Last week, the Riverdale Y’s Repertory Company brought history to life with a dramatic stage adaptation of “The Diary of Anne Frank.” The production, written by Frances Goodrich and Albert Hackett, was performed at the Riverdale Temple. It featured a cast primarily of experienced adult actors, along with a few young adult actors, who together delivered an emotional retelling of Anne Frank’s story.
In his director’s note, Justin S. Fischer reflected on the deeper significance of the production: “I have read that the purpose of art is that it is an offering, to reflect back to Hashem a bit of the beauty of the world given to us through its creation. With ‘The Diary of Anne Frank,’ we remember; by honoring the voice of a young girl, we remember and give space to those we cannot remember.”
Throughout the performance, actress Ronnie Becher read directly from Anne’s diary, narrating key moments while the cast acted out the scenes, breathing life into the words on the page. This technique made the experiences of Anne and the others in hiding feel more relatable and real.
The play opened with Miep Gies, one of the Dutch citizens who had helped hide the Frank family, handing Anne’s diary to Otto Frank after he returned to Amsterdam and learned that his wife and daughters had perished in the concentration camps. From there, the story unfolded, following Anne and her family’s transition into hiding.
Seventeen-year-old Rachel Moerdler-Green, the youngest member of the cast and a senior at SAR High School, portrayed Anne Frank with a compelling mix of youthful energy and emotional depth. The audience watched as Anne’s world changed overnight. Becher read from Anne’s diary: “A call-up. Everyone knows what that means.” The dreaded order had come for Margot Frank, Anne’s older sister, and with that, the Frank family knew they had no choice but to go into hiding immediately. Anne described the moment in her diary: “We walked two and a half miles in the pouring rain all the way to father’s office building. Our hiding place, the secret annex, is right behind and up the stairs.”
As the families settled into their new reality, the rules of their confined existence became clear. Otto Frank explained to the group that between 8 a.m. and 6 p.m., when the workmen were in the building below, they had to remain absolutely silent—no shoes, no running water, no coughing that might betray their presence. “We can’t throw out any trash, we will burn it in the stove at night. You can’t look out a window or obviously ever go outside. No coughing, or fever of any kind, because we can’t ever call a doctor. But after 6 p.m., we can talk and laugh and move around. This is how we will have to live until the war is over.”
The dynamics among the characters were brought to life in poignant and, at times, humorous ways. Anne and Peter Van Daan, the teenage son of the other family in hiding, bonded early on over a small act of defiance—cutting the yellow stars off their coats. Meanwhile, Mrs. Van Daan, often the cook, did her best to make meals out of a monotonous diet of potatoes and beans.
Becher read from Anne’s diary, conveying the fears that haunted her: “It’s the silence that frightens me the most. Every time I hear a creak in the house, or a step on the street, I’m sure they are coming for us.” She compared herself to a trapped songbird, longing to be free but knowing that, compared to other Jews who weren’t in hiding, her family was lucky.
The play delved into the complex relationships within the Annex. Anne adored her father but struggled with her mother’s expectations, often feeling that she fell short in comparison to her older sister, Margot, who was quiet and obedient.
As the months passed, their situation grew even more dire. Food became scarcer, tempers shorter. The arrival of a Jewish dentist, Mr. Dussel, meant more adjustments, including Anne having to share her room with him, while Margot moved into their parents’ room. Their interactions, at times humorous and at times tense, reflected the strain of their prolonged confinement.
The passage of time was marked by milestones that were painful but sometimes hopeful. On Chanukah, Miep brought them a menorah and candles. They lit the candles and sang together every night, and Anne managed to make creative and personal gifts for everyone.
After the intermission, the play jumped ahead to 1944. Anne had grown, both physically and emotionally. She was now developing feelings for Peter, and the two formed a close bond. Meanwhile, conditions worsened. Their food rations became smaller and were often rotten, their political discussions turned into arguments, and each character had his or her own moments of despair.
Anne turned to her diary for comfort. Becher read her words: “When I write I shake off all of my cares. But I want to achieve more than that. I want to be useful and bring enjoyment to all people, even those I’ve never met. I want to go on living even after my death.”
The tension peaked when Mr. Van Daan was caught stealing extra food. Just as the group was reeling from this betrayal, Miep arrived with thrilling news—the British had invaded. The families rejoiced, daring to hope that their suffering might soon end. But in a cruel twist of fate, the play ended with their discovery and arrest.
Otto Frank took on the role of narrator in the final moments, recounting what came next: their transport to Auschwitz, and the forced separation of men from women, when he was removed from his wife and daughters.
The play closed with Anne’s most famous words: “It’s a wonder that I haven’t abandoned all of my ideals. They seem so absurd and impractical. Yet I cling to them because I still believe, despite everything, that people are really good at heart.”
