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2015 STUDY GUIDE TOOLS FOR TEACHERS sponsored by SCHULICH CHILDREN’S PLAYS PRESENTS Sara Farb Support for the 2015 season of the Avon Theatre is generously provided by the Birmingham family Table of Contents The Place The Stratford Story ...................................................................................................... 1 The Play Anne Frank: The Honest Truth ................................................................................... 3 The Diary ...................................................................................................................... 6 The Playwrights: Frances Goodrich & Albert Hackett ............................................... 8 A New Adaptation by Wendy Kesselman .................................................................. 9 Characters in the Play ............................................................................................... 10 About the Play ........................................................................................................... 11 Plot Synopsis ............................................................................................................. 11 Stratford Production History ..................................................................................... 12 Background The Holocaust in Brief ............................................................................................... 13 Why is the Holocaust Important? .............................................................................. 13 Why Teach the Diary of Anne Frank? ........................................................................ 14 Teaching About the Holocaust .................................................................................. 16 Anne Frank – A Timeline ............................................................................................ 18 The Production Cast and Artistic Team ............................................................................................... 24 Lesson Plans and Activities The Wall of Honour ............................................................................................. 25 Inspiring Voices ................................................................................................... 28 Youth Rights ......................................................................................................... 38 Discussion Topics ............................................................................................... 42 Resources ..................................................................................................... 43 Richard III: “Now is the winter of our discontent/ Made glorious summer by this The sun of York.” Those words marked the triumphant end to what had sometimes seemed a hopeless struggle against the odds to turn Patterson’s dream into a Stratford reality – and the beginning of an astonishing new chapter in Canadian theatre history. The other production of Story that inaugural six-week season, a modern- That Stratford, Ontario, is the home of the dress version of All’s Well That Ends Well, largest classical repertory theatre in North opened the following night, confirming the America is ultimately attributable to the opinion of celebrated novelist Robertson dream of one man, Stratford-born Davies that the new Festival was an journalist Tom Patterson. achievement “of historic importance not only in Canada, but wherever theatre is taken seriously – that is to say, in every civilized country in the world.” Time proved the truth of Davies’ words, for the Festival’s pillared, porticoed thrust stage revolutionized the performance of classical and contemporary theatre in the latter half of the 20th century and inspired the design of more than a dozen other In the early 1950s, seeing the economy of major venues around the world, including his home town endangered by the the Guthrie Theatre in Minneapolis, the withdrawal of the railway industry that had Beaumont Theatre at Lincoln Centre and, sustained it for nearly 80 years, Patterson in England, the Chichester Festival conceived the idea of a theatre festival Theatre, the Crucible Theatre in Sheffield devoted to the works of William and the Olivier Theatre at the Royal Shakespeare. His vision won the support National Theatre in London. Over the not only of Stratford City Council and an years, the Festival has made some enthusiastic committee of citizens, but amendments to the original design of also of the legendary British actor and Moiseiwitsch’s stage, without changing its director Tyrone Guthrie, who agreed to essential format. become the proposed festival’s first Artistic Director. The Stratford Shakespearean Festival of Canada was incorporated as a legal entity on October 31, 1952. A giant canvas tent was ordered from a firm in Chicago, and in the parklands by Stratford’s Avon River work began on a concrete amphitheatre at the centre of which was to be a revolutionary thrust stage created to Guthrie’s specifications by internationally renowned theatrical designer Tanya Moiseiwitsch. At the end of the 1956 season, the giant From the balcony of that stage, on the canvas tent that had housed the Festival’s night of July 13, 1953, actor Alec first four seasons was dismantled for the Guinness spoke the opening lines of The Diary of Anne Frank Stratford Festival 1 2015 Study Guide last time to make way for a new and professional artist development: The permanent facility to be erected around Birmingham Conservatory for Classical the existing stage. Designed by architect Theatre. Robert Fairfield, the new building would be one of the most distinctive in the world of Stratford Festival performances take place the performing arts: its circular floor plan in four distinct stages: and crenellated roof paying striking tribute to the Festival’s origins under canvas. Festival Theatre In the years since its first season, the Stratford Festival has set benchmarks for the production not only of Shakespeare, Molière, the ancient Greeks and other great dramatists of the past, but also of such 20th-century masters as Samuel Beckett, Bertolt Brecht, Anton Chekhov, Avon Theatre Henrik Ibsen, Eugene O’Neill and Tennessee Williams. In addition to acclaimed productions of the best in operetta and musical theatre, it has also showcased–and in many cases premièred– works by outstanding Canadian and other contemporary Tom Patterson Theatre playwrights. Its artists have included the finest actors, directors and designers in Canada, as well as many from abroad. Among the internationally renowned performers who have graced its stages are Alan Bates, Brian Bedford, Douglas Campbell, Len Studio Theatre Cariou, Brent Carver, Hume Cronyn, Brian Dennehy, Colm Feore, Megan Follows, Lorne Greene, Paul Gross, Uta Hagen, Julie Harris, Martha Henry, William Hutt, James Mason, Eric McCormack, Loreena McKennitt, Richard Monette, John Neville, Nicholas Pennell, Christopher Plummer, Stratford Festival Behind the Scenes App. Sarah Polley, Douglas Rain, Kate Reid, Contains interactive set models, exclusive Jason Robards, Paul Scofield, William images and slideshows, special audio and Shatner, Maggie Smith, Jessica Tandy, video content and photos, stories and Peter Ustinov and Al Waxman. animations and insights into the world of theatre at the Festival. For more information Drawing audiences of more than 400,000 see www.stratfordfestival.ca/explore. each year, the Festival season now runs from April to November, with productions For interactive classroom activities related to being presented in four unique theatres. It the Stratford Festival, go to the CBC Digital Archives: http://bit.ly/Yy7eK6 offers an extensive program of educational and enrichment activities for students, teachers and other patrons, and operates its own in-house school of The Diary of Anne Frank Stratford Festival 2 2015 Study Guide ANNE FRANK: THE HONEST TRUTH By Martin Morrow In Philip Roth’s 1979 novel The Ghost Writer, set in the 1950s, his hero, Nathan Zuckerman, intrigued by a mysterious young woman named Amy Bellette, begins to imagine that she might be Anne Frank. What if, he speculates, Anne had survived the Holocaust and escaped to the United States, where she was living incognito? In Zuckerman’s fantasy, Anne even attends the Broadway play based on her diary and is shaken by the sight of audience members sobbing over her presumed fate. Roth isn’t alone in conjecturing what might have happened if Anne hadn’t died in the Bergen-Belsen concentration camp in the winter of 1945. Anyone reading her diary, or watching its play and film adaptations, can’t help imagining a different outcome. In part, it’s because Anne and the other seven people who hid for two years in the legendary Achterhuis, or Secret Annex – the upper back floors of Otto Frank’s wholesale spice business on Amsterdam’s Prinsengracht (Prince’s Canal) – came so painfully close to outwitting the Nazis. Anne’s last diary entries, vibrant with hope, describe the D-Day invasion of June 1944, and we know that in less than a year the First Canadian Army would liberate German- occupied Holland. Even more agonizing is the fact that Anne and her sister Margot succumbed to the typhus epidemic at Bergen-Belsen just a month before British troops entered the camp. What really makes us ache, and speculate, however, is that we’ve fallen in love with Anne. The girl that emerges from the pages of that plaid-covered diary is lively, funny, intelligent, precocious and remarkably insightful. She’s a lippy
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