With such an emotionally charged script of a story so famous, it is easy for both the play and those watching it to become too intent on relaying the gravitas of the story. In such events, the play can often lose something in terms of acting quality. This production, however, need not worry about that. The understated sensitivity in which the tragedy is handled with its slower pace; the heart-breaking nature of the play comes not from the fact that it is a true story, but from the quality of the cast, and how it was directed.
The play begins with a mourning Otto Frank stumbling around the Annex in mournful regret. It is only a couple of minutes without dialogue, yet it manages to set up the tone for the rest of the play. Jake McGrath, who plays Otto, is exemplary here in his understated yet eminently powerful opening salvo. The decision by director Ricki Crook to leave the first three minutes of the play silent, with just Otto on stage, was an inspired one.
“The play never feels rushed, or that it is glossing over details; credit must go to Crook and producer, Holly Gatfield”
When the play shifts to the perspective of Anne Frank, however, the command of the performance is held with confidence by Rachel Towers, who plays the titular character. Towers belies the fact that this is her first Nottingham New Theatre (NNT) performance with a commanding portrayal of a character that at times is sharp, witty and effervescent, and at others solemn and heart-wrenching.
McGrath, in his controlled, genial portrayal of Otto, is the perfect foil to Towers’ Anne, with his calmly confident approach a joy to watch. When the character is forced to shout later on, the overall control makes for a powerful scene.
The writers’ decision to frame the action of the play within soliloquies from Anne’s diary allows the play to focus on specific scenes and motifs, allowing the development of relationships and more attention to detail. The play never feels rushed, or that it is glossing over details; credit must go to Crook and producer, Holly Gatfield, for their execution. What it also allows for is another means for Towers to show her rather impressive repertoire of tones and expressions as the lead, be it enigmatic, melancholic or, at times, downright cheeky.
“To handle such a story so effectively means that Frances Goodrich and Albert Hackett must be commended for their adaptation”
The cast as a whole play off of each other brilliantly, with each portrayal as convincing as the last. At times, the inherent tension of the situation does strain a little, feeling slightly forced, but it is never for more than a few moments, and is to be expected when such a powerful story has to be slowed and surveyed.
The comedic elements of the script (of which the first half is littered with) are well-timed and taken with the necessary grace. To handle such a story so effectively means that Frances Goodrich and Albert Hackett must be commended for their adaptation.
The set itself is also one which allows for an insight into the thoughts and feelings of the characters. The eight ‘Hiders’ (Anne, Margot, Edith, and Otto Frank, Mr, Mrs, and Peter Van Daan, and Mr Dussell) form the main ensemble cast; the continuously shared space creates a claustrophobic feel to the set and yet also somehow manages to be expansive. In addition, the literary nature of the story is not forgotten as flats adorned with excerpts from the diary stand either side of the stage.
“The cast manage this tragedy with such success that until the final date is called out from Anne’s diary, you almost forget the horrible fate destined to befall the group”
The effectiveness of the ensemble cast is best embodied in one of the final scenes of the play. With Anne and Peter stage right, in deep discussion about the nature of religion and what the future holds, I couldn’t help but focus on the scene in the middle of the set, with Otto, Edith and Margo playing chess. The silent closeness and geniality of the three was a captivating to watch, and indicates that the most powerful moments in the play were the ones where little needed to be said. The ending, in its explanation of the real fate of the ten characters, is handled with the same grace that pervades the whole play.
The Diary of Anne Frank is a moving and gripping play which handles the inherent tragedy, which hangs over it at all times, with sensitivity. The cast manage this tragedy with such success that until the final date is called out from Anne’s diary, and an unfamiliar rap is heard at the Annex door, you almost forget the horrible fate destined to befall the group. To do that speaks volumes of this production’s brilliance.
9/10
Connor Higgs
‘The Diary of Anne Frank’ is running at Nottingham New Theatre until Saturday 28th November, for more information see here.
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