The miracle of Anne’s work is that no matter our background, it feels like she is talking directly to us. Indeed. Those are the words of Steve Tobin, the director of Compass Rose’s beautifully constructed production of The Diary of Anne Frank. In the playbill’s director’s note, he goes on to say, “The triumph of her story is that more than 70 years later we are still telling it, and still being inspired to be better members of the human race.” The wit and wisdom generated by a young teenager stuck for two years in the crowded upper rooms of her father’s workplace in Amsterdam as the Nazis surrounded city blocks to ferret out Jews still resonate today because Anne’s energy love for life and intelligence are timeless. But it was, of course, the extraordinary circumstances that make her diary, and its recovery, close to a miracle. At Compass Rose, Tobin and his cast and crew completely commit themselves to the universal truths of this story, and the result is an emotional, suspenseful and sometimes funny tale of life, love and inspiration. Mia Goodman is young, but her acting credentials are impressive even for an adult: Ford’s Theatre, Arena Stage and Signature Theater, to name a few. Goodman pours every ounce of that impressive pedigree into her portrayal of Anne. She’s a typical young teen, but with a depth of understanding of her situation that manifests itself not so much in fear as in optimism. When Hanukkah threatens to slip by uncelebrated but with a prayer, Anne comes to the rescue with a special homemade gift for each of her compatriots. In this scene and others, Goodman gives us an Anne whose buoyancy and love cannot be contained by her circumstances. When she writes in her diary she talks directly to the audience, and Goodman’s depth as an actress, combined with her youth, make us believe she is indeed talking directly to each of us. Goodman’s performance is, in a word, captivating. Her supporting cast achieves the same standard. As Mr. Frank, Steve Lebens is wise, understanding and brave in a very impressive performance. Alicia Sweeney gives us a Mrs. Frank who displays an inherent love and generosity that cracks when one of the other adults is caught stealing food. Jenny Donovan does a fine job as Anne’s sister Margot. As Mr. and Mrs. Van Daan, the guests whom the Franks generously offered hiding, Bryant Centofanti and Jill Kyle-Keith are suitably contentious. Their son Peter is very nicely played by Eli Pendry, who subtly allows Peter’s teenaged nervousness and awkwardness to wane as his friendship with Anne grows. Edd Miller is impressive as Mr. Dussel, the latecomer whose demanding crankiness melts into an acceptance of his situation and a love for the family who have taken him in. And Rachael Murray is effective as Miep, everyone’s connection to the outside world. Helping transport us into a cramped 1940s hiding place are the multi-level set by Tobin, appropriate costumes by Beth Terranova, props by Joann and Mike Gidos and lighting by Alex Brady that is so emotionally effective it almost acts as another character. Anne Frank’s words on the page are inspiring. In the hands of these outstanding performers, they, and we, are transformed. We understand how, despite her circumstances, she could write: “I still believe, in spite of everything, that people are truly good at heart.”
About two hours with one intermission.
Thru April 17. Th 7pm; F 8pm; Sa 8pm (and 2pm April 9 & 16); Su 2pm, Compass Rose Theater, Annapolis, $38 w/ discounts: www.compassrosetheater.org; 410-980-6662.