Oklahoma!

June, 2005

Jekyll and Hyde

June, 2004

The Diary of Anne Frank

 

November-December, 2001

Our version of the Pulitzer prize-winning drama, dramatized by James Goodrich and Albert Hackett, strived to be just a bit different. In the first place, we wanted to play up the strengths of our playing area, which was the top floor of a barn at the lovely Seven Arrows, located on Oak Hill Avenue in Seekonk, MA. We managed to transform this top floor (plus the meditation loft) into a split-level theater. We also leveraged what is typically the biggest drawback of this space-the limited audience area-to emphasize the claustrophobic nature of the show, placing the audience mere inches from the actors. We also used the downstairs, banging on walls, slamming doors, harsh voices, heavy boots, breaking glass, whatever it took to lend a frighteningly realistic dimension to the action-for both actors and audience alike. There were other little touches, as well, such as the construction of a bookcase that had to be pushed away to reveal the entrance to the secret annex, which the audience had to pass through to enter the "world" of Anne Frank.

Originally, I had not planned to use any music in the production, but I was dissuaded of this notion, for which I'm extremely grateful. We never would have been able to obtain the level of emotion we attained had we not utilized Barber's lovely Adagio for Strings to serve as counterpoint to the climatic scene where the Franks await in fear for the arrival of the inevitable-their discovery by the Nazis. And, my most cherished moment, our curtain call, which really wasn't a curtain call at all (How could we have had one, really?), as we played Mahler's achingly tender Fifth Symphony, Fifth movement. One by one, the occupants of the Secret Annex came center stage, and lit a candle on the Menorah, until at last, only Anne was left. Looking into her beloved father's eyes, she lit the final candle and then, slowly, as if she were nothing more than a ghost invoked by memory, drifted away, never to be seen again.

Ah, the actors! They were indeed top notch. Our lead, Christine Stulick, not only bore a striking resemblance to Anne, but also possessed an ability and range far beyond her years. Mr. Frank-played by Bruce Church-also bore a striking resemblance to his character. His quiet strength not only anchored the show during the performances, but also influenced the cast off stage, and provided me with a role model that I shall evermore strive to emulate. There wasn't a bad actor to be had in the bunch.

I seriously think I should quit while I'm ahead. I'm not certain I'll ever be able to put together a more perfect production.

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