By John Lyle Belden
A recent survey reported that an alarming percentage of people don’t believe the Holocaust happened, or that as many were killed as history attests (six million Jews, perhaps 17 million overall).
This makes productions such as the drama “The Diary of Anne Frank” — which opened the weekend before Holocaust Remembrance Day at Indiana Repertory Theatre — so vital to public conversation.
After the Nazis came to power in their native Germany (initially via elections, don’t forget), the Frank family moved to The Netherlands, where Otto Frank ran a small factory in Amsterdam. But then Germany started invading its neighbors, with the Dutch quickly succumbing to the blitzkrieg. Letting friends and neighbors assume they had made a run for Switzerland, Otto secreted his family, along with that of his best friends and fellow Jews, the Van Daan’s, in an upstairs “secret annex” to his plant. Non-Jewish allies, Mr. Kraler and Miep Gies, ran the factory and kept their secret, bringing them supplies at night. Along with his wife, Edith, Otto had his daughters — quiet, studious Margot, and energetic Anne, who stilled herself by obsessively writing in her diary. Hermann and Auguste Van Daan were accompanied by their teenage son, Peter. Miep later brought them an eighth refugee, dentist Albert Dussel, who kept to himself and kept sane thinking of his Gentile fiance waiting elsewhere in the city. Thus a group of people lived as best they could for two years, until their nightmares came true.
Those are the facts, the rest we know from the words of a girl growing up while her world crumbles outside. These words — from romantic optimism to despairing angst — come to life on the IRT’s stage, which is skillfully crafted by Bill Clarke to portray its cramped quarters (though more horizontally-arranged than the actual annex for dramatic reasons) with impeccable detail. Inhabiting it are an excellent cast of local and Seattle-area actors (this production will move — sets, actors and all — to Seattle Children’s Theatre later in the year).
Miranda Troutt wins and breaks our hearts as Anne, star and narrator of her story. Her frequent bouts of optimism both uplift and annoy her housemates, but she doesn’t hold back in her writings of her teenage frustrations. Hannah Ruwe portrays Margot, who is stronger in spirit than in body and striving to be more mentor than rival to her sister. Benjamin N.M. Ludiker plays Peter as an introvert gradually coming to terms with the force of nature who is slowly falling in love with him. Ryan Artzberger turns in another powerful IRT performance as Otto, whose bravery is contrasted with Betsy Schwartz’s worrisome Edith. Robert Neal and Constance Macy give layered performances as the Van Daans, his character pragmatic to a fault, hers desperately clinging to artifacts of their past life. Sydney Andrews is a ray of much-needed sunshine as Miep. Mark Goetzinger is solid as Kraler. Rob Johansen is oddly endearing as our feeling-out-of-place dentist.
This play does an excellent job, as director Janet Allen put it, “to put a human face on genocide.” Anne’s face smiles to us through old photographs, but we get a real person’s full spectrum of genuine human emotions and yearnings in her writings, and works like this that they inspired. For a deeper look beyond the dry pages of history texts and by-the-numbers online articles, get to know these very real people whom a regime declared less than human, condemned to extermination. Note that only one of the eight in the annex survives the war (spoiler alert — it’s not Anne).
IRT’s “The Diary of Anne Frank” will be presented to thousands of local students during its run. There are also public performances through Feb. 24 on the mainstage at 140 W. Washington St. in downtown Indy (near Circle Centre). Call 317-635-5252 or visit irtlive.com.