production that delicately and powerfully translates two years of Anne Frank’s charted life to the stage.

The stage alone is artistically set. Along the front of the stage, books can be seen jammed together beneath the wooden floor boards, which are slowly dampened by the sprinkle of rain water. A couple of beds, tables and chairs sit on the main stage, Anne’s writing desk stands in the front right corner and a bicycle and bookshelf hang suspended from the ceiling. Already, the audience gets a feel of the damp, dreary and confined attic space; setting the tone well for the Opening Act.

Lights fade, a clock chimes and the voice-over of Anne’s diary can be heard whilst the hustle and bustle of Anne’s family and friends arrive in 1942. Amy Dawson plays the part of Anne Frank with a veil of authentic adolescence, capturing very well the hyperactive, playful and immature character. Victoria Ross’s portrayal of Margot, Anne’s polar-opposite ‘perfect’ sister, convincingly conveys her well-behaved and demure character. Steven Pinder and Sarah Ingram are paired together well as Mr and Mrs Van Daan, the selfish couple, clinging on to their material possessions; Robert Galas, who takes the role of Peter Van Daan, embodies well their 16 year old son, torn between his parents’ quarrels and Anne’s affections. Otto Frank, played by Christopher Timothy, try to keep the group, as well his wife, Edith (Kerry Peers), safe and sane within the small space. Credit also has to be given to Dominic Gately who plays Mr Dussell, the dentist who seeks hiding in their company. He poignantly gives light to the horrid reality taking place outside the attic space, but lightens the mood with his humorous child-like and socially awkward nature.

By the Second Act, it’s 1944, and it remains a survival of the fittest where the tension builds and builds. In the opening scene, we see Mr Dussell pulling out a tooth from Mrs Van Daan’s mouth. At first, it’s a seemingly trivial detail, but we soon realise that this is only the beginning in terms of the indescribable pain that await them all in the concentration camps. Throughout the play, the whole cast remain on stage, sitting on a bench on each side if they’re not in the main scene. In the Second Act, we see a German Officer waiting on the bench; a clever way of keeping us on our toes. In addition to that, there are other touching moments, such as Peter and Anne’s first kiss and the sharing of strawberries between the two families, the last riches they experience before the arrival of the Nazi who comes to evict them.

It’s no surprise that most people would avoid seeing this production as it reminds us of the painful reality of the Holocaust. However, this production carefully and professionally deals with the tragic story, leaving the audience to come away reflecting on it and the injustice that continues to happen today. Yes, it’s not your most cheery production, but it contains some impressive performances from the cast who are bound together and led with integrity by director, Nikolai Foster.

You can see ‘Diary of Anne Frank’ at York Theatre Royal until Saturday 3rd March. See online to book tickets, and catch the audio review of the production here on the ((URY PLAYER)) now!