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2 Off-Broadway shows offer fresh perspectives on Anne Frank’s story
(New York Jewish Week) – A young woman imagines herself standing inside the office of a fast-talking, bowtie-wearing, pipe-smoking editor of a major publishing house in New York City.
She’s just submitted her diary — a memoir of her life in hiding from Nazis and subsequent detention in a concentration camp — for his review, and stands in front of him as he scrutinizes her experiences, deeming them plausible or not, appropriate or absurd.
The woman is Anne Frank, and the imagined scene is the premise of “Anne Being Frank,” one of two shows based on Frank’s diary that are running Off-Broadway in New York City this fall. The other is “Anne Frank, a Musical.”
The one-woman show, which opened on Sept. 4 at Manhattan’s Emerging Artists Theatre, presents a new version of the Anne Frank story in which she pens her diary while she is dying in the Bergen-Belsen concentration camp, rather than writing it while in hiding in Amsterdam. The show depicts her suffering from starvation and sexual assault in the camps, and eventually contracting a lethal case of typhus, all of which changes the tone of her writing.
“Instead of leaving people with this idea that all these people are really good at heart, she’s grown up and seen the atrocities and the things that have happened to her,” Amanda Lerner, the director of “Anne Being Frank,” told the New York Jewish Week, referencing a famous passage of the diary in which Frank writes, “I still believe, in spite of everything, that people are truly good at heart.”
Lerner added that she wanted to represent the experience of Holocaust victims in the camps and depict the “truth of all of the other people who have lived these stories — without apologizing for it,” she said.
Frank’s story is among the most well-known Holocaust narratives, and the creators of both shows said that they saw it as an avenue for conveying the gravity of the Holocaust to audiences, especially non-Jewish ones. The two productions come during a time when works about Frank’s life have taken a central place in national debates about education and censorship. Recently, multiple school districts have banned a graphic novel based on Frank’s diary, and in September, a teacher was allegedly fired in Texas for reading it aloud to students.
Earlier this year, the National Geographic limited series “A Small Light” told the Anne Frank story from the perspective of Miep Gies, the woman who helped hide the Frank family.
“For me, the Anne Frank story is, and really should be, universal,” said David Serero, who directed and produced “Anne Frank, a Musical,” and stars as Frank’s father, Otto. “Of course, it’s a Jewish story, but I think it’s important to share that story so it will never happen again. It’s important for others to know the damage that such a thing can do.”
The diary has been adapted dozens of times in the more than seven decades since its publication, beginning with the 1955 Broadway show, “The Diary of Anne Frank,” which won the Pulitzer Prize for Drama and Tony Award for Best Play.
“In the 1950s when her diary came out, Anne Frank became probably the most well known victim of the Holocaust,” said Dr. Alex Sagan, a historian affiliated with Harvard’s Center for European Studies who has written extensively about adaptations of Frank’s diary. “It’s a very famous and resonant story. Everybody knows it, and it’s understandable that lots of people are inspired to retell it. The question is, what should our judgment be about what they produce?”
He said adaptations should be judged based on whether they “impart inaccurate information,” and added that observers should “ask to what extent does it teach us or make us feel something about the story of Frank, or about her diary, that is really meaningful.”
Sagan added that while adaptations and retellings should stay accurate to the diary, there is still plenty of opportunity for artistic license.
“They’re going to reflect the moment in which they’re created, the medium in which they’re created and the creators,” he said. “So it doesn’t mean that they have no individuality, and it means that when they’re created, they see where they might seem very relevant if they’re well done.”
The publishing house scene in “Anne Being Frank” speaks to the question of whether and how future generations will receive Holocaust stories. In the play, Anne (played by actress Alexis Fishman) imagines the conversation with the editor as she lays dying in her bunk in Bergen-Belsen.
She considers how an editor — and the world — might perceive her and her story after they learn the truth about humanity. The editor, while praising her as a writing prodigy, finds the details, especially the events in the camps, implausible.
“The reason that I have spent such a great chunk of my career in writing speculative history is that I truly believe that truth is stranger than fiction — that no writer can match the sheer unpredictability and madness of the real world,” said Ron Elisha, the play’s writer. “There’s nothing that happens in my play that could not have happened. These things happened. They need to be explained.”
“Anne Frank, a Musical” premiered at the Center for Jewish History in 2019. (Courtesy David Serero)
The second show out this fall, “Anne Frank, a Musical,” is less speculative about what happens after Frank was discovered in the annex in Amsterdam. Instead, it reinterprets the events depicted in Anne’s diary through song.
The musical, which was originally written in French by Jean-Pierre Hadida in 2007, was adapted for an American audience in English by Serero. It premiered in 2019 at the Center for Jewish History and opens this year on October 11 at the Actor’s Temple Theater.
“Of course, people in America and in New York were a little bit reluctant when they heard, ‘a musical about Anne Frank,’ but a musical doesn’t have to be about something joyful. It’s emotive,” Serero said. “I can assure you, I have a lot of respect in the approach of all the characters in order to make them believable onstage.”
The musical opens in the present day, with a group of teenagers visiting the Anne Frank House in Amsterdam. When they start to ask questions about her life, they are quickly transported back in time to the same place in 1942.
“To bring it through the medium of music is very important because we sing what we cannot say — there are things that only music can express,” Serero said. “When you add music, the diary of Anne Frank becomes the life of Anne Frank.”
And though the productions approach the story differently, they each reflect contemporary perspectives on the world. “Anne Being Frank” aims to show the graphic, violent suffering and death of Jews in the Holocaust, and to invite viewers to think about what happened next — rather than solely the hope reflected in the most famous passage of Frank’s diary. The show, in some ways, asks its viewers to interrogate other places or moments where the full story isn’t being told.
For Serero, the “secret of the musical’s success,” is that it connects Frank’s story to atrocities today.
“You could say that this story is over,” he said. “But still today, people are killed because of who they are.”
“Anne Being Frank” is playing at the Emerging Artists Theatre (15 W. 28th St.) through Oct. 29; tickets start at $59. “Anne Frank, a Musical” is playing from Oct. 11 through Nov. 5 at the Actors Temple Theatre (339 W. 47th St.). Tickets start at $36.50.
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American Jewish Tourists Attacked and Robbed in Venice, Authorities Investigate Possible Hate Crime
An Italian flag on display in Rome. Photo: Reuters/Guglielmo Mangiapane.
An American Jewish couple visiting Venice was violently attacked and robbed by three unidentified suspects, prompting authorities to investigate if the crime was fueled by religious hatred or a random act of violence.
According to initial Italian reports, the two Orthodox Jewish tourists were sprayed with water while one of the attackers used a dog on a leash to intimidate them. As they were distracted, another assailant grabbed their cell phones, and they fled the scene.
This latest incident near the Rialto Bridge, one of the busiest areas in the city, was reported by the local Jewish community and is now under investigation by Italian police.
Authorities say it is unclear whether the attack was motivated by antisemitism, robbery, or another reason, especially since the victims, who do not speak Italian, returned to the US without filing a formal complaint, according to Italian media reports.
State police are now trying to contact the two victims to get their account of the incident, while reviewing nearby surveillance footage to clarify the circumstances of the attack and identify the three suspects, who remain at large.
Even without a formal complaint, if the incident is determined to be a robbery or an antisemitic attack, authorities can pursue the case ex officio, and the investigation will continue regardless of the victims’ involvement.
The incident comes amid a surge in antisemitism and anti-Israel sentiment across Europe and around the world since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
In Italy, Jewish individuals have been facing a surge in hostility and targeted attacks, including vandalism of murals and businesses, as well as physical assaults. Community leaders warn that such incidents are becoming more frequent amid growing tensions related to the war in Gaza.
Last month, a Jewish man from France and his child were verbally assaulted at a gas station near Milan by a group of pro-Palestinian supporters who shouted antisemitic slurs after seeing the child wearing a kippah, yelling phrases such as “Free Palestine” and “murderers” as they passed by.
In a separate incident, a masked individual targeted a synagogue in Rome, spray-painting a swastika and antisemitic slogans — “Sieg Heil” (“Hail Victory”) and “Juden Raus” (“Jews Out”) — on a sign near the entrance.
In May, a restaurant in Naples forced an Israeli family to leave, telling them, “Zionists are not welcome here.”
Earlier this year, a homeless Egyptian man in Rome attacked a Jewish boy and injured a shopkeeper who tried to intervene. In a separate incident, anti-Israel protesters defaced a synagogue with graffiti reading “Justice for a Free Gaza.”
Last year, a hotel manager in Rome canceled an Israeli couple’s reservation just one day before their trip, accusing them of genocide and telling them the hotel would “be happy to grant free cancellation.”
“We inform you that the Israeli people as those responsible for genocide are not welcome customers in our structure,” the hotel manager told the Israeli couple.
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JetBlue Kosher Meal Incident Sparks Outrage Amid Rising Antisemitic Incidents on Airlines
A kosher meal served on a JetBlue flight was defaced with the slur “Zionazi,” sparking widespread outrage and prompting an ongoing investigation. Photo: Screenshot
A Jewish passenger aboard a JetBlue flight was reportedly served a kosher meal labeled with the slur “Zionazi,” sparking widespread outrage as the latest in a wave of recent antisemitic incidents across multiple airlines.
The incident was first reported by the US-based group StopAntisemitism, which published an image of the defaced meal on social media.
“Whoever is responsible for this must be immediately fired,” the statement read. “This is 1941 and Jews will NOT put up with this hate.”
StopAntisemitism is sickened to see a @JetBlue passenger receive his kosher meal with “zionazi” written on it.
Whomever is responsible for this must be immediately fired – this is 1941 and Jews will NOT put up with this hate. pic.twitter.com/HNr0hVrhgD
— StopAntisemitism (@StopAntisemites) August 8, 2025
In a press release, JetBlue confirmed it has launched an ongoing investigation to determine which flight was involved, emphasizing that no complaints or reports have been filed by customers so far.
“We have zero tolerance for hate, bias, or discrimination,” the statement read. “If we determine that any individual associated with JetBlue or our catering partners was involved, we will take swift and appropriate action.”
This latest incident came after a similar report days earlier on an Iberia Airlines flight from Buenos Aires to Madrid, where a Jewish passenger found “Free Palestine” written on their kosher meal tray, prompting the Spanish airline to launch an investigation.
“Iberia is conducting a comprehensive investigation, involving both its internal teams and external catering suppliers, to fully understand the incident and implement all necessary corrective actions,” the airline told The Algemeiner.
“We unequivocally condemn all forms of discrimination, hate speech, and any behavior that violates the dignity of individuals,” the statement said. “These actions are completely unacceptable and contradict the core values of respect and inclusion that define our company’s identity.”
In a separate incident, Spanish airline Vueling faced backlash after forcibly removing a group of French Jewish teenagers from a flight from Valencia to Paris, allegedly for singing in Hebrew.
The forced removal of the group has triggered political outrage in France, after their group leader was handcuffed by Spanish police and a government minister insulted the teens as “Israeli brats.”
The Spanish low-cost airline denied the allegations, insisting the incident was not related to religion but rather that the group was removed because of its members’ “highly combative attitude that was putting the safety of the flight at risk.”
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‘This Is Outrageous’: Netanyahu Repeats Threat to Sue NYT for Defamation Over Skeletal Child Photo
The New York Times newspaper. Photo: Wikimedia Commons.
Israeli Prime Minister Benjamin Netanyahu on Sunday repeated his interest in filing a lawsuit against The New York Times, following the newspaper’s misleading use of a photo depicting an emaciated Palestinian child in Gaza.
In a press conference, Netanyahu noted the historical pattern of Jewish demonization before mass violence, including through Medieval blood libels which crescendoed with the Holocaust.
“Today the Jewish state is being maligned in a similar way,” Netanyahu said. “And the international press has bought hook, line, and sinker Hamas statistics, Hamas claims, Hamas forgeries, and Hamas photographs. For example, these three children.” He pointed to a screen which featured images of tiny, skeletal bodies, allegedly the result of an Israel-enabled famine in pursuit of a genocide against the Palestinian people.
Netanyahu identified the first one as Osama Al-Rakab and said, “He is in Italy getting treatment because Israel got him out. That’s what he looks like today. He has a genetic disease that damages the lung and digestive system and makes it hard to absorb nutrients and gain weight. So Israel facilitated Osama’s travel to Italy where he got the medical aid that transformed his position.”
Continuing explaining the stories behind the photographs, Netanyahu named the second child featured, Abdul Qader al-Fayoumi, and said, “He suffers from a genetic neurological disorder, spinal muscular atrophy, a degenerative condition that causes muscle wasting, weakness, and severe weight loss. Unrelated to nutrition, this was the real cause of his frail appearance, not starvation. In fact, he was treated in Israel in 2018, but it doesn’t help because it’s a congenital disease and it defies most treatment.”
Gesturing to the screen again toward a logo of The New York Times, Netanyahu said, “The third one is the most celebrated one. This is a New York Times cover photo on the front page of Mohammed Zakaria Ayoub and his mother.”
The image appeared in the July 30 article “Young, Old and Sick Starve to Death in Gaza: ‘There Is Nothing.’” After the initial story went viral, The Times had to add an editors’ note revealing that the 18-month-old boy maintained pre-existing health issues that contributed to his current condition.
The prime minister explained that the child “is suffering from a genetic illness you’re familiar with. It’s called cerebral palsy. His mother is well-fed and his brother is healthy.”
Netanyahu walked back to the podium and said, “I’m looking right now into the possibility of a governmental suit against the New York Times because this is outrageous.” He held up his fingers to indicate a tiny square and added, “Of course a correction was postage size, I don’t know where it was buried. But this is outrageous; these are the three most celebrated photos, and they’re all fake.”
Israel’s prime minister then returned to his introductory point about medieval blood libels, saying, “It’s the kind of malignant lies that were leveled at the Jewish people in the Middle Ages, and we won’t suffer, we won’t allow it to go unchallenged, and this is the purpose of this press conference. I hope you will open your eyes to a simple fact: Hamas lies.”
Israeli Prime Minister Benjamin Netanyahu says he is looking to sue the New York Times for spreading ‘malignant lies’ about the starvation of Gazan civilians. pic.twitter.com/lnl7L5oGkr
— Adam Milstein (@AdamMilstein) August 10, 2025
Netanyahu had previously declared his support for filing a lawsuit against the New York Times in a Thursday interview with Bill Hemmer on Fox News.
“I’m actually looking at whether a country can sue The New York Times,” Netanyahu said. “And I’m looking into it right now, because I think it’s such a … it’s such clear defamation.”
Referencing Ayoub, Netanyahu told Hemmer that the image was “supposed to then represent all these supposedly starving children” but that “they put in this picture of a child who has cerebral palsy.”
In a statement to Fox News, a spokesperson for the Times pushed back against Netanyahu’s threats of a lawsuit, saying, “Children in Gaza are malnourished and starving, as New York Times reporters and others have documented. Mr. Netanyahu is referring to an update we made to a story about how the food crisis is affecting the civilian population. After publication, we learned that a child shown in that story — in addition to being severely malnourished — also had pre-existing health problems. That additional information gave readers a greater understanding of his situation.”
The spokesperson added that “attempts to threaten independent media providing vital information and accountability to the public are unfortunately an increasingly common playbook, but journalists continue to report from Gaza for The Times, bravely, sensitively, and at personal risk, so that readers can see firsthand the consequences of the war.”