"...proves that, even 50 years later, Anne Frank's hopeful view still packs a punch... If you find yourself weeping, and maybe just a little bit ashamed, while watching this staging, you're not alone... Backed by an outstanding production team, director Josh Costello has wrought an organic production whose every facet fits the larger mosaic, forming a harsh, wrenching, bittersweet tale. His staging captures Anne's perspective -- of evil as viewed by someone who had only ever known goodness -- and he understands Anne as a sensitive observer of humanity... More critically, Costello gets at the heart of the indescribable tedium the group experiences, relating the incredible tension generated by eight refugees living in close confinement for two years, in constant fear of discovery. For those used to seeing Anne portrayed as a naive youngster subdued by those around her, Kristin Norris is likely to be a shock... Norris delivers a luminous performance with a definite arc from the playful girl who at first sees going into hiding as an adventure to an honest 13-year-old glowing about her budding sexuality... Set designer Katherine Futterer's raked, angled stage depicts the various levels and corridors of a musty and cramped attic. Erika C. Miller clothes the cast in joyless grays, tans and washed out greens and blues, while Jon Langrell's lighting design helps form a tight, effective lens for the drama. Most evocative, though, is Costello and Jeremy Golden's innovative sound design, which frames the story with vivid noises: wailing voices and horns suggesting ancient Israel, Hitler ranting before throngs, glass shattering, trains roaring and piano music -- Chopin etudes that preserve the delicate melancholy pervading this staging."