R Collection by Raymond 2014 Lot No 1 Review
Theatre review: Human and heartbreaking, Anne Frank's diary however potent
Fighting Chance Productions presents The Diary of Anne Frank at Havana Theatre until June 23.
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The Diary of Anne Frank
When: To June 23
Where: Havana Theatre, 1212 Commercial Dr.
Tickets & info: $20-$27; fightingchanceproductions.ca
Anne Frank neverseems to be out of the news. The xv-year-quondam Jewish-German language-Dutch girl died in the Bergen-Belsen concentration camp in Germany in 1945 after hiding with her family and four other Jews for two years in an Amsterdam apartment, where she compiled her famous diary.
More than than 70 years later, you can read a new book claiming to identify who betrayed the Franks and their companions to the Nazis, or a news item virtually previously hidden pages of Anne'southward diary that contain muddy jokes.
The sheer humanity of the diary, the dramatic immediacy of its portraiture and its heartbreaking decision have fabricated Anne's story iconic. Hers is a vivid human face among theoverwhelming blur of Holocaust statistics.
Fighting Run a risk Productions, a non-Disinterestedness company, stages its theatrical accommodation in the small, stuffy theatre at the dorsum of the Havana restaurant, offering a passable proposition of the Franks' claustrophobic hush-hush addendum. Solid performances and intelligent management give effective life to the strong story despite a couple of serious strategic errors.
Smart, precocious, fun-loving Anne, played with understated charm by Morgan Hayley Smith, is merely thirteen whenforced to hide with older sister Margot (Diana Beairsto), father Otto (Cale Walde) and mother Edith (Gina Leon) in a hush-hush flat behind a wall of Otto's role to avoid deportation to Auschwitz.
Joining them are Otto'southward business concern partner Mr. Van Daan (Bruce Hill), his married woman (Leanne Kuzminski) and their 16-yr-old son Peter (Gabriele Metcalfe), all protected and kept fed by virtuous Christians Miep (Tori Fritz) and Mr. Kraler (Drew Hart). Later on a few months grumpyJewish dentist Dussel (Thomas King) also moves in.
Tensions arise over infinite, behaviour, noise, nutrient (eventually they're reduced to eating rotten potatoes) and worsen as the months drag on with the murderous Gestapo ever just outside. Anne, though, retains her resilience and expert humor, warming up and ultimately melting surly Peter as her ain sexuality quietly blossoms.
Anne'southward relationship with her family is central to this version of the diary, some of which she narrates. She'south jealous of her "perfect" sister, adores her almost saintly father but loathes her mother. This intense dislike seems especially irrational given the sweetness of Leon's Edith.
Co-directors Allyson Fournier and Ryan Mooney stage the play on a bare floor in the round. Eight chairs comprise the simply furniture, and the characters never get out except to become to their one shared bathroom (some other source of tension). The actors only sit or stand and plow abroad in powerful tableaus to indicate that their character has left the common infinite.
Offstage sounds provide terrifying reminders of the nightmarish globe beyond the shelter: a speech by Hitler to cheering crowds, sirens, a railroad train rattling down the tracks. Merely nosotros also unfortunately hear stagy Nazi speeches in English language with bad German language accents.
And the end of the play, an epilogue in which sole survivor Otto Frank explains what happened to everyone subsequently their abort, is seriously anticlimactic.
Whether this is the playwright's determination(the program doesn't signal whose adaptation we're watching) or the directors',information technology undercuts the much stronger silent ending that echoes with Anne's ironic, stirring final words.
"In spite of everything I even so believe that people are really good at heart."
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Source: https://vancouversun.com/entertainment/local-arts/theatre-review-the-diary-of-anne-frank
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