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{
"id": 396124622,
"image": null,
"url": "https://research.annefrank.org/en/onderwerpen/287e2f8b-9a45-4ce4-b3b7-59cc1f6cdfb4/",
"published": true,
"uuid": "287e2f8b-9a45-4ce4-b3b7-59cc1f6cdfb4",
"name": "Otto Frank and the play 'The Diary of Anne Frank'",
"name_nl": "Otto Frank en het toneelstuk 'The Diary of Anne Frank'",
"name_en": "Otto Frank and the play 'The Diary of Anne Frank'",
"description": "<p>In the contract with publisher Contact<strong> (1946</strong>), Otto Frank had explicitly arranged that he would retain the translation and film rights to the diary.<sup data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> After Meyer Levin's stage adaptation was rejected, writer couple Frances Goodrich and Albert Hackett were commissioned to write it <strong>in late 1953</strong>. Their play <em>The Diary of Anne Frank</em> premiered on Broadway on <strong>5 October 1955</strong>, after try-outs in Philadelphia. The play, produced by Kermit Bloomgarden and directed by Carson Kanin, received the Pulitzer Prize, among other awards, and was translated into many languages and performed in many countries.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin read the French edition of the diary and sought contact with Otto Frank through the publisher (Calman-Lévy).<sup data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> He was moved by the diary and saw it as his task to translate it into English. He helped Otto Frank find an English and American publisher and was convinced from the start of the diary's potential for film and stage adaptation.<sup data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin put Otto Frank in touch with the diary's English publisher, Vallentine Mitchell.<sup data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> He approached several people from the theatre and film world and made a passionate appeal to Otto Frank to let him write the play.<sup data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> In early September 1952,</strong> Otto Frank agreed, but with the caveat that Meyer Levin's suggested producer, Cheryl Crawford, would judge the quality of the play.<sup data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank felt he could not do this himself because he was too emotionally involved.<sup data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>By mid-September 1952,</strong> Meyer Levin's stage adaptation was ready.<sup data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> But Cheryl Crawford rejected it<strong> (October 1952</strong>). Meyer Levin did not accept this <sup data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> and asked Kermit Bloomgarden to be producer. But Bloomgarden also rejected the play. Bloomgarden had also turned to Otto Frank in <strong>August 1952</strong>, asking to produce the play.<sup data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> To get out of the impasse, Otto Frank, Cheryl Crawford and Meyer Levin struck a deal. Levin was given one month (until <strong>21 December 1952</strong>) to submit his play to 14 producers. If there was no interest, he would withdraw the play.<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> When subsequently all fourteen producers rejected the play, Meyer Levin did not keep his end of the bargain and made every effort to still get his stage adaptation performed. The Otto Frank Archive holds extensive correspondence and documentation on the conflict between Meyer Levin and Otto Frank, in which Meyer Levin repeatedly tried to mobilise public opinion and the Jewish community in favour of his stage adaptation of the diary by engaging the press. <sup data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford stepped down as producer in <strong>April 1953</strong>, Otto Frank signed a contract with Kermit Bloomgarden on <strong>2 October 1953</strong>. Crawford resigned because she had had enough of the difficulties with Meyer Levin and because she had run into financial difficulties producing another play.<sup data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> For a new stage adaptation, the choice fell on married couple Frances Goodrich and Albert Hackett. They signed the contract on <strong>23 February 1954</strong>. Carson McCullers, who had already been approached by Cheryl Crawford in <strong>November 1952</strong>, had initially agreed to write the play, but she had to withdraw in April <strong>1953</strong> due to health reasons.<sup data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>From <strong>January 1955</strong>, Meyer Levin filed lawsuits against Otto Frank, Cheryl Crawford and Kermit Bloomgarden accusing them of fraud, breach of contract and plagiarism.<sup data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> The charges were eventually upheld only in terms of plagiarism. The trial was settled on appeal in a settlement: Otto Frank paid Meyer Levin $50,000, and the latter then waived his adaptations of the diary.<strong> (26 October 1959</strong>).<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> After this ruling, Meyer Levin continued to publicly voice his displeasure. When he did stage his play in Israel in <strong>1966</strong>, tensions again ran high.<sup data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In his <strong>1973</strong> book <em>The Obsession</em>, he gave his own take on the whole affair.<sup data-footnote-id=\"vm5jj\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>The $50,000 settlement amount awarded to Meyer Levin was seized upon by 'diary deniers' in the <strong>1980s</strong> to label the diary of Anne Frank as a forgery, written by Meyer Levin at the behest of Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>The Hacketts began their stage adaptation on <strong>15 December 1953</strong>.<sup data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> On <strong>27 December 1953</strong>, the Hacketts first sought contact with Otto Frank.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Thereafter, an intensive correspondence ensued in which Otto Frank gave them comments and advice and answered all their questions. This is how Otto Frank put the Hacketts in touch with Ernst Meyer and his family, who lived in America. These were good friends of his, who could tell the writers a lot about the Frank family, the other people in hiding and Amsterdam.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup> For the Jewish-religious aspects of the diary, the Hacketts were in contact with liberal rabbi Max Nussbaum.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was the husband of Ruth Nussbaum-Offenstadt, mother of Hannah Toby and previously married to Fritz Toby. A famous photo of Anne and her friends in the sandpit<strong> (1937</strong>) was taken in their garden.</p>\r\n\r\n<p>The fourth version of the play script was the first version Otto Frank got to read in <strong>June 1954</strong>.<sup data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank found the result disappointing:</p>\r\n\r\n<blockquote>'(…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Concerned, he wrote a letter to the Hacketts criticising that the play did not reflect the depth of Anne's character nor the message of the book.<sup data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> For the development of Anne's character, he recommended an article by remedial educationalist Jean Schick-Grossmann for which she had spoken extensively with Otto Frank, Johannes Kleiman and Miep Gies.<sup data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York, the Hacketts worked on the fourth, fifth and sixth versions of the play.<sup data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> These versions pleased Otto much better:<em> 'I admire the way you caught the spirit of the book.'</em><sup data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> He thought the inserted scenes fitted in superbly. He also had sympathy for the 'bread stealing' scene (Hermann van Pels steals a loaf of bread). Although he wondered whether there would be any legal consequences, as a brother of Hermann van Pels was still alive in the United States. He attached to the letter a list of<em> 'observations and suggestions</em>'.</p>\r\n\r\n<p>After the seventh version of the script, the Hacketts came to Amsterdam where, on <strong>6 December 1954</strong>, they met Otto Frank for the first time. They visited the Secret Annex, the 6th Montessori school, Merwedeplein 37-II and an ice cream parlour where<em> 'Jews were allowed'</em> the following day. <sup data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> There was a meeting with Lou de Jong, who checked the script, and an extensive photo-reportage of and in the Secret Annex was made by photographer Maria Austria. Based on this visit, the play was revised again: the eighth version.</p>\r\n\r\n<p>Around this time, the Secret Annex was photographed extensively and in detail by Maria Austria for two days.<sup data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noted in his diary on <strong>8 December 1954</strong>: Ph<em>otos.</em> - <em>Austria</em>. On <strong>11 December 1954</strong>: <em>Photos with Haket [sic] + Kanin.</em><sup data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>As it was now too late in the season, the producer postponed the play until <strong>autumn 1955</strong>.</p>\r\n\r\n<p>Otto Frank answered an extensive list of questions from Joseph Schildkraut, who was to play the role of Otto Frank in the play.<sup data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Furthermore, he was kept closely informed about the casting, sets, invitations to the premiere, etc.<sup data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>The first rehearsal was on <strong>22 August 1955</strong>. Try-outs began in Philadelphia on <strong>15 September 1955</strong>.<sup data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> There were rave reviews, and film companies also showed interest.<sup data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> During the try-outs, the 'bread stealing' scene was moved from morning to night for dramatic effect.<sup data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>It was followed by its New York premiere on <strong>5 October 1955</strong>. Otto Frank never wanted to attend a stage or film screening of the diary. Just before the premiere, he wished the actors well and let them know: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had already wished success to the Hacketts on <strong>9 September 1954</strong>, leaving it up to them whether to show the letter to the players in Philadelphia or in New York. <sup data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"vm5jj\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the Diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-195: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, corresepondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"description_nl": "<p>In het contract met uitgeverij Contact (<strong>1946</strong>) had Otto Frank expliciet geregeld dat hij de vertaal- en filmrechten van het dagboek zou behouden.<sup bis_size=\"{"x":846,"y":22,"w":12,"h":12,"abs_x":1067,"abs_y":428}\" data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> Nadat Meyer Levins toneelbewerking was afgewezen, kreeg het schrijversechtpaar Frances Goodrich en Albert Hackett <strong>eind 1953</strong> de opdracht. Hun toneelstuk <em>Het dagboek van Anne Frank</em> ging, na try-outs in Philadelphia, op Broadway in première op <strong>5 oktober 1955</strong>. Het stuk, geproduceerd door Kermit Bloomgarden en geregisseerd door Carson Kanin, kreeg onder andere de Pulitzerprijs en werd in veel talen vertaald en in veel landen opgevoerd.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin las de Franse editie van het dagboek en zocht via de uitgever (Calman-Lévy) contact met Otto Frank.<sup bis_size=\"{"x":676,"y":174,"w":12,"h":12,"abs_x":897,"abs_y":580}\" data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Hij was geraakt door het dagboek en zag het als zijn taak het in het Engels te vertalen. Hij hiep Otto Frank bij het vinden van een Engelse en Amerikaanse uitgever en was van meet af aan overtuigd van de mogelijkheden van het dagboek voor verfilming en toneelbewerking.<sup bis_size=\"{"x":195,"y":219,"w":12,"h":12,"abs_x":416,"abs_y":625}\" data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin bracht Otto Frank in contact met de Engelse uitgever van het dagboek, Vallentine Mitchell.<sup bis_size=\"{"x":764,"y":219,"w":12,"h":12,"abs_x":985,"abs_y":625}\" data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Hij benaderde diverse mensen uit de toneel- en filmwereld en deed een hartstochtelijk beroep op Otto Frank om hem het toneelstuk te laten schrijven.<sup bis_size=\"{"x":604,"y":243,"w":12,"h":12,"abs_x":825,"abs_y":649}\" data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> Begin september 1952</strong> stemde Otto Frank toe, maar wel onder voorbehoud dat de door Meyer Levin voorgestelde producente, Cheryl Crawford de kwaliteit van het stuk zou beoordelen.<sup bis_size=\"{"x":646,"y":267,"w":12,"h":12,"abs_x":867,"abs_y":673}\" data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank vond dat hij dit zelf niet kon, omdat hij er gevoelsmatig te veel bij betrokken was.<sup bis_size=\"{"x":151,"y":291,"w":12,"h":12,"abs_x":372,"abs_y":697}\" data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>Half september 1952</strong> was Meyer Levins toneelbewerking klaar.<sup bis_size=\"{"x":387,"y":328,"w":12,"h":12,"abs_x":608,"abs_y":734}\" data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> Maar Cheryl Crawford wees het af (<strong>oktober 1952</strong>). Meyer Levin legde zich hier niet bij neer<sup bis_size=\"{"x":928,"y":328,"w":12,"h":12,"abs_x":1149,"abs_y":734}\" data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> en vroeg Kermit Bloomgarden als producent. Maar ook Bloomgarden wees het stuk af. Bloomgarden had zich ook al in <strong>augustus 1952</strong> tot Otto Frank gericht met het verzoek het toneelstuk te mogen produceren.<sup bis_size=\"{"x":132,"y":373,"w":18,"h":12,"abs_x":353,"abs_y":779}\" data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> Om uit de impasse te komen, sloten Otto Frank, Cheryl Crawford en Meyer Levin een overeenkomst. Levin kreeg een maand de tijd (tot <strong>21 december 1952</strong>) om zijn stuk aan veertien producenten voor te leggen. Als er geen interesse was, zou hij het stuk terugtrekken.<sup bis_size=\"{"x":654,"y":397,"w":17,"h":12,"abs_x":875,"abs_y":803}\" data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> Toen vervolgens alle veertien producenten het stuk afwezen, hield Meyer Levin zich niet aan de afspraak en stelde hij alles in het werk zijn toneelbewerking alsnog opgevoerd te krijgen. In het Otto Frank Archief bevindt zich uitgebreide correspondentie en documentatie over het conflict tussen Meyer Levin en Otto Frank, waarbij Meyer Levin herhaaldelijk de publieke opinie en de Joodse gemeenschap probeerde te mobiliseren ten gunste van zijn toneelbewerking van het dagboek door de pers in te schakelen. <sup bis_size=\"{"x":570,"y":462,"w":18,"h":12,"abs_x":791,"abs_y":868}\" data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>Toen Cheryl Crawford zich in <strong>april 1953</strong> terugtrok als producente, sloot Otto Frank op <strong>2 oktober 1953</strong> een contract met Kermit Bloomgarden. Crawford zag er vanaf omdat ze genoeg had van de moeilijkheden met Meyer Levin en omdat ze in financiële moeilijkheden was gekomen door de productie van een ander toneelstuk.<sup bis_size=\"{"x":886,"y":520,"w":18,"h":12,"abs_x":1107,"abs_y":926}\" data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> Voor een nieuwe toneelbewerking viel de keuze op het echtpaar Frances Goodrich en Albert Hackett. Zij tekenden het contract op <strong>23 februari 1954</strong>. Carson McCullers, die al <strong>november 1952</strong> door Cheryl Crawford werd benaderd, had eerst toegezegd het toneelstuk te schrijven, maar zij moest zich in <strong>april 1953</strong> vanwege gezondheidsredenen terug trekken.<sup bis_size=\"{"x":943,"y":565,"w":18,"h":12,"abs_x":1164,"abs_y":971}\" data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>Vanaf <strong>januari 1955</strong> voerde Meyer Levin rechtszaken tegen Otto Frank, Cheryl Crawford en Kermit Bloomgarden waarin hij hen beschuldigde van fraude, contractbreuk en plagiaat.<sup bis_size=\"{"x":20,"y":623,"w":18,"h":12,"abs_x":241,"abs_y":1029}\" data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> De aanklacht werd uiteindelijk alleen toegewezen wat betreft plagiaat. Het proces werd in hoger beroep beslecht in een schikking: Otto Frank betaalde Meyer Levin 50.000 dollar die daarbij afstand deed van zijn bewerkingen van het dagboek. (<strong>26 oktober 1959</strong>).<sup bis_size=\"{"x":501,"y":647,"w":17,"h":12,"abs_x":722,"abs_y":1053}\" data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> Na deze uitspraak bleef Meyer Levin in het openbaar zijn ongenoegen uiten. Toen hij zijn toneelstuk in <strong>1966</strong> toch in Israël op de planken bracht, liepen de spanningen weer hoog op.<sup bis_size=\"{"x":544,"y":671,"w":18,"h":12,"abs_x":765,"abs_y":1077}\" data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In zijn boek <em>The Obsession</em> uit <strong>1973</strong> gaf hij zijn eigen visie op de hele affaire.<sup bis_size=\"{"x":1007,"y":671,"w":18,"h":12,"abs_x":1228,"abs_y":1077}\" data-footnote-id=\"i57db\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Het aan Meyer Levin toegekende schikkingsbedrag van 50.000 dollar werd in de <strong>jaren ’80</strong> aangegrepen door 'dagboekontkenners' om het dagboek van Anne Frank te bestempelen als een vervalsing, door Meyer Levin geschreven in opdracht van Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>De Hacketts begonnen met hun toneelbewerking op <strong>15 december 1953</strong>.<sup bis_size=\"{"x":438,"y":819,"w":18,"h":12,"abs_x":659,"abs_y":1225}\" data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> Op <strong>27 december 1953</strong> zochten de Hacketts voor het eerst contact met Otto Frank.<sup bis_size=\"{"x":937,"y":819,"w":18,"h":12,"abs_x":1158,"abs_y":1225}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Daarna ontstond er een intensieve briefwisseling waarbij Otto Frank hen commentaar en advies gaf en al hun vragen beantwoordde. Zo bracht Otto Frank de Hacketts in contact met de in Amerika woonachtige Ernst Meyer en zijn gezin. Dit waren goede vrienden van hem, die de schrijvers veel over de familie Frank, de andere onderduikers en Amsterdam konden vertellen.<sup bis_size=\"{"x":1039,"y":863,"w":18,"h":12,"abs_x":1260,"abs_y":1269}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup>Voor de joods-religieuze aspecten uit het dagboek hadden de Hacketts contact met de liberale rabbijn Max Nussbaum.<sup bis_size=\"{"x":702,"y":887,"w":18,"h":12,"abs_x":923,"abs_y":1293}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was de echtgenoot van Ruth Nussbaum-Offenstadt, moeder van Hannah Toby en eerder getrouwd met Fritz Toby. Een bekende foto van Anne en haar vriendinnen in de zandbak (<strong>1937</strong>) werd bij hen in de tuin gemaakt.</p>\r\n\r\n<p>De vierde versie van het toneelscript was de eerste versie die Otto Frank in <strong>juni 1954</strong> onder ogen kreeg.<sup bis_size=\"{"x":624,"y":945,"w":18,"h":12,"abs_x":845,"abs_y":1351}\" data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank vond het resultaat teleurstellend:</p>\r\n\r\n<blockquote>'{…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup bis_size=\"{"x":142,"y":1067,"w":20,"h":12,"abs_x":363,"abs_y":1473}\" data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Bezwaard schreef hij een brief aan de Hacketts met zijn kritiek dat het toneelstuk de diepgang van Annes karakter noch de boodschap van het boek weergaf.<sup bis_size=\"{"x":923,"y":1106,"w":18,"h":12,"abs_x":1144,"abs_y":1512}\" data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> Voor de ontwikkeling van Annes karakter beval hij een artikel aan van orthopedagoge Jean Schick-Grossmann waarvoor zij uitgebreid met Otto Frank, Johannes Kleiman en Miep Gies had gesproken.<sup bis_size=\"{"x":109,"y":1151,"w":18,"h":12,"abs_x":330,"abs_y":1557}\" data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York werkten de Hacketts aan de vierde, vijfde en zesde versie van het stuk.<sup bis_size=\"{"x":502,"y":1188,"w":18,"h":12,"abs_x":723,"abs_y":1594}\" data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> Deze versies bevielen Otto veel beter: '<em>I admire the way you caught the spirit of the book.'</em><sup bis_size=\"{"x":1039,"y":1188,"w":18,"h":12,"abs_x":1260,"abs_y":1594}\" data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup>Hij vond de ingevoegde scènes uitstekend in het geheel passen. Ook voor de 'broodsteel'-scene (Hermann van Pels steelt een brood) had hij begrip. Hoewel hij zich afvroeg of er juridische consequenties waren, omdat er nog een broer van Hermann van Pels in de Verenigde Staten in leven was. Bij de brief voegde hij een lijst met '<em>observations'and suggestions</em>' .</p>\r\n\r\n<p>Na de zevende bewerking van het script, kwamen de Hacketts naar Amsterdam waar ze, op <strong>6 december 1954</strong>, voor het eerst Otto Frank ontmoetten. Ze bezochten de dag erop het Achterhuis, de 6e Montessorischool, Merwedeplein 37-II en een ijssalon waar '<em>Jews were allowed'</em>. <sup bis_size=\"{"x":590,"y":1308,"w":18,"h":12,"abs_x":811,"abs_y":1714}\" data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> Er was een ontmoeting met Lou de Jong die het script controleerde en er werd een uitgebreide fotoreportage van en in het Achterhuis gemaakt door fotografe Maria Austria. Op grond van dit bezoek werd het toneelstuk nogmaals herzien: de achtste versie.</p>\r\n\r\n<p>Rond deze tijd werd het Achterhuis gedurende twee dagen uitvoerig en in detail door Maria Austria gefotografeerd.<sup bis_size=\"{"x":677,"y":1387,"w":18,"h":12,"abs_x":898,"abs_y":1793}\" data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noteerde in zijn agenda op <strong>8 december 1954</strong>: <em>Fotos. - Austria</em>. Op <strong>11 december 1954</strong>: <em>Fotos met Haket [sic] + Kanin.</em><sup bis_size=\"{"x":464,"y":1411,"w":18,"h":12,"abs_x":685,"abs_y":1817}\" data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>Omdat het inmiddels te laat in het seizoen was, stelde de producent het toneelstuk uit tot <strong>najaar 1955</strong>.</p>\r\n\r\n<p>Otto Frank beantwoorde een uitgebreide vragenlijst van Joseph Schildkraut, die de rol van Otto Frank in het toneelstuk zou gaan spelen.<sup bis_size=\"{"x":804,"y":1482,"w":18,"h":12,"abs_x":1025,"abs_y":1888}\" data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Verder liet hij zich nauwgezet op de hoogte houden over de casting, decors, uitnodigingen voor de première etc.<sup bis_size=\"{"x":455,"y":1506,"w":18,"h":12,"abs_x":676,"abs_y":1912}\" data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>Op <strong>22 augustus 1955</strong> was de eerste repetitie. De try-outs begonnen in Philadelphia op <strong>15 september 1955</strong>.<sup bis_size=\"{"x":645,"y":1543,"w":18,"h":12,"abs_x":866,"abs_y":1949}\" data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> De recensies waren lovend en ook filmmaatschappijen toonden interesse.<sup bis_size=\"{"x":126,"y":1567,"w":18,"h":12,"abs_x":347,"abs_y":1973}\" data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> Tijdens de try-outs werd de ‘broodsteel’-scene verplaatst van de ochtend naar de nacht vanwege het dramatische effect.<sup bis_size=\"{"x":839,"y":1567,"w":18,"h":12,"abs_x":1060,"abs_y":1973}\" data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>Op <strong>5 oktober 1955</strong> volgde de première in New York. Otto Frank wilde nooit een toneel- of filmvoorstelling van het dagboek bijwonen. Vlak voor de première wenstte hij de spelers succes en liet hen weten: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had zijn succeswensen al op <strong>9 september 1954</strong> gestuurd aan de Hacketts en liet het aan hen over of ze de brief in Philadelphia of in New York aan de spelers wilden laten zien. <sup bis_size=\"{"x":416,"y":1666,"w":18,"h":12,"abs_x":637,"abs_y":2072}\" data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section bis_size=\"{"x":20,"y":1701,"w":1041,"h":1202,"abs_x":241,"abs_y":2107}\" class=\"footnotes\">\r\n<header bis_size=\"{"x":35,"y":1718,"w":1011,"h":23,"abs_x":256,"abs_y":2124}\">\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"i57db\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"description_en": "<p>In the contract with publisher Contact<strong> (1946</strong>), Otto Frank had explicitly arranged that he would retain the translation and film rights to the diary.<sup data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> After Meyer Levin's stage adaptation was rejected, writer couple Frances Goodrich and Albert Hackett were commissioned to write it <strong>in late 1953</strong>. Their play <em>The Diary of Anne Frank</em> premiered on Broadway on <strong>5 October 1955</strong>, after try-outs in Philadelphia. The play, produced by Kermit Bloomgarden and directed by Carson Kanin, received the Pulitzer Prize, among other awards, and was translated into many languages and performed in many countries.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin read the French edition of the diary and sought contact with Otto Frank through the publisher (Calman-Lévy).<sup data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> He was moved by the diary and saw it as his task to translate it into English. He helped Otto Frank find an English and American publisher and was convinced from the start of the diary's potential for film and stage adaptation.<sup data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin put Otto Frank in touch with the diary's English publisher, Vallentine Mitchell.<sup data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> He approached several people from the theatre and film world and made a passionate appeal to Otto Frank to let him write the play.<sup data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> In early September 1952,</strong> Otto Frank agreed, but with the caveat that Meyer Levin's suggested producer, Cheryl Crawford, would judge the quality of the play.<sup data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank felt he could not do this himself because he was too emotionally involved.<sup data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>By mid-September 1952,</strong> Meyer Levin's stage adaptation was ready.<sup data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> But Cheryl Crawford rejected it<strong> (October 1952</strong>). Meyer Levin did not accept this <sup data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> and asked Kermit Bloomgarden to be producer. But Bloomgarden also rejected the play. Bloomgarden had also turned to Otto Frank in <strong>August 1952</strong>, asking to produce the play.<sup data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> To get out of the impasse, Otto Frank, Cheryl Crawford and Meyer Levin struck a deal. Levin was given one month (until <strong>21 December 1952</strong>) to submit his play to 14 producers. If there was no interest, he would withdraw the play.<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> When subsequently all fourteen producers rejected the play, Meyer Levin did not keep his end of the bargain and made every effort to still get his stage adaptation performed. The Otto Frank Archive holds extensive correspondence and documentation on the conflict between Meyer Levin and Otto Frank, in which Meyer Levin repeatedly tried to mobilise public opinion and the Jewish community in favour of his stage adaptation of the diary by engaging the press. <sup data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford stepped down as producer in <strong>April 1953</strong>, Otto Frank signed a contract with Kermit Bloomgarden on <strong>2 October 1953</strong>. Crawford resigned because she had had enough of the difficulties with Meyer Levin and because she had run into financial difficulties producing another play.<sup data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> For a new stage adaptation, the choice fell on married couple Frances Goodrich and Albert Hackett. They signed the contract on <strong>23 February 1954</strong>. Carson McCullers, who had already been approached by Cheryl Crawford in <strong>November 1952</strong>, had initially agreed to write the play, but she had to withdraw in April <strong>1953</strong> due to health reasons.<sup data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>From <strong>January 1955</strong>, Meyer Levin filed lawsuits against Otto Frank, Cheryl Crawford and Kermit Bloomgarden accusing them of fraud, breach of contract and plagiarism.<sup data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> The charges were eventually upheld only in terms of plagiarism. The trial was settled on appeal in a settlement: Otto Frank paid Meyer Levin $50,000, and the latter then waived his adaptations of the diary.<strong> (26 October 1959</strong>).<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> After this ruling, Meyer Levin continued to publicly voice his displeasure. When he did stage his play in Israel in <strong>1966</strong>, tensions again ran high.<sup data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In his <strong>1973</strong> book <em>The Obsession</em>, he gave his own take on the whole affair.<sup data-footnote-id=\"vm5jj\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>The $50,000 settlement amount awarded to Meyer Levin was seized upon by 'diary deniers' in the <strong>1980s</strong> to label the diary of Anne Frank as a forgery, written by Meyer Levin at the behest of Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>The Hacketts began their stage adaptation on <strong>15 December 1953</strong>.<sup data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> On <strong>27 December 1953</strong>, the Hacketts first sought contact with Otto Frank.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Thereafter, an intensive correspondence ensued in which Otto Frank gave them comments and advice and answered all their questions. This is how Otto Frank put the Hacketts in touch with Ernst Meyer and his family, who lived in America. These were good friends of his, who could tell the writers a lot about the Frank family, the other people in hiding and Amsterdam.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup> For the Jewish-religious aspects of the diary, the Hacketts were in contact with liberal rabbi Max Nussbaum.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was the husband of Ruth Nussbaum-Offenstadt, mother of Hannah Toby and previously married to Fritz Toby. A famous photo of Anne and her friends in the sandpit<strong> (1937</strong>) was taken in their garden.</p>\r\n\r\n<p>The fourth version of the play script was the first version Otto Frank got to read in <strong>June 1954</strong>.<sup data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank found the result disappointing:</p>\r\n\r\n<blockquote>'(…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Concerned, he wrote a letter to the Hacketts criticising that the play did not reflect the depth of Anne's character nor the message of the book.<sup data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> For the development of Anne's character, he recommended an article by remedial educationalist Jean Schick-Grossmann for which she had spoken extensively with Otto Frank, Johannes Kleiman and Miep Gies.<sup data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York, the Hacketts worked on the fourth, fifth and sixth versions of the play.<sup data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> These versions pleased Otto much better:<em> 'I admire the way you caught the spirit of the book.'</em><sup data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> He thought the inserted scenes fitted in superbly. He also had sympathy for the 'bread stealing' scene (Hermann van Pels steals a loaf of bread). Although he wondered whether there would be any legal consequences, as a brother of Hermann van Pels was still alive in the United States. He attached to the letter a list of<em> 'observations and suggestions</em>'.</p>\r\n\r\n<p>After the seventh version of the script, the Hacketts came to Amsterdam where, on <strong>6 December 1954</strong>, they met Otto Frank for the first time. They visited the Secret Annex, the 6th Montessori school, Merwedeplein 37-II and an ice cream parlour where<em> 'Jews were allowed'</em> the following day. <sup data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> There was a meeting with Lou de Jong, who checked the script, and an extensive photo-reportage of and in the Secret Annex was made by photographer Maria Austria. Based on this visit, the play was revised again: the eighth version.</p>\r\n\r\n<p>Around this time, the Secret Annex was photographed extensively and in detail by Maria Austria for two days.<sup data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noted in his diary on <strong>8 December 1954</strong>: Ph<em>otos.</em> - <em>Austria</em>. On <strong>11 December 1954</strong>: <em>Photos with Haket [sic] + Kanin.</em><sup data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>As it was now too late in the season, the producer postponed the play until <strong>autumn 1955</strong>.</p>\r\n\r\n<p>Otto Frank answered an extensive list of questions from Joseph Schildkraut, who was to play the role of Otto Frank in the play.<sup data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Furthermore, he was kept closely informed about the casting, sets, invitations to the premiere, etc.<sup data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>The first rehearsal was on <strong>22 August 1955</strong>. Try-outs began in Philadelphia on <strong>15 September 1955</strong>.<sup data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> There were rave reviews, and film companies also showed interest.<sup data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> During the try-outs, the 'bread stealing' scene was moved from morning to night for dramatic effect.<sup data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>It was followed by its New York premiere on <strong>5 October 1955</strong>. Otto Frank never wanted to attend a stage or film screening of the diary. Just before the premiere, he wished the actors well and let them know: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had already wished success to the Hacketts on <strong>9 September 1954</strong>, leaving it up to them whether to show the letter to the players in Philadelphia or in New York. <sup data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"vm5jj\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the Diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-195: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, corresepondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"summary": "The American stage version of the Diary of Anne Frank premiered in 1955.",
"summary_nl": "In 1955 verscheen de Amerikaanse toneelversie van het dagboek van Anne Frank op de planken.",
"summary_en": "The American stage version of the Diary of Anne Frank premiered in 1955.",
"same_as": null,
"parent": 396124643,
"files": []
}