Echoes from the Attic: Avon Players’ Anne Frank Reminds Us Why We Must Remember
From the perspective of someone very interested in the Holocaust and the moral necessity of remembrance, Avon Players’ production of The Diary of Anne Frank is more than theater—it’s an act of witness. This staging of Wendy Kesselman’s adaptation of the classic play by Frances Goodrich and Albert Hackett reminds us that the story of Anne Frank is not a relic, but a reflection. The moral questions it raises about empathy, silence, and complicity are alarmingly relevant in our current world.
[Warning: spoilers from The Diary of Anne Frank are below!]
A Story We Think We Know..
The play follows Anne Frank (Charlotte Bondy), a spirited, inquisitive Jewish teenager hiding in an Amsterdam attic with her family during the Nazi occupation. Alongside her father, Otto Frank (Michael Zois), mother, Edith Frank (Lisa “D” Denomme), and sister, Margot Frank (Maia Fetter), Anne experiences the claustrophobic reality of survival under threat. They share the cramped annex with Mr. Albert Dussel (Tagg Smith), along with the Van Daans—Mr. Van Daan (Brandon Niemi), Mrs. Van Daan (Erica Suszek), and their son, Peter Van Daan (Nicholas Furwa), are aided by loyal friends Miep Gies (Judy Privasky) and Mr. Kraler (Steve Grady).
These names, these faces, and these stories have long served as humanity’s moral litmus test. Yet what this production underscores so effectively is that Anne’s story is not frozen in amber—it continues to echo. Her diary, full of wonder and frustration, laughter and fear, optimism and despair, becomes a mirror to our times. Her belief that “people are truly good at heart” sounds almost defiant now, as authoritarianism and hate rhetoric again surface in public life.
The Moral Weight of The Diary of Anne Frank
For those who have studied the Holocaust, one of the greatest dangers is complacency—the idea that “it can’t happen here.” This production challenges that comfort. By bringing Anne’s world to life, it forces us to confront the mechanisms of dehumanization: how propaganda, prejudice, and fear can turn ordinary people into enforcers or bystanders. Watching Anne, Otto, and the others navigate daily indignities—the loss of freedom, the constant fear of discovery, the quiet collapse of trust—feels less like distant history and more like an urgent warning.
Avon Players’ choice to stage this piece in 2025 feels both brave and necessary. In an age where Holocaust denial is resurging online and when political leaders toy with exclusionary rhetoric, a production like this one becomes an act of resistance. It insists that remembrance is not passive nostalgia—it’s vigilance.
Performance and Direction
Charlotte Bondy’s Anne is the emotional heartbeat of the production. She reportedly captures both the restless imagination of adolescence and the poignancy of hope amid horror. Michael Zois brings a quiet moral gravity to Otto, grounding the play with his fatherly restraint. Lisa “D” Denomme’s Edith, caught between practicality and heartbreak, offers a portrait of endurance, while Maia Fetter’s Margot contrasts Anne’s volatility with quiet grace. Erica Suszek delivered a standout performance as Mrs. Van Daan, bringing depth, nuance, and vitality to the role.
Under the direction of Angel MacLean, assisted by Teren Richards, the ensemble portrays the fragile domestic rhythms of people living under siege—the arguments, stolen moments of laughter, the endless listening for boots on stairs. The production design, from its confining set to its use of shadow and silence, reportedly amplifies that sense of tension: a world simultaneously too small and too perilous.
One of the most striking directorial choices comes before the first line is even spoken. As the audience settles in, the actors take the stage in silence, already inhabiting their characters’ world. They move quietly, performing the daily rituals of hiding—arranging belongings, sitting, listening—creating an eerie sense that the annex is alive before the story formally begins. As the lights begin to dim in the audience, small flashes of light from 2 German officers (Aaron Barnes & Harold Mierop) come down the aisles, searching-eerily setting the mood. Even during intermission, the cast remains onstage, never leaving the attic, their quiet endurance underscoring the reality that for the Franks and the Van Daans, there was no true escape. This choice breaks the audience’s detachment—reminding us that history unfolds in real time, not memory.
Resonance Beyond the Stage
Avon Players’ website rightly warns that the show is rated PG for mature themes and intense historical content, yet it is precisely that intensity that makes it vital viewing. This is not comfortable theater. Nor should it be. It demands empathy and reflection—especially from younger audiences who may have encountered Anne Frank only as a textbook name.
The company is extending its impact with an educational opportunity on Sunday, November 16, when a representative from the local Holocaust museum will speak following the matinee performance. This post-show conversation promises to deepen understanding of the play’s context, connecting Anne’s story to broader discussions about memory, hate, and moral responsibility. It’s an inspired addition—transforming the performance from an emotional experience into an act of learning and community reflection.
Final Thoughts on Avon Player’s The Diary of Anne Frank
Avon Players’ The Diary of Anne Frank succeeds not just as a historical drama but as a civic call. It asks us to remember, yes—but also to recognize that remembrance means action. We are living in a moment with chilling parallels: rising antisemitism, migrant scapegoating, and the weaponization of fear. In this context, Anne’s voice, embodied by Charlotte Bondy, rings out as both lament and lesson.
If audiences leave this production not just moved but unsettled—questioning their own role in the narratives of injustice unfolding today—then Avon Players has achieved something essential. It has turned a diary from the past into a living, breathing moral compass for the present.
The Diary of Anne Frank opens at Avon Players in Rochester Hills, MI, on November 7th and runs through the 22nd, so get your tickets now from their website or box office! Planning on checking out this play? Have you seen a production of The Diary of Anne Frank before? Let us know your thoughts on all social media platforms @BoxSeatBabes, and we look forward to seeing you at the show!
Exclusive Interview: Charlotte Bondy and Nicholas Furwa of Avon Players’ The Diary of Anne Frank
