As I wrote in part 1 , this cast of New York stage actors had just one day of rehearsal to put Meyer Levin’s radio play, “Anne Frank: The Diary of a Young Girl” on its feet and they did a spectacular job.

When I walked into this magnificent theatre in the Museum of Jewish Heritage in New York, there was the cast onstage at the 1950′s style microphones, re-creating Anne Frank, her family and the others hiding in the attic. Producer/Director Jennifer Strome (Spellbound Development Company) was running from side to side of the theatre putting the final touches on the piece. Then she’d walk up to the edge of the stage, lift her arms, and direct them to a particular microphone. It was a theatrical symphony.

In one day, the actors were able to learn their cues and develop their characters. That evening, the lights went up. The musician (Bob Magnuson) onstage began playing the clarinet. It was 1952. The radio announcer (Andy Prosky) came rushing out, escorting these 1950s radio actors to their microphones. When they were in place, he introduced Meyer Levin’s Diary of Anne Frank radio drama.

And now it was 1942.

Director Jennifer Strome set the scene in the 50s for this 1940s story. And although the radio performers were “performing this for the radio” they were of course performing this for the live audience. Strome went to antique clothing stores to find the costumes for the cast. She didn’t miss a beat and did it all in a few days.

The performance was seamless and powerful. Although we were watching “1950s radio actors” we were immediately transported to the early 1940s and that attic.

It underscores the power of the voice and how much we can imagine with just a stage, microphones, and a great cast.

Strome has created the stage play about Meyer Levin’s life, and in the meantime, she’s now obsessed about this radio play and bringing it to life as well. Another performance is scheduled in New York in February.

-Tracy Pattin