You know her name, now see her story brought to life as Avon Players Theatre presents the emotional narrative of The Diary of Anne Frank, running until November 22, 2025, in
Rochester Hills, MI
Imagine eight people living in approximately 500 sq. feet for two years. Or having to be silent for 10 hours a day and eating the same meal for days on end. Trying to remember what it felt like to feel the sun on your face. The alternative? Being taken by the Nazis and sent to concentration camps, all for the ‘crime’ of being Jewish. This was the reality of those who hid in a secret warehouse annex from July 1942 to August 1944 in Amsterdam, Holland.
One by one, the actors quietly take the stage in a sort of living tableau while the audience is still finding their seats. It is a silent reverence for the story they are about to tell.
The eight in hiding were the Van Daan family: Father Hermann (Brandon Niemi, Laughter on the 23rd Floor), along with his wife Petronella (Erica Suszek, Avon Players’ Debut) and son Peter (Nicholas Furwa, Avon Players’ Debut). Dentist Albert Dussel (Tagg Smith, Sweeny Todd) also finds himself seeking refuge. Joining them are the Frank family: Otto, the father (Michael Zois), Mother Edith (Lisa “D” Denomme, Crimes of the Heart), eldest daughter Margot (Maia Fetter, Sweeny Todd), and Anne (Charlotte Bondy).
Trying to keep everyone safe are Mr. Krahler (Steve Grady, Young Frankenstein) and Miep Gies (Judy Privasky, Calendar Girls). They are the only contact with the outside world the group has during their time hiding.
There are no set changes. The entirety of the play takes place in front of the audience, and that includes costume changes. Even during intermission, the actors remain on stage, continuing to act out daily activities silently. This really highlights the fact that there was no privacy.
At 13, Anne is the youngest in the annex. In the beginning, she exudes youthful enthusiasm and optimism. Sometimes, to the annoyance of the others sharing the space. Charlotte Bondy, who plays Anne, is also 13, which makes her performance even more impressive. This story and character require an actor who can tap into difficult emotions and portray them with sincerity. Bondy checks those boxes flawlessly.
During their time in the annex, we witness an array of emotions. While trying to maintain some sort of normal routine, there are often moments when the atmosphere gets heated and hostile. Each person has given up everything – freedom, space, and material goods, which leaves their emotions exposed like a raw nerve. Words are exchanged out of exhaustion and frustration. Family dynamics are tested. Anne writes about it all; an unvarnished look into a time in history that still leaves a mark today.
In the second half of the play, Anne is still optimistic, but she has matured, and that is reflected in her mannerisms and speech. She has also fallen in love for the first time. Even in the face of oppression, Anne says she believes, “In spite of everything, that people are truly good at heart.” At this point, you are buying into the sentiment being sold. These eight people have found a way to make the best of their circumstances, and for a moment, you allow yourself to believe this story has a happy ending.
And then the German Officers (Aaron Barnes, The Prince of Egypt, and Harold Mierop, Avon Players’ Debut) bust down the door. You knew this moment was coming, but when it happens, its intensity is jarring and catches you off guard. Honestly, it takes your breath away. And just when you are coming to terms with what happened, Otto Frank begins sorrowfully telling the fate of all those in the secret annex.
As he does, each character hands him a stone, which he lovingly places on the ground. Placing stones on a grave is a longstanding Jewish tradition that symbolizes the enduring memory of the deceased and can serve to anchor the soul to its resting place. Michael Zois delivers his monologue with heartbreaking warmth. He is a man who has lost everything dear to him and is the only person from the annex to survive the Nazi concentration camps. He later learns that Miep Gies has Anne’s writings from the secret annex and gives them to him. Otto knows he must make his daughter’s words heard. And they were, many times over.
“The Diary of a Young Girl” was first published in Dutch in 1947, and the first English translation later published in 1952. To date, the book has sold over 30 million copies in 70 languages. The 1955 stage adaptation by Frances Goodrich and Albert Hackett earned the Tony Award for Best Play as well as the Pulitzer Prize for Drama. The revised version of the script, adapted by Wendy Kesselman, debuted on Broadway in 1997 and starred Natalie Portman as Anne.
Maybe you read “The Diary of Anne Frank” years ago in English class or watched the 1959 film version. Now, it is time to see the play. There is something about witnessing Anne’s story live. To be reminded that these characters were living humans who experienced atrocities most of us will never face. Anne’s diary gives voice to one of the darkest times in history. The fact that her story, her diary, and what it can still teach us today is proof that even the smallest voice cannot be silenced. For the past echoes loudly, and we would be wise to listen.
This performance runs approximately 2 hours, with one 15-minute intermission.
The Diary of Anne Frank is directed by Angel Maclean with Kristine Barnes as producer. Lighting design is by John (JD) Deierlein, with Emily Brown on properties and Kelly Miller as costume designer. Hair and makeup are by Lana Brusokas-Hastings, with wig design by Lisa Miller. Nick Kibler serves as sound designer, with Joy Oetjens as set dresser and Jeff Stillman as set designer.
The Sunday, November 16 performance of The Diary of Anne Frank will be followed by a special talk-back with cast and designers, along with an educator from the Zekelman Holocaust Center.
Tickets for all shows are $28. Call 248-608-9077 for tickets or order online at www.AvonPlayers.org. Discounts on group rates are available by calling the box office. “Like” Avon Players Theatre on Facebook for special offers on tickets. All major credit cards are accepted. All seats are reserved.
See this powerfully moving play at one of these remaining dates:
- Saturday, November 8; 8:00 p.m.
- Sunday, November 9; 2:00 p.m.
- Friday, November 14; 8:00 p.m.
- Saturday, November 15; 8:00 p.m.
- Sunday, November 16; 2:00 p.m.
- Friday, November 21; 8:00 p.m.
- Saturday, November 22; 8:00 p.m.
About Sarah Hovis