“Did Anne Frank every acknowledge her white privilege” was the 2022 tweet read and reacted to round-the-world. The query was head-spinning: an extreme example of liberal ideology gone horribly wrong. The absurdity of the takes served as inspiration for Slam Frank by Andrew Fox (music and lyrics) and Joel Sinensky (book). Using the concept of a play-within-a-play, their musical features a trying-too-hard progressive theater company presenting their newest work loosely based on The Diary of Anne Frank. To satisfy critics like the author of the above tweet, Anne is now Anita, a pansexual Afro-Latina dope hip-hop artist living in a household filled with representatives from a range of marginalized communities.
To say much about the plot would be to spoil the unfolding of this one-of-a-kind entertainment that lightens bitter herb satire with up-to-the-minute parody and a head-bopping score. Beginning with the logo poking fun at Hamilton, moving box labeled “Generational Trauma” (props to prop designer Devin Orr) and the hilarious Land Acknowledgement [because honestly, it’s not like anyone’s actually producing a season filled with Indigenous stories much less giving 2nd Avenue back to the Lenape], every creative element exemplifies full commitment to the content warning. BEWARE: Your sacred cows all have the potential to wind up on a bun smothered in special sauce.
Of course what brings the dissident vision into focus is the dedicated cast. The spirited and nimble Olivia Bernábe repurposes her Very Hungry Caterpillar Show energy into making Anne/Anita our ingenious and eager guide. Holding down the Frank Fort are an electrifying Austen Horne as Edith and a delightfully neurotic Rocky Paterra as Otto. Sharing their tight attic space is the comically gifted Alex Lewis as Peter, John Anker Bow as his patriarchal nightmare of a father and Jaz Zepatos in the staggering role of Mrs. Van Daan. (It is she who takes the lead in the memorable anthem Herstory.) Newcomer to the cast is Amelia Louise Barr taking on double duty as Anita’s grandmother as well as Anita’s meeker sister Margo. Completing the line-up is Walker Stovall as an attention-grabbing assistant stage manager.
The suggestion of an attic space by scenic design by Adam Koch leaves plenty of room for booty shaking and finger pointing. Lighting designed by Jamie Roderick, sound by Gage Baker and what-a-shame-if-you-blink-and-you-miss-it videos by Zack Lobel complete the look. Both stage director Sam LaFrage and choreographer Esosa Oviasu have made impressive use of the narrow space, placing audience members within the set and pushing the action far out into the aisles. Imaginative costumes design by Sarah Lockwood include Anita’s perfectly prim pinafore.
If you count yourself among those who would have been outraged when Jonathan Swift suggested that you dine on Poor Kid Stew, don’t buy a ticket to Slam Frank. But if your taste runs more towards Society and Culture Kebabs, head to https://www.slamfrankmusical.com/ for seats beginning at $50. Performances are currently scheduled through the end of November at the Orpheum Theater at 126 Second Avenue between St. Marks and 7th Street. The venue’s HVAC is overexcited. Running time is approximately 110 minutes without intermission, so heed the suggestion to visit the restroom before curtain. Stage seating and rows A-H will put you into the action while the rake is better further back in the house. Please read the special conditions associated with stage seating before purchase.
