Are there certain topics which should be strictly off-limits when it comes to parody and satire? That’s the difficult question that the explosive new musical Slam Frank, at the Orpheum after a run last season at Asylum NYC, is not afraid to tackle. This bizarre, uproariously funny and sharp-edged cartoon of a show was inspired by a 2022 Twitter debate which started with the horrifying premise, “Did Anne Frank have white privilege?” The initial comments were widely condemned by Jewish groups. They also served as inspiration for Joel Sinensky (book) and Andrew Fox (music and lyrics) to use the teen Jewish diarist’s tragic story of hiding from the Nazis with her family in an Amsterdam attic as a springboard for a merciless attack on a myriad of political stances, both right and left. The authors skewer everything from extreme woke attitudes to unfettered capitalism to a host of musicals such as Hamilton, Rent, In the Heights, and The Producers. Sinensky’s snarky, smart book and Fox’s intricate and hilarious songs hit their targets with stunningly witty accuracy and take us to dangerous comic territory. No spoilers, but the final 20 minutes are satiric dynamite and will probably be more controversial than any piece of theater in the last 28 years (since Terrence McNally’s Corpus Christi which imagined a gay Jesus.)
Rocky Paterra, Jaz Zepatos, Olivia Bernabe,
Alex Lewis, and Austen Horne in
Slam Frank.
Credit: Shawn Salley Photography
Sinensky imagines Frank’s story as a play-within-a-play presented by a pretentiously 
Olivia Bernabe, John Anker Bow, Rocky Paterra,
Austen Horne, Jaz Zepatos and Alex Lewis
in Slam Frank. Credit: Shawn Salley Photography
progressive theater company, determined to be inclusive even if it doesn’t make historical or dramatic sense. In this bizarre, fun-house mirror version, the Frank and Van Daan families become representatives of every minority and political viewpoint. Anne herself (comically daring Olivia Bernabe) is a pansexual Latina hiding her true Hispanic identity in order to sell more copies of her diary. Her mother Edith (hysterically fierce Austen Horne) is a black American woman clad in traditional African garb (Sarah Lockwood designed the humorous costumes.) Horne delivers a riotous rap poem mixing feminist rage with declamations against misogynist playwrights like David Mamet.
Anne’s father Otto (delightfully goofy Rocky Paterra) bursts out of the closet as a gay man and tells everyone he is neurodivergent every few minutes. Sister Margo (surprisingly passionate Amelia Louise Barr) remains quiet until those last volcanic scenes. Barr also doubles as Anne’s abuela, serving as a ghostly symbol of the family’s abandoned Hispanic heritage (the story gets weirder and weirder.)
The Van Daan clan is led by the blustering bullyish father (appropriately despicable John Anker Bow), who dominates his flibbertigibbet of a wife (jazzy Jaz Zepatos) and his son Peter (funny, flighty Alex Lewis). Peter enjoys dancing (much to his dad’s displeasure) and comes out as non-binary. The entire cast handles the difficult task of enacting broad caricatures while pursuing truthful objectives. Like the characters in a Christopher Durang play, they are sane to themselves but they are in an insane universe.
