The Diary of Anne Frank has returned to the Heath Ledger Theatre for an encore season, bringing one of history’s most poignant true stories back to Perth audiences.
Directed by Drew Anthony, the production is based on the diary of Anne Frank. Anne wrote it while she, her family and four others hid from the Nazis in a secret annex above an Amsterdam business during World War II. Forced to remain silent throughout the day while workers occupied the building below, the group lived in constant fear of discovery, only able to move freely once darkness fell.
Sharing the annex with Anne, her parents Otto and Edith and sister Margot, are the Van Daan family. Hermann, Petronella and their son Peter Van Daan along with the dentist Jan Dussel. Their story, drawn from Anne’s diary, remains one of the most powerful reminders of the strength of the human spirit when faced with the horrors of war.
Chloe-Jean Vincent delivers a sensitive and at times naïve portrayal of Anne Frank. She captures Anne’s youthful optimism, curiosity and resilience, allowing the audience to see both the spirited young girl and the teenager whose innocence is shaped by the harsh reality surrounding her.
Phil Bedworth portrays Otto Frank with warmth and dignity; although, at times he lacked the sense of stress, anxiety and emotional burden, carried by a man determined to keep eight people safe under impossible circumstances.
Holly Easterbrook gives one of the production’s fiercest performances as Edith Frank. Her explosive reaction after the group discovers food has been stolen, is filled with rage, heartbreak and frustration. It is a powerful turning point for a woman who has spent so much of her life nurturing those around her. Even in her anger, her instinct is to protect the children who have already endured so much.
Nathan Hampson brings a quiet charm to Peter Van Daan, and his developing friendship with Anne is portrayed with warmth and sincerity. Vincent and Hampson share an easy chemistry, particularly during their bedroom scene, which is played with subtle humour, youthful awkwardness and the gentle tension of first love before culminating in an innocent kiss.
Matt Dyktynski gives Putti Van Daan a simmering frustration that reflects a man slowly unravelling under the pressures of confinement, while Lisa Adam brings warmth and feeling to Petronella Van Daan.
Through her expressive performance, the audience gains an appreciation of the importance of maintaining faith and tradition, particularly during the Hanukkah celebrations. Her attachment to her treasured fur coat provides some of the light humour moments as well as some heated emotive scenes.
Jamie Jewell, Kingsley Judd, Emma Smith and Grace Tolich round out the cast, effectively conveying both the camaraderie and growing tensions of people forced to live together in extraordinarily difficult circumstances.
The set and lighting work together effectively to create the atmosphere of the secret annex. Shafts of light filtering through the space evoke the streetlights outside and reinforce the sense of those trapped in hiding.
The production reaches its emotional peak in its final moments as the hiding place is discovered and the occupants are arrested by German soldiers. It is a confronting and deeply moving conclusion to a story whose ending remains all too well known.
While there is much to admire in this production, I felt it never fully captured the overwhelming fear and constant anxiety that must have consumed those living in hiding. At times, particularly during the second act, the interactions between the characters felt more like family disagreements during an extended holiday rather than people living with the knowledge that discovery could mean deportation and death. Several emotional confrontations escalated into loud arguments that seemed at odds with the need for absolute silence if they were to avoid detection.
Likewise, moments where the actors broke the fourth wall and moved into the auditorium diminished the claustrophobic atmosphere and isolation of the annex. These scenes momentarily broke the illusion of the confined world that was endured by Anne and her companions for two years.
Despite these reservations, The Diary of Anne Frank remains an important work. Anne’s words continue to resonate more than eighty years after they were written. The production introduces a new generation to her remarkable story while encouraging audiences to reflect on the devastating consequences of intolerance and hatred.
The Diary of Anne Frank
Heath Ledger Theatre – State Theatre Centre of WA, 174/176 William Street, Perth
Performance: Saturday 18 July 2026
Season continues to 26 July 2026
Bookings: www.artsculturetrust.wa.gov.au
For more information, visit: www.drewanthonycreative.com.au for details.
Images: The Diary of Anne Frank – photos by Amanda Humphreys
Review: Craig Dalglish