Kris Weber's World of Theatre

THE DIARY OF ANNE FRANK dramatized by Frances Goodrich & Albert Hackett
Presented by STAG
Directed by Mel De Bono
Reviewed (August 28) by K.E. Weber
Cast: Bill Charles, Tania Kittelmann, Valina Rainer, Raymond Dunstan, Craig Ojczyk, Margaret Rawlinson, Donna Twycross, Jessica Lockhart, Richard Stoyles, Tony Rainer, Michael Smith, Angelo De Cata, Adrian Murone, Lucasz Dziadkiewicz.

Anne Frank died in the concentration camp of Bergen-Belsen in March 1945, just two months before Holland was freed, and three months before what would have been her sixteenth birthday. In her diary she recounts the two arduous years that she, her parents, sister and four others spent in hiding in the sealed-off back rooms of an Amsterdam office building in order to avoid arrest by the Nazis. Tragically, in August 1944, their hiding place was revealed, and they were taken into custody. Otto Frank, her father and the sole survivor of the ‘Secret Annexe', returned after the war and was given Anne's diary. It is here, in November 1945, that the play begins.

Anne Frank's diary has touched many since its publication in 1947, as have the atrocities that were responsible for its existence - in this form, anyway. STAG presented a beautiful, sensitive and, for the most part, believable interpretation of Messrs. Goodrich and Hackett's dramatization, but it was simply too long.

Lugubrious movement, dramatic posturing and laboured pauses were often unnecessary elements in this play's three hour duration. Pauses (when used properly) can enhance a good drama ( a comedy too, for that matter), but what works for film sometimes loses its effectiveness on the stage and I fear, because of overuse, this happened here.

However this production did have a lot going for it, beginning with a very fine set. The ‘Secret Annexe' of Anne's diary was masterfully designed and realised by Mel De Bono and STAG's set builders. Much of the floor space (and even some of the ceiling space) was utilized to depict the cluttered and claustrophobic dwelling. The set was multi-layered and incorporated sleeping quarters, stairs leading to the rest of the building and a loft. Bruce Earles contributed some beautiful scenic work which depicted the outside world.

Some excellent audio effects further enhanced the play's beauty and realism, and helped to establish a good dramatic tone, although the adage ‘less is more' should, again, have been applied at times. A voice-over, wherein Anne (Jessica Lockhart) reads excerpts from her diary, was used to good effect during scene changes. Sirens blaring, marching sounds and the German voices of authority were other very effective intrusions, however the mood music, surging soulfully beneath the action, could have been somewhat curtailed.

Costumes were well chosen but did not seem to be affected by circumstances or time. Anne, in particular, did not suffer from either shortening or tightening of her clothing as she well might have done.

Accents were not used, and while this may have been wise, neutrality (particularly in this type of play) is then the key. Unfortunately, Tania Kettelmann (Miep Gies), Richard Stoyles (Mr. Kraler) and Craig Ojczyk (Peter Van Dan) gave us the Australian version of their parts, with Margaret Rawlinson (Mrs. Frank) having a strange accent lapse in Act 1.

Performances were generally quite strong. Bill Charles has a wonderful voice for stage, rich and well-modulated, and was excellent as Anne's kind, sensitive and intelligent father. The ironical and impatient Mrs. Frank was portrayed with great sensitivity by Margaret Rawlinson. Margaret had some lovely moments, particularly in scenes with her children, but there were times when her character needed more ‘spark.' Mrs. Frank was a lady but she was not a doormat.

Donna Twycross captured the goodness of Anne's sister Margot, and offered a lovely and serene presence. Craig Ojczyk looked right as Peter Van Daan and, although some accent work was required, he gave a wonderfully natural and unaffected performance.

Valina Rainer and Raymond Dunstan portrayed the irritable and excitable Van Daans. Both were in STAG's last production, ‘Oedipus Rex', and both were outstanding, but not quite so this time with performances that were ‘patchy' and never quite in the moment, with Raymond Dunstan indulging in some of that dramatic posturing I talked about earlier - the truth should have driven the emotions here. Tony Rainer (Mr. Dussel) should also have been more three-dimensional, focusing more on the humanity of his character rather than his annoying characteristics - important because the audience must care about the ultimate fate of these characters, in spite of their shortcomings.

Jessica Lockhart (Anne Frank) was strong and focused throughout resulting in a wonderfully convincing portrayal. She successfully captured Anne's vivacity, quick-wit and insatiable thirst for life, although I did find myself wondering whether the well-brought-up Anne would have been quite so obnoxious in her petulance.

Overall, a really fine production despite some unnecessary indulgences.