(out of 
)"Despite all that has happened, I still believe that people are really good at heart." Few sentiments have been more heartbreaking than those scribbled in the journal of 15 year-old fugitive Anne Frank as she huddled in an Amsterdam attic with seven other Jews escaping Nazi persecution. The 1955 dramatization of this 2 year ordeal, Frances Goodrich and Albert Hackett's The Diary of Anne Frank, is one of the standards of Holocaust literature. Taught in high school English classes for generations and produced to saturation throughout the last four decades, this is a script, similar to the Scottsdale Community Players' earlier presentation in the season, Guys and Dolls, that has become the eminent domain of high school theatres. But, as it was good to bring out the old warhorse musical for a fresh look, so too is it important that this touching, well-constructed play see a return to general production, if for no other reason than a new generation of adults need to be reminded of poor, doomed Anne Frank's eternal optimism.
Director Dwayne Hartford has given a mostly faithful production of this work, and his collaboration with designers and performers has resulted in a worthwhile retelling. While he has mysteriously removed some famed bits of business (after Anne receives her first kiss, she does not flit through the room kissing all occupants as scripted, a strange omission) he has kept others while bringing his own to the work. He has given set designer T.J. Weltzien the go-ahead to build a wonderful set that looks fantastic and is a conceptual coup de grace, although it also has the unintended and negative consequence of raising the playing area at least a foot above the stage, giving those down front a difficult perspective. Mr. Hartford has also gathered together a cast that is mostly perfect in their roles, although a few glaring problems occasionally counter the mostly positive results.
The strength of this show rests on two major points: a strong Anne, and a strong ensemble. Both of these two requirements are easily met. As the enthusiastic Anne, Alanna Wilson captures all of the role's energy, and manages to bring across both her exuberance, and what sometimes treads the line as annoying in her character. As the two ladies sitting beside me pointed out "She's very cute, but I probably wouldn't want to spend two years in an attic with her," which is a great compliment to Ms. Wilson's offering. It is on her tiny shoulders that much of this play rests, and she never falters in the effort. Meanwhile, the entire company, despite three lesser performances, still managed to keep the all-important communal feeling of the piece.
The performance of Mr. Weltzien as Anne's father, Otto, is also impressive. Though his vocal presentation is a bit forced, he captures all of the emotions and stands as the strong presence that keeps this group together. While too young-looking for the role, Dannielle Miles rises to the occasion during Mrs. Frank's strongest moment of the second act. Connie Alderman does a solid job as Mrs. Van Daan, stirring echoes of the film performance of Shelly Winters in the same role. Mitch Jacobson does what she can with the thankless role of Anne's sister, Margot, as do Rick Shipman in the role of the distant dentist, Jan Dussel, and Jeremie McCubbin as life-supporting Mr. Kraler.
Tom Rees gives a very subdued performance of the standoffish Mr. Van Daan, never really grabbing attention, even during his moment of discovery. Bronwyn J. Schile gives a stunted performance as caretaker Miep, bringing little life to her lines and readings. The weakest performance, though, comes from Jeff Goodman as Anne's rival and interest, Peter. He shrieks and stomps his way through both acts, never allowing his awkward character the chance to blossom. His odd reads and stiff ways are the only dark spot to an otherwise bright evening.
As usual, Michael J. Eddy's lighting captures mood perfectly, going through the range of emotions captured in the script, from celebrations to chilling discovery, although the prologue and epilogue scenes are not as subtle as the events within. Also as usual, Timothy C. Slope has brought across character through costume choices, from the merry dresses and outfits of Anne to the touching dentist's smock with yellow Star of David. David Temby's sound design is practically flawless.
It is nice when a classic can be given such a loving re-creation. It's only sad that the opening night audience was not a full house. While it's true that this is a script that everyone knows, this production is a great reminder of why it achieved that lofty status in the first place.
Production Details:
The Diary of Anne Frank Dramatized
by Frances Goodrich and Albert Hackett, based on
Anne Frank: Diary of a Young Girl
Scottsdale Community Players
Stagebrush Theatre, Scottsdale
(480) 990-7405
March 17th - April 2nd, 2000