Slam Frank – A Chutzpadik Satire of Society

Oct 28, 2026 by The Jewish Voice And Opinion Staff

The Jewish Voice and Opinion Staff

Slam Frank, a musical comedic satire, returns to New York with a full set and a larger stage at the Orpheum Theater. The show is based on the story of Anne Frank, a Jewish girl forced into hiding at age 13 to escape Nazi persecution. The story is reimagined by co-creators Andrew Fox, who wrote the score, and Joel Sinensky, who wrote the book.

It begins with the traditional story, Anne Frank’s family (parents Otto and Edith, Anne, and sister Margot) hide in a secret annex, along with the Van Daan family (Mr. Van Daan, his wife, and their son Peter), then diverges, becoming a show within a show. They reveal that Anne is a Latina named Anita. She writes her diary in Spanish, is visited by her abuelo’s ghost, and reminded never to forget where she comes from. This intentionally blurs the lines between today (2026) and the 1940s, creating parallels with persecuted populations. They show Anne’s family fleeing her barrio in the Netherlands to escape the Nazis. By changing the narrative, Slam Frank questions stereotypical roles and societal expectations.

The show is 110 minutes, performed without intermission. It provides a constant stream of action as actors appear on stage, then materialize in the audience, which keeps the audience engaged and off-balance.

Too Far or Not Far Enough?

Slam Frank pushes the limits, providing an intersection of art, absurdity, and identity, and challenges society to do better. The show was inspired by a real 2022 Twitter thread asking, “Did Anne Frank ever acknowledge her white privilege?” No, Anne Frank didn’t have white privilege. She was forced into hiding because she was Jewish and died in a concentration camp.

As a satire, Slam Frank effectively uses irony, exaggeration, caricatures, and ridicule to expose and criticize societal shortcomings. In this case, the images and messages align with the tropes circulated by antisemites and holocaust deniers causing confusion about the show’s point of view. This apparent confusion is an indication of just how effective mass media has been in influencing the normalization of the negative stereotypes. Society easily accepts the justification for the hatred and marginalization of specific groups. We have become jaded, no longer being outraged. The notion that the elimination of the Jews would solve the world’s problems is bantered around in the media as though it were a viable solution.

Slam Frank puts these ideas on stage, the long-nosed, black-coated Chasid’s in tattered clothes walking down the aisle after surviving the Holocaust. It’s not just the Jews that are being singled out and marginalized – it’s all minorities. The show beings with a reading of a land acknowledgment, about the sacred ancestral grounds of the… tribe whose name he can’t recall. “Well, whoever they are, they were here first, and we are here now, and shame on us. Okay? Good?” The issue is forgotten, the statement dismissed as a formality rather than an apology.

Slam Frank shows how little mankind has changed. They take it further, suggesting that this is because of men and that feminine leadership would produce better outcomes.

Recognizing the Complexity of Identity

The underlying theme is embracing the complexity of our identities, creating intentionally multi-cultural, neurodiverse, and genre-defying characters who do not fit into traditional boxes. This underscores the importance of being accepted for who you are, fighting expectations. “‘Sometimes,’ Anne says, ‘when you can’t easily explain your identity, it actually means it’s even better than all the others.’”

Each character has a multitude of defining characteristics. Edith Frank is an asexual black, Anne a pan-sexual LatinX teenager, Margot Frank a mute observant Jew, and Otto Frank neurodivergent, covering a wide range of minorities. However, Mr. Van Daan is a CIS, stereotypical white male, self-centered, opinionated, takes up too much space, and might have voted for Hitler because he made some good points.

Returning to NYC

We saw Slam Frank last year, on a smaller stage at the Asylum Theater. We were impressed with how much better it is suited for the slightly larger stage, with a simple set, giving the performers room. The script is masterful, filled with laughs, soft punches, and surprises. It used the powerful delivery and rhythm of slam poetry and Hip-Hop style expression to drive points home. The high-energy music showcases the cast’s ability to dance and sing.

Other than Margo, the cast is unchanged and has matured into their roles. Olivia Bernábe was a fireball, owning the stage as the protagonist (Anita / Anne). John Anker Bow was amazing, playing several roles, including Artistic Director, news correspondent, and Mr. Van Daan.  Alex Lewis was captivating as Peter, and Amelia Louise Barr (Margot and abuela) showcases her amazing voice. Austen Horne (Edith) is a force of nature, and Rocky Paterra (Otto) was charming with perfect mannerisms. Jaz Zepatos (Mrs. Van Daan) brought a comic presence and great voice.

 It could be our familiarity with the show, or a softening of the rough corners, but the production felt less jarring and more polished. They took advantage of the theater layout, venturing into the audience, walking down the aisles, and speaking from boxes in the orchestra section, which were simultaneously projected on the stage screens.

Slam Frank is what satire should be. It intentionally challenges sensibilities, ridicules contemporary society, while confronting bigotry. It is probably the most divisive and hilarious show currently playing in New York.