Born Yesterday - Pittsburgh Public Theater

Transcription

Pittsburgh Public Theater’s Education and Outreach programs are generously supported
by BNY Mellon Foundation of Southwestern Pennsylvania. Additional funding for all
youth education programs has been provided by The Grable Foundation and Dominion.
Pittsburgh Public Theater
The Diary of Anne Frank
2015-2016 Season
Page 1
Table of Contents
About the playwrights………… …………………………………………………pg. 3
The characters……………………………………………………………………… pg. 4
World war I’s aftermath in Germany…………………………………….. pg. 15
Germany in the 1920s and 1930s…………………………………..…….. pg. 17
Weimar Germany and German Culture…………………………………. pg. 18
Anti-Jewish Laws………………………………………….…………………………pg. 20
The Secret Annex……………………………………….…………………………..pg. 22
From hiding place to museum………………….. ………………………….pg. 24
Quotes from Anne’s diary……………………………………………………. pg. 26
How Anne’s diary became a book……………… ……………………………pg. 28
Adaptations of Anne’s diary……………………… …………………………….pg.29
Vocabulary………………………………………………. …………………………..pg. 31
Discussion questions ……………………………………………………………pg. 33
Meet the cast…………………………………………………………………….. pg. 36
Meet the director………………………………………………………….……. pg. 41
Theater etiquette ……………………………………………………….……….pg. 45
Other works and additional sources……………………………………… pg. 46
PA academic standards……………………………………………..………… pg. 47
References………………………………………………………………….……… pg. 49
Pittsburgh Public Theater The Diary of Anne Frank
2015-2016 Season
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About the Playwrights
The playwrights of the stage adaptation of “Anne Frank: The Diary of a Young Girl” are Frances
Goodrich and Albert Hackett. The husband and wife duo began their professional partnership
in 1928, married in 1931, and worked together for over three decades.
After graduating from Vassar College, Frances Goodrich sought to become an actress. She
made her Broadway debut in 1916. She met fellow actor (and future husband) Albert Hackett
in 1927 in Denver. Albert came from a family of performers: his mother Florence was a silentera film actress and his brother Raymond was a Broadway and film actor. Albert went into the
family business at the age of six, acting in the theater, and later studying at the Professional
Children’s School in New York. Frances and Albert turned to writing plays after achieving only
moderate success in their respective acting careers.
Frances and Albert’s breakout Broadway hit about writers in Greenwich Village, “Up Pops the
Devil,” opened in 1930 to much acclaim. However, for the majority of their careers, they were
better known as successful Hollywood screenwriters. During their decades-long career, they
composed over thirty screenplays. Some of their hits included “The Thin Man” (1934), “Easter
Parade” (1948), “Father of the Bride” (1950) and “Seven Brides for Seven Brothers” (1954). The
duo were also among the several writers who contributed to Frank Capra’s beloved classic “It’s
a Wonderful Life” (1946.) Of course, it was their play “The Diary of Anne Frank” (1959) that
they considered their greatest success. Goodrich and Hackett went on to adapt the play into a
film but it never matched the success of the Broadway production. They wrote their final
screenplay, an adaptation of Peter Shaffer’s play “Five Finger Exercise”, in 1962, and lived out
the remainder of their lives in New York City.
Frances passed away of lung cancer in
1984 at 93 years old, and Albert died of
pneumonia in 1995 at the age of 95.
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The Characters (pictured in clockwise order)
Edith Frank (Anne’s mother)
“There is little that we parents can do to help our children. We can only set a good example…
you must build your own character.”
Margot Frank (Anne’s older sister)
“Sometimes I wish the end would come… whatever it is.”
Anne Frank (our protagonist)
“No one has ever become poor by giving.”
Otto Frank (Anne’s father)
“There are no walls, there are no bolts, no locks that anyone can put on your mind.”
Mr. Dussel (the eight person in hiding; Anne’s roommate)
“As if I don’t hear ‘shh, shh’ enough during the day because I’m always making ‘too much’ noise,
my dear roommate has come up with the idea of saying ‘shh, shh’ to me all night too.” –from
Anne’s diary
Mr. Van Daan (Peter’s father; husband of Mrs. Van Daan)
“Whose fault is it we’re here? We could have been safe somewhere…in America or Switzerland,”
Peter Van Daan (son of the Van Daans/ Anne’s love
interest)
“Peter Wessel and Peter Van Daan have grown into
one Peter, who is beloved and good, and for whom I
long desperately.” –from Anne’s diary
Mrs. Van Daan (Peter’s mother; wife of Mr. Van
Daan)
“Remember Mr. So and So, remember I’m a lady.”
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Anne Frank
Annelies Marie Frank was born in
Frankfurt, Germany, on June 12, 1929.
Anne’s mother was Edith FrankHollander, and her father was Otto
Frank. He served as a lieutenant in the
German army during World War I. After
the war, Otto became a buisnessman in
Germany and the Netherlands. Anne
also had a sister, Margot, who was three
years older than her. Anne enjoyed four
pleasant years growing up in Frankfurt
before Hitler came to power.
The Frank family was of Jewish-German
descent, and opted to move to Holland in 1933 for their safety. Anne, her mother, and
her sister were living in Amesterdam by 1934. The two sisters attended school there.
Anne enjoyed reading and writing from a young age, and she was also known for her
outgoing, energetic personality. But the Franks’ happy life would soon change. The Nazis
occupied Holland in 1940, and now the Jewish-German family was under threat.
The restricting Nazi-imposed laws that disrupted Germany now extended over into
Holland. Some of these notable rules included: Jewish children only being permitted to
attend Jewish schools; strict new evening curfews; people of Jewish-descent not being
allowed to own businesses; and wearing the required yellow stars on their clothing to
identify them. Anne’s father had no choice but to hand control of his companies over to
friends so that his family could still receive an income to survive off of.
Anne received her very first diary as a gift from her father on her thirteenth birthday.
The book was bound with red and white checked cloth and had a small lock for privacy.
Anne’s first diary entries discussed her frustrations with how her family was now
discriminated against in the place they considered home. In July of 1942, Anne’s older
sister Margot recevied a call-up notice. Otto’s father immmediately took action and
went forward with his plans to move the family into hiding.
Anne dedicatedly recorded life in the Secret Annex in her diary. She began each diary
entry with “Dear Kitty,” as though her diary was a friend she was writigng letters to, and
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she confided her fear, bordedom, and confusion with her new life. Anne’s diary also
reflects the struggles of growing up and being a teenage girl: how she felt disconnected
from everyone else in hiding; her arguments with her mother; and her crush on Peter
Van Pels.
Anne’s diary ends in 1944 when Nazis raided the annex. Anne and Margot were sent to
Auschwitz, then to Bergen-Belsen. They both died of typhoid in 1945. Otto was the only
one in their family to survive, and he published Anne’s diary in 1947. It is now popular
around the world.
The Frank Family
Margot, Otto, Anne, and Edith
Otto & Edith on their wedding day
Otto Frank was born in Frankfurt, Germany on May 12, 1889. As a young man he
studied economics, then opted to work in a bank. He even interned in Macy’s
Department Store in New York City at one point. Otto and his brothers were
conscripted to the German army in 1914 to fight in World War I.
In 1925, Otto married Edith Hollander. They moved their family to Holland in 1933.
Otto’s company, Opekta, was set up there. When the Nazi laws against Jews reached
Holland, Otto officially named his Dutch colleagues Victor Kugler and Johannes Kleiman
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as owners of his business, but continued to run it secretly. When Margot was called-up,
Otto hid his family in the Secret Annex he had prepared above his offices.
When their hiding place was raided, Otto and the other occupants were taken to
concentration camps. Otto survived and was freed when Auschwitz was liberated in
January 1945. Otto heard of his daughters’ deaths in the Bergen-Belsen camp five
months later. Otto fought to have Anne’s diary published and to have the establishment
of the Anne Frank House Museum. Later on in life, he remarried and moved to
Switzerland, where he died in 1980.
Edith Hollander was born in Aachen, Germany, on January 16, 1900. Edith’s family,
prominent in the Jewish community, emigrated from Amsterdam to Germany about one
hundred years earlier. Edith married Otto Frank in 1925. Her daughters, Margot and
Anne, were born in February 1926 and June 1929, respectively.
While the family was in hiding, Edith made sure her daughters continued their studies. It
was very important to her that they did not fall behind in their education. During this
time she also struggled with depression and was not confident her family would survive.
Miep, one of their helpers, was a great confidant to her. Edith and Anne had a lot of
tension during their time in hiding and this greatly upset her, as she loved her family
very much.
Margot Frank was born in Frankfurt, Germany on February 16th, 1926. Margot’s family
moved to Holland in 1933 and she went to school in Amsterdam. Margot was known to
be a modest and kind girl.
When she received her call-up papers in 1942, her family moved into hiding. Quiet
different from Anne, Margot was very introverted during hiding. She was incredibly
focused on her studies, determined to not be behind when she would return to school.
Margot was sent to Auschwitz with her family when the camp was discovered and
raided. After one month, she and Anne were sent to the Bergen-Belsen camp. She died
of typhus there in March 1945.
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Other Annex Residents: The Van Pels and Fritz Pfeffer
In her diary, Anne gave the Van Pels family the pseudonym Van Daan. Fritz Pfeffer
was given the pseudonym Albert Dussel. His last name translates to “idiot”.
Herman van Pels (Mr. Van Daan) was born on March 31st, 1898, in Osnabrück,
Germany. Before the Nazi laws forced people to boycott all Jewish-run businesses,
Herman worked in his father’s butcher shop. Herman moved his family to Amsterdam in
1937. A year later he began working for Otto Frank’s company as a specialist in “herbs
and sausage production.” After his family’s emigration to the United States was denied,
Herman moved his family into the Secret Annex with the Franks. Herman and his wife
had an up-and-down relationship that Anne loved to write about. Herman was sent to
Auschwitz with the others; after becoming injured and no longer being able to perform
hard labor, he was sent to the gas chambers.
Auguste van Pels (Mrs. Van Daan), nicknamed Gusti, was born in Buer near
Osnabrück, Germany, on September 29th, 1900. She married Herman van Pels on
December 5th, 1925, and subsequently became a Dutch citizen. Peter was born the
following year. When the Van Pels family joined the Franks in the Secret Annex on July
13th 1942, they brought much excitement with them also. Mrs. Van Pels would talk
about politics, be a flirt (to Mr. Frank), and often argue with her husband. She was a
stylish woman who could not accept giving up her once comfortable lifestyle (think of
the fur coat incident in the play.) Auguste was transferred to the Bergen-Belsen camp,
along with Margot and Anne. Eventually she died in Theresienstadt in the spring of
1945.
Peter van Pels (Peter Van Daan) was born in Osanbrück, Germany, on November 8,
1926. He was eleven when his family moved to the Netherlands. Anne did not think
much of Peter at first- he seemed shy, lazy, quiet, and over-sensitive. She became fond
of them as the months went on, young love blossomed, and they had a relationship.
Anne recorded Peter’s plans for after the war: to live on a rubber plantation in the
Dutch East Indies. From Auschwitz, Peter and others were forced on a “death march” to
the Mauthausen camp in Austria. He died there just two days before the end of the war
in Europe, on May 5th, 1945.
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Fritz Pfeffer (Mr. Dussel) was born in Giessen, Germany, on April 30th, 1889. Both of
his parents were Jewish and they owned a clothing store. Fritz moved to Berlin where
he became a dentist. In 1921, he married Vera Bythiner, and they had their son,
Werner, in 1927. They divorced in 1933, with Mr. Pfeffer gaining custody of their son.
He later met and started a relationship with a Catholic woman, Charlotte Kaletta.
However because of the Nuremberg Laws, it was impossible for them to marry. As the
violence against Jews in Germany increased in 1938, Fritz and Charlotte fled to Holland.
Fritz sent his son to England as a refugee. Fritz was the dentist to Miep, Otto Frank’s
employee and helper of the Secret Annex. Fritz moved into hiding on November 16th,
1942. He had to share a room with Anne, and they were both often annoyed with each
other. During this time Miep helped Fritz and Charlotte send letters to each other,
though she never revealed to Charlotte where he was as to not risk discovery of the
hiding place. Fritz went to Auschwitz with the others, and then he was moved to the
Neuengamme concentration camp near Hamburg. He died on December 20th, 1944. Hi
son survived the war, and moved to the United States in 1947.
Above, right: Fritz Pfeffer with his son Werner in Berlin during May of 1932.
The Helpers
“There are many resistance groups, such as Free Netherlands, that forge identity cards,
provide financial support to those in hiding, organize hiding places and find work for young
Christians who go underground. It’s amazing how much these generous and unselfish people
do, risking their own lives to help and save others. The best example of this is our own
helpers, who have managed to pull us through so far and will hopefully bring us safely to
shore, because otherwise they’ll find themselves sharing the fate of those they’re trying to
protect.”
- Anne’s Diary: January 28th, 1944
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Otto Frank with his employees. From left to right: Miep Gies, Jo Kleiman, Otto Frank,
Victor Kuglar, and Bep Voskuijl.
"I was able to help those people. They were powerless, and they didn’t know where to turn. I
always emphasize that we weren’t heroes. We simply did our duty as human beings: helping
others who were in need. A lot of people didn’t do that in those times: some out of fear. If
someone is afraid then you can hardly blame them. If they can honestly admit that, as a
friend of mine did back then, then I think that’s brave." –Miep Gies
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Hermine Santrouschitz, known as Miep Gies, was born in Vienna, Austria on February
15, 1909. As a child she was sent to live with a foster family Holland due to her family’s
money struggles.
Miep began working for Otto Frank as an office assitant in 1933. When the Nazis’
persecution of Jews in Europe spread and worsended, Otto confided to Miep that his
family would be going into hiding. Despite the life-threatening risk she would be taking,
Miep agreed to help them. Miep took Margot Frank to the Secret Annex above Otto’s
offices when she received her call-up letter on July 5, 1942. Shortly afterwards, the rest
of the Franks and the Van Pels family joined Margot in hiding. Fritz Pfeffer joined them
that fall.
Miep supplied the residents in hiding with food and news from the outside, along with
the other helpers. She did the shopping (with help from Bep Voskujil) and brought
library books to the annex every week - something very helpful, especially for Anne, as it
provided her distractions and something to do. Miep was a friend and source of
strength for the people in hiding.
On August 4, 1944, Miep was in the office when a Nazi official stormed in, pointing a
gun at her and demanding that she remain seated, while they searched through the
office building. Luckily Miep was not a suspect for helping the eight in hiding, and she
was able to continue living in Amsterdam. She was the one who found Anne’s diary after
the raid in the annex, and planning on returning it to her after the war.
Otto Frank lived with Miep and her husband when the war ended and he returned to
Amsterdam. She gave Anne’s unread diary to him after Anne and Margot had died. In
1987 Miep published her book, Memories of Anne Frank. She lived the remainder of her
life outside of Amsterdam and passed away in 2010 at 100 years old.
"She went through things with the Frank family as if it
was her own family. Not that she talked a lot about it, she
actually never did, but the fact that she named her
daughter after Anne Frank shows that Bep reserved a
special place in her heart for Anne."
–Bep’s sister, Willy van der Kennen- Voskuijl
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Elisabeth Voskuijl, known as Bep, was born in Amsterdam on July 5, 1919- the oldest of
eight children. She is represented in the play by the character of Miep Gies. She had
studied to become an office clerk, and ended up working for Otto Frank as a secretary.
While she helped out the residents in hiding of the Secret Annex, Bep delivered them
things like clothing and milk. Thanks to Bep signing up for correspondence courses in
her own name, Margot took a Latin course, and Peter, Anne, and Margot were able to
take a shorthand course.
Anne loved seeing Bep every night at dinner- sometimes Bep would bring fruit, flowers,
or celebrity photographs, and the two would talk about movie stars with each other.
Bep was not there when the offices were raided in August 1944, but later returned with
Miep where they found Anne’s diary.
Bep never talked about Anne in interviews, thus earning her the nickname “The Silent
Helper.” She did however remain in contact with Otto until his passing, named her
daughter after Anne, and kept a scrapbook all about Anne until Bep herself passed away
in May 1983.
Left: Jan Gies. Right: Miep and Jan Gies in Amsterdam in 1985.
In the play, Miep also represents her husband, Jan Gies. Jan was born in Amsterdam in
1905 and married Miep on July 16, 1941. After the passing of new Nazi laws in
Amsterdam in 1941, Jan was named the nominal director of Otto Frank’s business.
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Jan helped Miep bring necessary supplies and news from the outside world to the
residents in hiding. The couple also hid a Dutch student in their home who refused to
sign a Nazi oath. Jan worked in the municipal welfare department during WWII, using his
contacts to access food and clothing vouchers for the people of the annex.
More Helpers
IN THE PLAY, MR. KRALER REPRESENTS
TWO MEN WHO HELPED THOSE IN
HIDING: JOHANNES KLEIMAN AND
VICTOR KUGLER
Johannes Kleiman (pictured above on the left)
"A few months after the people went into hiding, we refurbished the Secret Annex
to resemble a home, where they could live reasonably well. I had no idea that
Anne wrote so much in her diary, even about us, the helpers. Anne was thirteen
when she came here and fifteen when they took her away. In the meantime she’d
become a young woman." –from a radio interview after the war.
Victor Kugler (pictured above on the right)
"I couldn’t do otherwise. I had to help them: they were my friends. I never told my
wife anything, she was very ill. I didn’t want to worry her and so I couldn’t talk
about it at home. For the people in hiding, their lives changed completely. They
had to be completely silent, especially during the day. But for us helpers too it was
a tense, frightening time. Our greatest fear was that the hiding place would be
discovered. I had to put on a good ‘act’ in front of Otto Frank’s former business
partners, customers and the neighbors." –Victor on why he helped the people in
hiding
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Johannes Kleiman was born in Holland on August 17, 1896. When Otto Frank moved to
Amsterdam in 1933, he hired Johannes to do the bookkeeping and handle the accounts for his
businesses. Johannes also greatly helped in refurbishing the Secret Annex.
He was arrested during the raid of the Secret Annex on August 4, 1944. Along with Victor
Kugler, he was sent to the Amstelveenseweg Prison and then the Weteringschans Prison in
Amsterdam. The two helpers were separated when Johannes was sent to Amersfoort (a
concentration camp). After one week, he was released due to poor health.
After the war Johannes worked with Otto to help set up The Anne Frank House Museum,
offering tours through the Secret Annex for journalists and visitors. In 1959, Johannes passed
away in his office.
Victor Kugler was born in Hohenelbe, Austria-Hungary (now called Vrchlabi in the Czech
Republic) in June 1900. He spent some time in the Austrian Marines before traveling to Holland
and earning his diploma in Dutch Business Correspondence. He became one of the first
employees of Otto Frank’s company Opekta in 1933.
Victor would visit those in hiding daily, bringing them newspapers, magazines, and most
importantly, moral support. While running Otto’s businesses, Victor hid the sales of spices and
used the profits to obtain extra ration cards and supplies on the black market for the group in
hiding. He never confided in his wife what he was doing, and this stressed him greatly. He was
arrested on August 4, 1944, and eventually escaped from a concentration camp on March 28th,
1945. For the remainder of the war, Victor lived in hiding. Later he immigrated to Canada,
dying in Toronto in 1981.
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World War I’s Aftermath in Germany
The ending of World War I and its aftermath in Germany set the stage for Adolf Hitler’s to rise
to power. Germany, along with Austria-Hungary, Ottoman-Turkey, and Bulgaria, faced
significant punishments and reparations after the defeat of the Central Powers.
Before World War I even ended, United States President Woodrow Wilson presented his
“Fourteen Points” in January 1918. Wilson’s ideas for peace terms included the restoration of
territories conquered during the war, freedom of the seas, and most significantly, the right to
national self-determination for various ethnic populations in Europe. Focused on preventing
any future wars, Wilson proposed the formation of a League of Nations.
Wilson’s speech before Congress proposing the Fourteen Points was translated and dispersed
among the soldiers and citizens of Germany and Austria-Hungary. German leaders believed
Wilson’s Fourteen Points would be the basis of the future peace treaty, and this motivated their
decision to sign an armistice in November 1918.
In spring of 1919, government leaders from the United States, Great Britain, France, and Italy
met in Paris to negotiate the terms of a treaty. Despite Wilson’s hope for a “peace without
victory,” Britain, France, and Italy had other plans. They demanded stiff penalties for the
defeated Germany, as they saw Germany as the chief instigator of the world war.
Germany’s leaders were presented the Treaty of Versailles on May 7, 1919. Germany had to
agree to various penalizing obligations, including conceding territories to Belgium,
Czechoslovakia, and Poland. The territory of Alsace-Lorraine was released from German control
and returned to France. All of Germany’s colonies overseas consequently became mandates of
the League of Nations. Also, Danzig- a city with a primarily German ethnic population- was
proclaimed a Free City. The Treaty also called for German troops to exit the Rhineland.
The most significant portion of the Treaty of Versailles was the “War Guilt Clause.” By the terms
of this clause, also called “Article 231”, Germany had to accept total responsibility for starting
World War I. This humiliating agreement made Germany liable for all material damages. France,
in particular, feared Germany would recover too quickly and wage war again; in turn, they
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limited Germany’s chances of regaining economic superiority and rearming through the postwar treaties.
These contracts limited the German army to 100,000 men and its Navy to vessels under
100,000 tons. They also could not acquire or maintain a submarine fleet. They could not
maintain an air force, either. Germany was forced to conduct the Leipzig War Crimes Trials
where only Germans were tried.
The governments of defeated powers Germany, Austria, Hungary, and Bulgaria quickly began
breaking the military and financial rules of the treaty. As they sought to revise and defy certain
burdensome provisions of the treaty, international politics became unstable. Germans felt
angered and upset by what was decided at the Treaty of Versailles. Ultra-nationalism rose in
Germany as radical right wing parties, such as Hitler’s Nazi Party, promised Germany would
remilitarize, reclaim territories, and regain prominence among European and world powers.
“Cupidity” by R. Ferro – a satirical drawing showing
the hands of men from countries involved in World
War I, arguing for control of the world.
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Germany in the 1920s and 1930s
After World War I, Europe experienced a large financial inflationary period in the 1920s.
Germany in particular experienced extreme hyperinflation. Then in 1929, the Great Depression
descended upon the world. The German economy was in chaos and the government was
incredibly unstable. There was wide-scale unemployment, many people lost their personal
savings, and overall social unrest.
In the aftermath of this chaos, radical rightwing parties were able to seize power in Weimar
Germany. In many Germans’ minds, it was the leftwing Socialists, Communists, and Jews who
were destroying Germany. Rightwing groups devised propaganda myths that supported their
rise to power. This, along with a rise in Communism due largely to Russia’s Bolshevik
Revolution (1917), inspired a move in German politics in favor of right-wing causes.
Among rightwing extremists was the National Socialist German Workers’ Party’s Adolf Hitler,
who tried starting a national revolution in November 1923’s Beer Hall Putsch (an attempt to
establish a new government where citizenship would be based on race). Hitler only served nine
months of his five-year prison sentence, although he had committed the capital offense of
treason. It was in prison where Hitler wrote Mein Kampf (“My Struggle”), his political
manifesto.
German citizens wanted a more stable Germany; Hitler’s National Socialist Party unfortunately
gave them the authoritarian leadership they craved. Throughout Europe, more and more
people began to tolerate violent anti-Semitism and discrimination against national minorities as
post-war disillusionment and pacifism was common.
The Nazi boycotts of Jewish businesses
In Germany began in April 1933. Their
signs say “Don’t buy from Jews!”
The failed Beer Hall Putsch in Munich.
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Weimar Germany and German Culture
Despite Germany’s tumultuous interwar period, the
Weimar Republic turned out to be a place where science
and art flourished. This period was a time where German
Expressionism exploded in Berlin; Albert Einstein taught at
the Academy of Sciences; sociologist Erich Fromm was
prominent at the Frankfurt Institute for Social Research;
Karl Mannheim published his doctoral dissertation
“Structural Epistemology of Knowledge”; and left-wing
playwright Ernst Toller brought the movement of New
Objectivity to the theater.
Many great authors produced works with lasting cultural significance during this period. In
1918, Heinrich Mann’s Der Untertan was published. The novel’s main character is Diederich
Hessling, an immoral man who is blindly loyal to Kaiser Wilhelm II, a representation of all of
nationalist Germany. Diederich preaches about the power of the German state, yet he himself
is shallow, weak, and cowardly. He is immoral yet becomes influential in his town, showing how
Germany is vulnerable to the negative effects of ultra-nationalism (anti-Semitism among these.)
With his novel, Mann targets the poisonous bourgeois society, political structures, and the
growth of fascism. When the Nazis came to power, Heinrich had to flee the country.
Ernst Jünger’s Storm of Steel (1920) told of his experiences fighting in World War I. His written
accounts were honest to the events as they occurred; yet it was his reveling in the “glory of
combat” that caught the approval of the National Socialist German Workers Party. Despite this,
Jünger wrote the novella “On The Marble Cliffs” as anti-Nazi criticism years later (he was not
punished for this as he was back in the army when World War II began.)
Erich Maria Remarque also wrote an account of fighting in World War I: All Quiet on the
Western Front. Contrary to Jünger’s work, this novel describes the agonies of war and the
struggle of adjusting to normal life when it is over. Published in 1929, the novel depicted the
hardships the German soldiers on the fighting lines had faced and the destruction the war had
caused. Remarque emphasized that the novel is not supporting any political views, but when
the Nazis came to power it was banned and copies were publicly burned.
Other works published in 1929 include Alfred Doblin’s Berlin Alexanderplatz and Thomas
Mann’s Mario and the Magician. In Doblin’s novel, the main character is an ex-convict who is
trapped in a criminal underworld, facing the imminent doom of Nazism. It shows how for
people of Germany in the 1920s, all the odds were against them. Mario and the Magician is not
set in Germany, but in Italy. The magician, Cipolla, is sinister and controlling- a representation
of the fascist Italian dictator Benito Mussolini. The novella is overall a warning to the German
people of what a fascist society looks like.
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Little Man, What Now? was published in 1932, right before Adolf Hitler’s rise to power. Hans
Fallada’s novel tells the story of a poor bookkeeper’s family who struggle with poverty amidst
Germany’s economic and political crisis. The novel’s social significance made life dangerous for
Fallada when the Nazis came to power.
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Anti- Jewish Laws
“Our freedom was severely restricted by a series of anti-Jewish decrees; Jews
were required to wear a yellow star; Jews were forbidden to use streetcars; Jews
were forbidden to ride in cars, even their own; Jews were required to do their
shopping between 3 and 5 pm. Jews were required to frequent only Jewish
owned barbershops and beauty parlors; Jews were forbidden to be out on the
streets between 8pm and 6am…. Jews were forbidden to visit Christians in their
homes; Jews were required to attend Jewish schools. You couldn’t do this and
you couldn’t do that. But life went on.”
(June 29, 1942.) –Anne on life in the Netherlands during the Nazi Invasion. –
The core belief behind the Nazi ideology was the shared anti-Semitism (the prejudice against
and hatred of Jews) among its supporters. The Nazi party published a detailed “Party Program”
in 1920 where they proclaimed their goal to separate Jews from Aryan society and rid them of
their political, civil, and legal rights.
Within the first six years of Adolf Hitler’s dictatorship, over 400 decrees and regulations were
announced that affected all aspects of the public and private lives of Jewish people. Beyond
this national discrimination, there were also state, regional, and municipal officials who
initiated other discriminatory decrees. All levels of government in Germany supported and
enforced anti-Jewish legislation.
Laws passed in 1933-1934 sought to exclude Jews from German public life. “The Law for the
Restoration of the Professional Civil Service” passed on April 7, 1933, stated that Jewish and
“politically unreliable” civil servants were no longer employable. During this month, the number
of Jewish students at German schools and universities were also restricted. “Jewish activity” in
the medical and legal professions became reduced. The Bavarian Interior Ministry denied
Jewish students entrance to medical school, while in Berlin Jewish lawyers could no longer work
on legal matters, and Jewish doctors in Munich could not treat any non-Jewish patients.
Some of the national laws included a new 1.5 percent quota on admission of “non-Aryans” to
public schools, and the firing of all Jewish civilian workers from the army. In the region of
Saxony, Jews could no longer slaughter animals according to their religious dietary
requirements.
The Nazi’s “Nuremberg Laws” were announced in September 1935. German Jews now could
not obtain Reich citizenship. It also became illegal for them to marry or have sexual relations
with persons of “German or German-related blood.” Jews could no longer vote or hold public
office.
The Nuremberg Laws also redefined what it meant to be a Jew. Regardless of lack of Jewish
religious beliefs, the laws said that anyone who had three or four Jewish grandparents was also
a Jew. Many Germans who did not identify with Judaism and even were converted Christians
now were only seen as Jews.
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German legislation made it impossible for Jews to earn a living, thus taking them out of the
economic sphere of German society. Jews had to register their domestic and foreign assets and
property; eventually the government would expropriate their material wealth. All Jewish
businesses were transferred over to non-Jewish Germans. This “Aryanization” process reduced
the number of Jewish-owned businesses in Germany by two-thirds from April 1933 to April
1938.
Interestingly, the Nazi regime’s anti-Semitism was less extreme in 1936 since Germany was
hosting the Olympic Games. Hitler could not have any international criticism of his government
and risk damaging German prestige (or losing Olympic-related tourism and revenue.)
German-legislated anti-Semitism was back in full swing in 1937 and 1938. Following the antiJewish Kristallnacht attacks of November 1938, universally all Jews were banned from all public
schools, cinemas, theaters, and sports facilities. Now there were even special “Aryan” zones
Jews could not even enter.
Authorities ordered all Jewish men and women who had “non-Jewish” first names to add
either “Israel” or “Sara” to their actual names by January 1, 1939. All Jews were required to
carry Jewish identity cards and have their passports stamped with a telling “J.” Anti-Semitic
laws in Germany and Austria opened the way for continued radical Jewish persecution as Nazi
leaders prepared to launch another world war.
Poster used by
the Nazi Party
to explain the
rules of the
Nuremberg
Race Laws
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The Secret Annex
“Here’s a description of the building… A wooden
staircase leads from the downstairs hallway to the third
floor. At the top of the stairs is a landing, with doors on
either side. The door on the left takes you up to the spice
storage area, attic and loft in the front part of the house.
A typically Dutch, very steep, ankle-twisting flight of
stairs also runs from the front part of the house to
another door opening onto the street. The door to the
right of the landing leads to the Secret Annex at the back
of the house. No one would ever suspect there were so
many rooms behind that plain gray door. There’s just
one small step in front of the door, and then you’re
inside. Straight ahead of you is a steep flight of stairs. To
the left is a narrow hallway opening onto a room that
serves as the Frank family’s living room and bedroom.
Next door is a smaller room, the bedroom and study of
the two young ladies of the family. To the right of the
stairs is a windowless washroom with a sink. The door in
the corner leads to the toilet and another one to
Margot’s and my room… Now I’ve introduced you to the
whole of our lovely Annex!”
In early 1942, Anne’s parents Otto and Edith had already anticipated they might need to hide
from the Nazis as anti-Semitism began to spread to Amsterdam. They prepared their hiding
place- a space of only 500 square feet- in Mr. Frank’s office building.
After weeks of preparation, they received their sign it was time to take action: Margot received
her call-up papers on July 5, 1942. The very next day, the Frank family moved into the hiding
place. Mr. and Mrs. Van Pels moved in with Peter a week later; Fritz Pfeffer moved in the annex
later on in November.
Otto Frank’s employees-- the helpers-- carried on his business as normal in the front of the
building. A movable bookcase guards the entrance of the secret annex from the rest of the
building.
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Above: the bookcase
The multi-leveled space allowed for some privacy
among the eight residents: on the first floor was
the bathroom, Anne’s shared room with Mr.
Pfeffer, and her parents and Margot’s room. The
Van Pels lived in the larger bedroom on the second
floor, which also served as a communal living room
and kitchen. Peter had a tiny room to himself
under the stairs, where Anne would often visit him.
The attic was on the third floor, meant for food
storage. Anne liked to peak out of the window up
there when it was safe and reflect and write in
her diary.
Living in such a confined space of only a few bedrooms, a tiny kitchen, and a modest bathroom
was certainly uncomfortable. The residents could not go outside at all, and were to remain
completely silent during working hours to avoid revealing themselves. Tensions were high, but
nevertheless the residents were aware they were better off than most Jews who were in even
smaller hiding spaces or already sent away to camps.
Click on this link: http://www.annefrank.org/secretannex. This link will lead you to a virtual 3D
tour of the Secret Annex. It is fascinating to do the virtual tour, and will also heighten your
understanding of the residents’ uneasy living situation.
Pictured below: the outside view of the Secret Annex; Anne’s bedroom.
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From Hiding Place to Museum
After the residents of the annex were found and arrested on August 4, 1944, the Nazis
confiscated everything they found in the hiding place- amazingly, only Anne’s diary was saved.
Otto Frank was the only resident of the house to survive the war. He returned to Amsterdam
from Auschwitz in June 1945 to discover the empty annex, and he began restarting his former
businesses. Otto started renting out the building from its new owner to save it from
destruction, and in 1953 his company was able to buy it back. But Otto didn’t have enough
money to renovate the building, and the building next door’s owner planned on tearing their
house down, which would have caused Otto’s building to cave in on itself.
Out of options, Otto had to sell his building in 1954 and move his business to another location
in Amsterdam. The house, Prinsengracht 263, was left in shambles. Eventually it was saved
from destruction thanks to the efforts of the public, who had helped the Diary of Anne Frank
become a worldwide phenomenon. Amsterdam’s most prominent scientists and intellectuals
fought for the preservation of the house. The Anne Frank Foundation was founded in 1957
with the intent to open the house to the public and promote Anne’s ideals to the world.
Prinsengracht 360 was renovated and opened to the public on May 3, 1960. The house would
go on to successfully host international youth conferences, exhibitions, and classes. Today
nearly a million people visit the house each year.
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Otto Frank photographed
with Anne Frank Foundation
board members in front of
Prinsengracht 263 in May 1957.
"The restoration of the
house is now in full
progress and we hope that
the Secret Annexe will be
open for visitors this
summer. (…) The spiritual
value of the house is very
great. Thousands of people
from all over the world
have visited it the last
years, many bringing
flowers. And to be in the
rooms where everything
Anne wrote about had
happened made an
unforgettable impression
on them. But more must be
achieved. It is not enough
that people are moved and
come to think about all the
terrible events. We must
do more."
Excerpt from a speech
given by Otto Frank in New
York, 24 March 1959.
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Quotes from Anne’s Diary
“Forgive me, kitty, they don’t
call me a bundle of
contradictions for nothing.”
(july 21, 1944.)
“Who knows, maybe our religion will teach the world and all the people in it about
goodness, and that’s the reason, the only reason, we have to suffer. We can never be just
Dutch, or just English, or whatever. We will always be Jews as well. And we’ll have to keep
on being Jews, but then, we’ll want to be.” (April 11, 1944.)
“I’ve reached the point
where I hardly care
whether I live or die.
The world will keep on
turning without me, and
I can’t do anything to
change events anyway.
I’ll just let matters take
their course and
concentrate on studying
and hope that
everything will be all
right in the end.”
(February 3, 1944.)
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“I feel wicked sleeping in a warm
bed while somewhere out there my
dearest friends are dropping from
exhaustion or being knocked to the
ground. I get frightened myself
when I think of close friends who
are now at the mercy of the
cruelest monsters ever to stalk the
earth. And all because they’re
Jews.” (November 19th, 1942.)
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How Anne’s Diary Became a Book
When Anne received her diary as a present for her thirteenth birthday, she finally had a friend
to confide in. She addressed all of her entries to her new confidant, “Kitty.” When her family
moved into hiding, Anne wrote in her diary almost daily. She also wrote short stories and
recorded her favorite sentences from other authors.
All along, Anne had planned to publish her diary when the war was over. While in the Secret
Annex, she even took the time to edit and rewrite portions of her original diary after hearing
the exiled Dutch minister on the secret radio telling people to save their diaries for historical
records after the war. Anne had big dreams to become a famous writer. She wrote: “I can’t
imagine having to live like Mother, Mrs. van Pels and all the women who go about their work
and are then forgotten. I need to have something besides a husband and children to devote
myself to! I don’t want to have lived in vain like most people.”
When Otto is given Anne’s diary after the war, he reads in her own words that she had wanted
it published. In one passage she wrote: “Just imagine how interesting it would be if I were to
publish a novel about the Secret Annex. The title alone would make people think it was a
detective story.”
At first Otto is hesitant to do so, but ultimately he decides to honor Anne by fulfilling her wish.
Otto goes on to edit and compose a manuscript of Anne’s diary. Eventually, it is sent to the
Dutch historians Jan Romein and Annie Romein-Verschoor. They attempt to find a publisher,
but are not successful. Jan Romein ends up writing an article about Anne’s diary for the Dutch
newspaper Het Parool. Otto Frank was unaware he was doing this. On April 3rd, 1946, the article
appeared on the front page of the paper, leading to the interest of several publishers.
Eventually it is published through the company Contact, in Amsterdam. The editor removes a
few passages, including the ones Anne wrote about her sexuality. The edited diary is published
on June 25, 1947. Otto Frank later said: “If she had been here, Anne would have been so
proud.”
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Adaptations of Anne’s Diary
Anne’s diary was published in the United States in 1952 and subsequently became a best seller.
Meyer Levin, a writer for the New York Times, gave it a very enthusiastic review, contributing to
the book’s success.
Meyer Levin was determined to make the diary into a play, and after some time, Otto Frank
finally gave his approval. However, the play’s producers were not taken with Levin’s script, and
eventually the playwriting couple Frances Goodrich and Albert Hackett were given the job.
Their stage adaptation premiered on Broadway on October 5, 1955. The play went on to open
in seven German cities on October 1, 1956. On November 27, 1956, Queen Juliana of the
Netherlands attended its premiere in Amsterdam. The play won the Tony Award for Best Play,
along with cast nominations for Best Actress (Susan Strasberg in the role of Anne), Best Scenic
Design (Boris Aronson), Best Costume Design (Helene Pons), and Best Director (Garson Kannin.)
The playwrights won the Pulitzer Prize for Drama. The New York Drama Critics Circle also
awarded the play Best Play in 1956.
A film adaptation of the play was made in 1959. It won three Oscars, including Best Actress in a
Supporting Role (Shelley Winters as Mrs. Van Daan.)
Meyer Levin strongly disapproved of the stage and film adaptations. He found that the story
was made too universal and certain edits to Anne’s diary eliminated the central Jewish identity.
Levin clashed with Otto and the Broadway producers, at one point writing to Otto in an open
letter in 1960: “Every Jewish thought…is rigorously eliminated from the “Diary” as presented on
stage and screen.”
Meanwhile, Otto chose to see neither the play nor the film. He feared the experience would be
too painful for him, but he remained closely involved with the script development and helped
the actors prepare for their roles. He said: “This play is a part of my life and the idea that my
wife and children as well as I will be presented on the stage is a painful one to me. Therefore it
is impossible for me to come and see it.” However, he did everything he could to expose his
daughter’s story to as many people as possible.
The play was made as a TV film in 1980 and won the Golden Globe for Best Mini-Series or
Television Film, along with nominations for three Emmys.
In 1997, in an adaptation written by Wendy Kesselman, the play was revived on Broadway, with
an attempt to emphasize the characters’ Jewish identity. The film actress Natalie Portman
2015-2016 Season
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played the role of Anne. The adaptation was nominated for Best Revival of a Play at the Tony’s
in 1999.
The most recent adaptation of Anne’s story was in 2009, when the BBC produced a five-part
mini series entitled “The Diary of Anne Frank.” The series was also shown in the United States.
Today, in fulfillment of Otto’s wish, Anne’s story is still being told worldwide, as the play is
performed in many countries around the world.
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Vocabulary
(special thanks to the Milwaukee Repertory Theater)
Auschwitz- the largest of the Nazi concentration camps.
“January twentieth-seventh, 1945. I am freed from Auschwitz.” –Mr. Frank
Courteous - having good manners, being polite.
“Anne, that’s a personal question. It’s not courteous to ask personal questions.” – Mrs.
Frank
Dignified- conducting oneself with good manners, displaying respect for formality.
“Anne, dear, I think you shouldn’t play like that with Peter. It’s not dignified.” –Mrs.
Frank
Fatalist- someone who accepts that all events are predetermined by fate and inevitable.
“Mrs. Van Daan pretends to be a fatalist.” –Anne
Gestapo – the Nazi secret police in charge of internal security. They worked with the SS
to locate and deport Jews.
“Or it may have been the Gestapo, looking for papers...” - Mr. Van Daan
Green Police – another name given to the Gestapo
.”I dreamed that they came to get us! The Green Police!” -Anne
Hanukkah- a Jewish holiday lasting eight days, celebrating the rededication of the
Temple following the victory of the Maccabees over the Syrians.
“A real Hanukkah after all.” –Mr. Van Daan
Jubilation- a feeling and expression of joy.
“It’s a song of jubilation, of rejoicing.” –Mr. Frank
L’chaim- a Hebrew toast meaning “to life.”
“L’chaim, l’chaim!” –All
(Below: photo of Auschwitz survivors and the Gestapo flag)
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Mauthausen- a concentration camp in Austria.
“And if you refuse the call-up notice, then they come and drag you from your home and
ship you off to Mauthausen.” –Mr. Dussel
Mazeltov- Hebrew/Yiddish for “congratulations.”
“Mazeltov!” –Mr. Frank
Menorah- a candelabrum having nine branches used on the Jewish holiday of
Hanukkah.
“What a beautiful menorah, Mr. Van Daan.” –Margot
Pim- Anne’s nickname for her father.
“It worked, Pim… the address you left!” –Anne
Putti- a form of endearment for a boy or a man. Latin for “little man.”
“Poor Putti.” –Mrs. Van Daan
Star of David- a six-pointed star, the symbol of the Jewish faith.
“But after all, it is the Star of David, isn’t it?” –Anne
Subjunctive- a grammar term for the verb tense used in a subjective or hypothetical
statement or question.
“You should have used the subjunctive here.” –Mr. Frank
Westertoren- a church tower in Amsterdam, the Westertoren (“Western tower”) is the
highest church tower in Amsterdam. It is often mentioned in Anne Frank’s diary because
she could see it from the attic window in the annex and hear the chiming of the clock.
“It’s the Westertoren!” –Anne
Zurich- a city in Switzerland.
“She said you must have escaped to Zurich.” -Mr. Dussel
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Discussion Questions
•
Why do you think the play begins with Mr. Frank after the war, but then goes into the
flashback? What do you think makes him return to the place where Nazis captured him
and his family?
•
How would you describe each character in the play?
•
How does life in the Secret Annex differ from life in the outside world? What pros and
cons are there to living in the Annex?
•
What do you think would be the hardest part of living in the Annex: having to be silent
for hours at a time, the fear of discovery, living in cramped quarters with strangers, or
something else?
•
Do Anne and Peter seem like typical teenagers? How so?
•
Mr. Frank tells Anne, “There are no walls, no bolts, no locks that anyone can put on your
mind.” Do you agree with him? How do you interpret this?
•
One of the last lines of the play is Anne’s famous quote: “In spite of everything, I still
believe that people are really good at heart.” Do you think this means the play ends on a
positive note? Do you think it is possible to be hopeful during genocide or other
tragedies? What do you think this quote tells us about the human spirit?
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Discussion Questions and Activities
Special thanks to Classrooms Without Borders and Dr. Michael Naragon
•
Upon what grounds did Nazi politicians appeal to German voters? What did the
Nazification of Germany mean for Jewish citizens? After Germany seized control over
the Netherlands, how did life change?
•
After viewing the play, break students into small groups or jigsaws, depending upon
your instructional preferences and practices, and discuss what passages or specific
scenes resonated with them. Why did they choose those moments? If students also
read the diary, ask them to discuss whether the play changed the ways in which they
understood the text or conceptualized Anne Frank. See https://www.jigsaw.org/
http://www.edutopia.org/blog/productive-group-work-andrew-miller
•
Students could write a letter to Anne Frank. Ask students to include questions for Anne
Frank; discuss the meaning of her work; discuss some aspect of her life that spoke to
them. Or, more simply put, ask students to reflect on what Anne Frank’s life and words
mean to them. If your students read her diary as well, consider entering their responses
in http://www.read.gov/letters/ You can view the winners of this national contest at
http://blogs.loc.gov/loc/2014/07/letters-about-literature-dear-anne-frank/ A more
modest version of this same sort of effort to prod students to think about how the play
and Anne Frank’s life have touched them can be prompted by asking students to
compose a leaf for the electronic Anne Frank Tree:
http://www.annefrank.org/annefranktree
•
Students could visit the Anne Frank House homepage and leave a response for Anne
Frank (http://www.annefrank.org/en/Social-media/Guestbook/?page=1) Students could
also complete a similar task by visiting the Anne Frank House Facebook page and
comment of some of the posts or incorporate their observations in the letter activity
above (https://www.facebook.com/annefrankhouse?fref=nf); they could further discuss
what confinement and freedom mean to them. For further inspiration see
https://www.facebook.com/hashtag/freedom2me?
source=feed_text&story_id=10152867357751717)
•
Visit these two links: http://www.ushmm.org/wlc/en/article.php?ModuleId=10005142
(places children’s experiences within 5 categories.) and –
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http://www.yadvashem.org/yv/en/about/institute/children_and_the_holocaust.asp#!p
rettyPhoto (shows how the study of children’s experiences can be used to address
historiographic questions) Now consider these questions: In what ways did Anne Frank’s
experiences reflect those of other children? What was unique about Anne Frank’s
experiences? Why do you suppose children painted, kept diaries, maintained a literary
magazine, and wrote poetry? Do you consider children’s poems, paintings, and diaries
to constitute acts of resistance? Of preservation? What have these children taught us
about the Holocaust?
•
The theme of Holocaust Memorial Day in 2015 was “Keep the memory alive.” How
would you propose that your school accomplish this task? What should be
remembered? How should this be done?
•
Imagine that your local school board has opened a public debate about whether to ban
the teaching of Anne Frank’s diary. You have been asked to address the board at its next
public hearing. What would you say? What would you use to support your arguments?
Debates over the use of Anne Frank’s diary can be found at:
http://www.theguardian.com/books/2013/may/07/anne-frank-diary-us-schoolscensorship
http://world.edu/banned-book-awareness-diary-young-girl-anne-frank/
http://www.thenation.com/article/anne-franks-diary-too-explicit-school/
http://www.huffingtonpost.com/2013/04/29/anne-frank-diary-pornographic-7th-grademichigan-parent_n_3180134.html
2015-2016 Season
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Meet the Cast
KEN BOLDEN* (Mr. Kraler) is honored to return to The
Public stage after previous appearances in Our Town
(Prof. Willard), Born Yesterday (Asst. Manager), The Odd
Couple (Vinnie), Amadeus (Valet), and The Comedy of
Errors (Antonio). Other local appearances include, for
Quantum Theatre: Tamara (De Spiga) and John Gabriel
Borkman (Fodol – Post-Gazette Best Supporting Actor);
for PICT: Great Expectations (Pumblechook), Waiting for
Godot (Lucky), The Crucifer of Blood (Major Ross); and for off the WALL: The Small
Room at the Top of the Stairs (Henry). Film credits include: Fathers and Daughters
(Bank Manager), Sorority Row (Dr. Rosenburg), and Lightheaded (Marty) which
recently won the Audience Favorite Award at the Reel Sydney Festival of
International Film. Next up: PICT’s holiday show, Oliver Twist.
KELSEY CARTHEW (Miep) is delighted to make her
professional stage debut with Pittsburgh Public Theater.
Kelsey just graduated from Carnegie Mellon University,
where she received her BFA in Acting. She has also trained
at the Royal Academy of Dramatic Arts, playing Henry
in Henry V. CMU theatre credits include Three Sisters
(Olga), The Seagull (Arkadina), The Crucible (Mercy Lewis).
Film: Opening Night, The Encounter (Cannes Short Film Corner 2014), The
Watcher. www.kelseycarthew.com
ERIKA CUENCA* (Margot Frank) is so happy to return
to Pittsburgh Public Theater, where she was last seen in
the world premiere of L'Hotel. Other local credits
include: August: Osage County, A View From the
Bridge, Umbrella Man (Playhouse REP); Tigers Be
Still, Opus (City Theatre); Closer, The Red
Shoes (Quantum); Travesties, A Woman of No Importance (PICT); Lebensraum,
Mazel (Jewish Theatre of Pittsburgh); Or, A Feminine Ending, The Zero
Hour, Gruesome Playground Injuries, The Other Place, How I Learned to Drive,
Agnes of God, Stop Kiss, Shaken and Stirred (off the WALL). Erika is a graduate
of Point Park’s Conservatory of Performing Arts.
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DAVID EDWARD JACKSON* (Peter Van Daan) is thrilled
to make his Pittsburgh Public Theater debut! New York
credits include: The Light Years (The Debate Society, dir.
Oliver Butler), A Four-Letter Word (Classic Stage
Company/Plastic Theatre, dir. Tony Speciale), A Map of
Virtue (Clubbed Thumb, dir. Pam
MacKinnon), Rattlers (Flux Theatre Ensemble), Lex Before
Marriage (Red Fern Theatre), Valhalla (Boxed Wine Productions), The Private
Sector (Theater for the New City). At Actors Theatre of Louisville: Remix 38
(Humana Festival), Rules of Comedy (The Tens), Our Town (dir. Les Waters),
Dracula, A Christmas Carol. At Fordham University: The Good Person of
Szechwan, Thom Pain (based on nothing), The Way of the World, Dog Act.
Regional theatre: The Mousetrap, The History Boys, Lord of the Flies, Dog Sees
God. Television: “Boardwalk Empire” (HBO), “The Good Wife” (CBS). Acting
Apprentice alumnus of Actors Theatre of Louisville. B.A. Theatre, Fordham
University.
RANDY KOVITZ* (Mr. Frank) last appeared at Pittsburgh
Public Theater as Roy in The Odd Couple. Recent theater
roles include The Librarian in the solo play Underneath the
Lintel at 12 Peers Theater, off the Wall Theater, and on
tour in California; and the title role in Pantagleize at
Quantum Theatre. Broadway: Burn This with John
Malkovich and Joan Allen, Othello with James Earl Jones
and Christopher Plummer, and Macbeth at Lincoln Center. Television: “The
Following,” “Parks and Recreation,” “Supah Ninjas,” “Fringe,” “E.R.” and
numerous others. Film: The Fault in Our Stars, the soon-to-be-released
Concussion with Will Smith, and the George Romero films Dawn of The Dead and
Knightriders. Regional Theater: Yale Rep, American Shakespeare Festival, Laguna
Playhouse, L.A. Theatre Center, Shakespeare Festival/L.A., others. Pittsburgh
Theater: barebones, Bricolage,
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Quantum, The REP, PICT, Jewish Theatre of Pittsburgh, City Players, Theatre
Express. As a fight director, Randy has worked on and off Broadway, in
regional theater, film and television. He has staged fights for many
Pittsburgh theaters including numerous shows at The Public. Randy cowrote and directed the award-winning short film, Lightweight. His latest
film, The Beat Goes On, will be released this fall. Randy teaches acting at
the Carnegie Mellon School of Drama and leads private acting workshops.
www.randykovitz.com
DANIEL KRELL* (Mr. Dussel) is happy to return to The
Public for his 25th appearance with the company. His
performances here have encompassed contemporary
works, classics, and musicals and include such favorites as
Our Town, Born Yesterday, As You Like It, Circle Mirror
Transformation, A Moon for the Misbegotten,
Metamorphoses, Amadeus, Cabaret, Oedipus the King,
Much Ado About Nothing, Sweeney Todd, and most recently the acclaimed
Othello. He has played a variety of major roles with the region’s professional
theaters, such as City Theatre, Pittsburgh CLO, Quantum, Bricolage, PICT, and The
REP as well as with theaters around the country, including Clarence Brown
Theatre, PlayMakers Repertory, and Gateway Playhouse among others. Mr. Krell
is also a veteran of many films, commercials, industrials, and voice-overs. Up next:
Jacob Marley in A Christmas Carol with Pittsburgh CLO.
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CHRISTINE LAITTA* (Mrs. Frank) is a Pittsburgh native
and Penn State University alumni who is proud to call the
Burgh’ her home. CLO Cabaret credits Girls Only: The
Secret Comedy of Women, I Love You Your Perfect Now
Change, Forbidden Broadway, and Forbidden Broadway
SVU. Favorite roles include Dora Bailey in Singing in the
Rain, Yenta in Fiddler on The Roof, Carrie in Carousel!,
Scout in To Kill a Mockingbird, Lucy Schmeeler in On the
Town, Ms. Hannagin in Annie, Maria in The Sound of Music, and Principal
Anderson in the Emmy-nominated PBS pilot of “Scientastic!” in which she served
as the choreographer/script consultant. She originated the role of Ms. Frizzle in
the First National Tour of The Magic School Bus Live! and has written/performed
several original cabarets including the popular TV Tunes Sing-A-Long! Chris is coauthor of The Dramatically Different Classroom (Kagan Publishing), a hands-on
book of activities that infuse Drama and Music into the classroom. She teaches at
the Creative and Performing Arts school as well as coaches private students. AEA,
SAG/AFTRA.
HELENA RUOTI* (Mrs. Van Daan) is thrilled to return to
Pittsburgh Public Theater where she last appeared as Dotty
Otley in Noises Off. Most recently she performed with Kinetic
Theatre Company in The Dance of Death. As an actor in the
Pittsburgh region her career encompasses leading roles in more
than a dozen productions at The Public. Favorites include Julie
in The Royal Family, Regina in The Little Foxes and Ann Landers
in The Lady With All the Answers, all directed by Ted Pappas. She has made many
notable performances at City Theatre, Three Rivers Shakespeare Festival, and
Pittsburgh Irish & Classical Theatre; as well as appearances with the International
Poetry Forum and the Pittsburgh Symphony. She is a recipient of a Post-Gazette
Performer of the Year Award, the Pittsburgh Cultural Trust’s Creative
Achievement Award, and City Theatre’s Robert M. Frankel Award. Helena was
recognized by the Allegheny County Council with a Proclamation honoring her
contribution to women in the arts as part of Women’s History Month.
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DAVID WOHL* (Mr. Van Daan) played Freud in Freud’s Last
Session at Pittsburgh Public Theater. Since then, he appeared
in New York in Golden Boy for Lincoln Center and in Robert
Brustein’s The Last Will, as well as Elegy at Chicago’s Victory
Gardens, Deathtrap at Bucks County, and Awake and Sing at
the Huntington. On Broadway he was in The Man Who Had All
the Luck (Roundabout), Dinner at Eight (Lincoln Center), and
Fiddler on the Roof (Minskoff). Off-Broadway, he has worked with Playwrights
Horizons, Rattlestick, EST, and the Abingdon. Regionally, he worked at
Williamstown, the Taper, LaJolla, and George Street among others. Film credits
include Sophie’s Choice, Revenge of the Nerds, Brewster’s Millions, Hot Shots Part
Deux, Saving Private Ryan, and The Wackness. On television, David was a regular
on “Brooklyn Bridge,” “Hey Arnold,” “DEA,” and “Once a Hero” and last fall
recurred on the CBS show, “Madame Secretary.”
REMY ZAKEN* (Anne Frank) is excited to be playing one of her
dream roles in the first straight play production of her career.
She is most known for originating the role of Thea on
Broadway in Spring Awakening. Off-Broadway: Brooklynite,
The Anthem (Hera), Freckleface Strawberry (title role), Spring
Awakening, Captain Louie, and Radiant Baby. Regional: A Tree
Grows in Brooklyn (Goodspeed, Connecticut Critics Circle
Award), A Little Princess. Workshops: Home Street Home (NOFX musical); Bright
Star (Steve Martin musical); Some Lovers (Burt Bacharach musical); First Love
(with Eve Plumb); My Mother, My Sister & Me (with Valerie Harper). Film/TV:
Pitching Tents, Sing Along (short), “Gossip Girl,” “Law & Order,” “It Could Be
Worse.” Remy graduated from Columbia University with a BA in psychology.
www.remyzaken.com
2015-2016 Season
Page 40
Meet the Director & Designers
PAMELA BERLIN (Director) has directed eight previous productions at Pittsburgh
Public Theater: The Glass Menagerie True West, Clybourne Park, Red, A Moon for
the Misbegotten, Talley’s Folly, Driving Miss Daisy, and Tea. Last spring she
directed Three Sisters at Carnegie Mellon University. New York credits include:
Steel Magnolias (also Los Angeles, Chicago, and National Tour); To Gillian on Her
37th Birthday (Circle in the Square); The Cemetery Club (Broadway); Joined at the
Head and Pretty Fire (Manhattan Theatre Club); The Family of Mann and Red
Address (Second Stage); Black Ink and Elm Circle (Playwrights Horizons);
Endpapers (Variety Arts); Snowing at Delphi, Club Soda and Peacetime (WPA);
Winners and Close Ties (Ensemble Studio Theatre). Regionally, she has directed at
The Long Wharf, Kennedy Center, Huntington, Seattle Rep, Pasadena Playhouse,
Pioneer, Portland Stage, Virginia Stage, TheatreWorks in Palo Alto. Opera credits:
La Traviata, Rigoletto, Madame Butterfly, Lucia di Lammermoor, Eugene Onegin,
A Midsummer Night’s Dream, Of Mice and Men, Bernstein’s Mass. She recently
directed Stravinsky’s Histoire du Soldat. Pam has taught directing and acting at
the Mason Gross School of the Arts at Rutgers University and Brooklyn College,
and served for six years as President of the Stage Directors and Choreographers
Society, a national labor union.
2015-2016 Season
Page 41
SUZANNE CHESNEY (Costume Designer) is pleased to return to Pittsburgh Public
Theater where she previously designed The Glass Menagerie and Clybourne Park,
directed by Pamela Berlin. Her other recent credits include Blithe Spirit and Turn
of the Screw at Syracuse Stage; Fast Company, Isaac’s Eye, Photograph 51, Lenin’s
Embalmers, Headstrong, White People, Lucy, Close Ties, End Days, Pigeon, On the
Way to Timbuktu at the Ensemble Studio Theatre; The Cripple of
Inishmaan and The Good Person of Szechwan at Juilliard; Teresa’s Ecstasy at
Cherry Lane Theatre; Feeder – A Love Story and Blue Before Morning at
terraNOVA Collective. Suzanne has also assisted Jennifer von Mayrhauser on more
than 20 episodes of “Law & Order” (NBC) and season one of “Unforgettable”
(CBS). www.suzannechesney.com.
JOHN LASITER (Lighting Designer) has designed lighting on Broadway, OffBroadway, internationally, and in such regional theaters across America as Actors
Theatre of Louisville, Arena Stage, Arizona Repertory Theatre, Asolo Repertory
Theatre, Center Stage (Baltimore), Cincinnati Playhouse, Cleveland Play House,
Dallas Theater Center, Florida Stage, George Street Playhouse, Geva Theatre
Center, Goodspeed Musicals, Long Wharf Theater, Milwaukee Repertory Theater,
New Mexico Repertory Theatre, The Muny, Northlight Theatre, Paper Mill
Playhouse, Pioneer Theater Co., Pittsburgh Public Theater, South Coast Repertory,
Syracuse Stage, Virginia Stage Company, and Repertory Theatre of St. Louis. Mr.
Lasiter’s opera design credits include Eos Orchestra, the Curtis Institute of Music,
Glimmerglass Opera, Manhattan School of Music, Opera Delaware, Opera
Carolina, and Skylight Opera Theatre. Dance credits include Ballet Memphis,
Danzantes Los Angeles, Danzantes New Mexico, Irene Hultman Dance, Nora
Reynolds Dance, and Randy James Dance Works. www.johnlasiter.com.
2015-2016 Season
Page 42
ZACH MOORE (Sound Designer) has designed more than 75 productions at
Pittsburgh Public Theater. Over the past 17 years his designs here have included
the world premieres of L’Hotel, The Chief, Harry’s Friendly Service, The Glorious
Ones, The Secret Letters of Jackie and Marilyn, and Paper Doll; the American
premieres of The Bird Sanctuary and RolePlay (also original music); as well as
Buyer & Cellar, Othello, The Glass Menagerie, Noises Off!, Thurgood, 1776,
Around the World in 80 Days, Red, Electra, Circle Mirror Transformation (also
original music), A Midsummer Night’s Dream, Metamorphoses, I Am My Own
Wife, Man of La Mancha, and Tea. Other designs include Pop! (City Theatre
Company), Sweeney Todd and Angels in America (University of Pittsburgh Rep),
House and Garden (Pittsburgh Irish & Classical Theatre), Completely Hollywood
(abridged) (Reduced Shakespeare Company), Falsettos (The Huntington), Paper
Doll (Long Wharf Theatre), and Fully Committed (PPT, Dallas Theater Center,
McCoy/Rigby Productions). He also operates a small music mastering studio,
HDdB.
FRED NOEL* (Production Stage Manager) marks his 27th season as Production
Stage Manager at Pittsburgh Public Theater. He also completed four seasons with
The National Theatre of the Deaf, touring throughout the United States and
China. Mr. Noel was Stage Manager for the Performing Arts Season at the Model
Secondary School for the Deaf in Washington, D.C. and Gallaudet University’s
tours of Europe, Argentina, Japan, India, South Africa, Mexico, and Romania. He
also serves part-time as Production Manager for D.C. area Quest Visual Theatre;
he assisted the company in producing Deaf Way II, an international deaf arts
festival, and several shows as part of the Edinburgh International Festival Fringe.
His credits also include the Off- Broadway production of Women of Manhattan.
Mr. Noel is a Pennsylvania native and alumnus of Duquesne University. In
Pittsburgh, he has also stage managed for Don Brockett Productions, Pittsburgh
CLO, and Carnegie Mellon Showcase of New Plays.
2015-2016 Season
Page 43
MICHAEL SCHWEIKARDT (Scenic Designer) recent and favorite Pittsburgh Public
Theater credits include My Fair Lady, The Glass Menagerie, Noises Off, True West,
Other Desert Cities, Clybourne Park, Talley’s Folly, Around the World in 80 Days,
Red, Superior Donuts, Tea, H.M.S. Pinafore, and Anna in the Tropics. Selected OffBroadway productions include: The Bus and the American premiere of Frank
McGuinness’ Gates of Gold (59 E 59); Bloodsong of Love (Ars Nova); The Black
Suits (Public Theater); Things to Ruin (Second Stage, The Zipper Factory). Regional
credits include productions at The Old Globe, Cleveland Playhouse, Cincinnati
Playhouse in the Park, Asolo Repertory Theatre, Maltz Jupiter Theatre, Saint Louis
Rep, Sarasota Opera, The MUNY, Papermill Playhouse, and multiple productions
for Goodspeed Musicals including Fiddler on the Roof, The Most Happy Fella,
Carousel, Showboat, Annie Get Your Gun, 1776, Big River, and Camelot. Tours:
James Taylor’s One Man Band, ELLA, Motherhood the Musical. Other
productions: Oklahoma! starring Kelli O’Hara and Will Chase celebrating The
Oklahoma State centennial. Michael recently designed productions of Marie
Antoinette the Musical and Phantom for EMK International in Seoul, South Korea.
www.msportfolio.com
DON WADSWORTH (Dialect Coach) for the Public Theater has coached actors
with British dialects (My Fair Lady, Camelot, Noises Off, The Importance of Being
Earnest), Spanish (Anna in the Tropics), German and French (Cabaret, L’Hotel,
Freud’s Last Session, Around the World in 80 Days, I Am My Own Wife), Boston
(Good People), Italian (The Glorious Ones), Southern (1776, Little Foxes), and
Australian (The Sum of Us). Don is the voice coach for other regional theaters as
well: Actors Theatre of Louisville, City Theatre, Cleveland Playhouse, Civic Light
Opera, Quantam, and Chautauqua Theater Company. In New York Don taught an
Irish dialect to the full company of The Pirate Queen on Broadway. He is coaching
the new TV series, “Outsiders,” for Sony Pictures Television, which will premiere
in January. His film credits include Warrior, A New York Heartbeat, The Cemetery
Club, Unstoppable, Adventureland, Passed Away, Sorority Row, and The Road.
Don is the head of Acting and Music Theater in Carnegie Mellon’s School of
Drama.
2015-2016 Season
Page 44
Theater Etiquette
Things to remember when attending the theater:
When you visit the theater you are attending a live performance with actors that are
working right in front of you. This is an exciting experience for you and the actor.
However, in order to have the best performance for both the audience and actors there
are some simple rules to follow. By following these rules, you can ensure that you can
be the best audience member you can be, as well as keep the actors focused on giving
their best performance.
1. Turn off all cell phones, beepers, watches etc.
2. Absolutely no text messaging during the performance.
3. Do not take pictures during the performance.
4. Do not eat or drink in the theater.
5. Do not place things on the stage or walk on the stage.
6. Do not leave your seat during the performance unless it is an emergency.
If you do need to leave for an emergency, leave as quietly as possible and
know that you might not be able to get back in until after intermission.
7. Do clap—let the actors know you are enjoying yourself.
8. Do enjoy the show and have fun watching the actors.
9. Do tell other people about your experience and be sure to ask questions and
discuss the performance.
2015-2016 Season
Page 45
Other Works About Anne Frank and Additional Resources
•
This link provides the entire Anne Frank lesson plan for educators composed by Dr.
Michael Naragon and Classrooms Without Borders
http://www.classroomswithoutborders.org/admin/uploads/anne-frank-lesson-plan-drmichael-naragon-(1).pdf
•
Additional sources from the Classrooms Without Borders study guide include a speech
by Academy Award winning actress Emma Thompson on Anne Frank’s legacy
(https://www.youtube.com/watch?v=2XhGv9xLT5U ) and these listed texts of other
people who recorded their lives during the Holocaust:
1) Abraham Cytryn, A Youth Writing Between the Walls: Notebooks from the Lodz
Ghetto.
2) Petr Ginz, The Diary of Petr Ginz. 3) Ruthka Laskier, Rutka's Notebook: A Voice from the Holocaust,
http://www.nytimes.com/2007/06/10/weekinreview/10word.html?_r=0
(This review contains excerpts that could be utilized in a pinch.)
4) Rywka Lipszyc, The Diary of Rywka Lipszyc: 5) Helga Weiss, Helga's Diary: A Young Girl's Account of Life in a Concentration Camp,
Press Coverage of Weiss’ Diary: http://www.mirror.co.uk/news/world-news/diaryholocaust-survivor-helga-weiss-1738242
•
http://fcit.usf.edu/holocaust/timeline/timeline.htm (A series of timelines that trace
the Nazi Rise to Power, the Nazification of Germany, the Emergence of the Holocaust,
the Evolution of the Camps, and Resistance.)
•
Interesting videos to watch: http://www.ushmm.org/confront-antisemitism/europeanantisemitism-from-its-origins-to-the-holocaust
http://www.ushmm.org/learn/introduction-to-the-holocaust/path-to-nazi-genocide
•
Esther "Etty" Hillesum (January 15, 1914 – November 30, 1943) was a Jewish woman
whose letters and diaries, kept between 1941 and 1943, describe life in Amsterdam
during the German occupation. They were published posthumously in 1981.
Playwright/performer Susan Stein has written a one-woman show based on the writings
of Hillesum. http://www.ettyplay.org/
2015-2016 Season
Page 46
Pennsylvania Academic Standards
The plays of Pittsburgh Public Theater’s 41st season are a wonderful celebration of some of the
greatest works in theatrical history, with rich benefits for school students. The 2015-2016 lineup features a four-play subscription series, all by renowned composers and playwrights that
hold a special place in any theater enthusiast’s heart. This will provide examples of the wittiest
dialogue, the sharpest characters, and the most captivating scores.
Applicable to All Plays and Productions:
Arts and Humanities Standards and Reading-Writing-Speaking-Listening Standards
Attendance and participation by students at any play produced by Pittsburgh Public Theater
bears direct applicability to the PA Education Standards in Arts and Humanities and ReadingWriting-Speaking-Listening (RWSL). These applicable standards are summarized first. Then,
each play for Season 41 is taken in turn, and its relevance to standards in other Academic
Content Areas is cited. All standards are summarized by conceptual description, since similar
concepts operate across all the grade levels served by The Public’s Education-Outreach
programs (Grades 4 through 12); the principal progressive difference is from basics such as
Know, Describe and Explain, moving through grade levels towards more mature activities such
as Demonstrate, Incorporate, Compare-Contrast, Analyze and Interpret.
9.1: Production, Performance and Exhibition of Dance, Music, Theatre and
Visual Arts
Elements
• Scenario • script/text • set design • stage productions • read and write
scripts • improvise • interpret a role • design sets • direct.
Principles
• Balance • collaboration • discipline • emphasis • focus • intention •
movement • rhythm • style • voice.
• Comprehensive vocabulary within each of the arts forms.
• Communicate a unifying theme or point of view through the production of
works in the arts.
• Explain works of others within each art form through performance or
exhibition.
• Know where arts events, performances and exhibitions occur and how to
gain admission
2015-2016 Season
Page 47
9.2: Historical and Cultural Contexts
• The historical, cultural and social context of an individual work in the arts.
• Works in the arts related chronologically to historical events, and to
varying styles and genres, and to the periods in which they were created.
• Analyze a work of art from its historical and cultural perspective, and
according to its geographic region of origin.
• Analyze how historical events and culture impact forms, techniques and
purposes of works in the arts.
• Philosophical beliefs as they relate to works in the arts.
Play #1: THE DIARY OF ANNE FRANK (September 24 – October 25)
Written by Frances Goodrich and Albert Hackett. Directed by Pamela Berlin.
Through the story of this one girl, generations have felt the emotional impact of what was lost
during the Holocaust. Anne Frank was a spirited, insightful teenager when she and her family
took refuge from the Nazis in an Amsterdam attic. Gifted director Pamela Berlin (The Glass
Menagerie, Clybourne Park, Red) stages an inspiring new production of this Pulitzer and Tony
winner about Anne's coming of age during her two years in hiding.
Career Education and Work
• Identify formal and informal lifelong learning opportunities that support
career retention and advancement.
• Determine attitudes and work habits that support career retention and
advancement.
Family and Consumer Sciences
• Contrast past and present family functions and predict their probable impact
on the future of the family.
• Justify the significance of interpersonal communication skills in the
practical reasoning method of decision making.
• Assess the effectiveness of the use of teamwork and leadership skills in
accomplishing the work of the family
2015-2016 Season
Page 48
References
A special thank you to Classrooms without Borders for the aforementioned references and
resources.
(n.d.). Retrieved September 19, 2015, from
http://www.newsweekly.com.au/article.php?id=5130
(n.d.). Retrieved September 19, 2015, from http://www.bbc.co.uk/annefrank/biogs.shtml
(n.d.). Retrieved September 19, 2015, from http://www.annefrank.ch/all-about-the-diary.html
Anne Frank. (2013, March 18). Retrieved September 19, 2015, from
http://www.history.co.uk/biographies/anne-frank
Anti-Jewish Legislation in Prewar Germany. (2015, August 18). Retrieved September 19, 2015,
from http://www.ushmm.org/wlc/en/article.php?ModuleId=10005681
Binder, D. (1998, February 17). Ernst Junger, Contradictory German Author Who Wrote About
War, Is Dead at 102. Retrieved September 19, 2015, from
http://www.nytimes.com/1998/02/18/arts/ernst-junger-contradictory-german-author-whowrote-about-war-is-dead-at-102.html
Diary Excerpts. (n.d.). Retrieved September 19, 2015, from http://annefrank.com/about-annefrank/diary-excerpts/
Extracts from the diary of Anne Frank (1942-44). (2012, November 25). Retrieved September
19, 2015, from http://alphahistory.com/holocaust/anne-frank-diary-1942-44/
Frances Goodrich & Albert Hackett biography. (n.d.). Retrieved September 19, 2015, from
http://www.writerstheatre.org/frances-goodrich-albert-hackett-biography
From hiding place to museum: The history of the Anne Frank House - International Youth
Centre. (n.d.). Retrieved September 19, 2015, from
http://www.annefrank.org/en/Museum/From-hiding-place-to-museum/International-YouthCentre/
2015-2016 Season
Page 49
Gussow, M. (1995, March 17). Albert Hackett, 95, Half of Prolific Drama Team. Retrieved
September 19, 2015, from http://www.nytimes.com/1995/03/18/obituaries/albert-hackett-95half-of-prolific-drama-team.html
The Anne Frank House: Meyer Levin and the play about Anne Frank. (n.d.). Retrieved
September 19, 2015, from http://www.annefrank.org/en/Museum/Exhibitions/TemporaryExhibitions/This-play-is-a-part-of-my-life/Meyer-Levin-and-the-play/
The story of Anne Frank: A play and a film. (n.d.). Retrieved September 12, 2015, from
http://www.annefrank.org/en/Anne-Frank/The-diary-of-Anne-Frank/A-play-and-on-film/
The story of Anne Frank: Anne Frank's diary is published. (n.d.). Retrieved September 19, 2015,
from http://www.annefrank.org/en/Anne-Frank/The-diary-of-Anne-Frank/Anne-Franks-diaryis-published/
The story of Anne Frank: Anne Frank, the writer. (n.d.). Retrieved September 19, 2015, from
http://www.annefrank.org/en/Anne-Frank/A-diary-as-a-best-friend/Anne-Frank-the-writer/
The story of Anne Frank: The hiding place. (n.d.). Retrieved September 19, 2015, from
http://www.annefrank.org/en/Anne-Frank/Not-outside-for-2-years/-The-Secret-Annex/
Wilson outlines the Fourteen Points. (n.d.). Retrieved September 19, 2015, from
http://www.history.com/this-day-in-history/wilson-outlines-the-fourteen-points
World War I: Aftermath. (2015, August 18). Retrieved September 19, 2015, from
http://www.ushmm.org/wlc/en/article.php?ModuleId=10007429
World War I: Treaties and Reparations. (2015, August 18). Retrieved September 19, 2015, from
http://www.ushmm.org/wlc/en/article.php?ModuleId=10007428
. (n.d.). Retrieved September 19, 2015, from http://www.annefrankguide.net/enUS/bronnenbank.asp?oid=15910
2015-2016 Season
Page 50

Born Yesterday - Pittsburgh Public Theater

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