Lights Up on the Dark: The Holocaust Onstage

CONTENT WARNING: Explicit content and references to suicideIn this week’s episode, coinciding with the end of Queer History Month in the UK, Sam and Alex explore Martin Sherman’s groundbreaking play Bent. The first major play - if not the first play - to represent the Nazi persecution of gay men, Bent tells the story of hedonist Max, living in 1930s Berlin until he and his lover Rudy are hunted and finally captured by the Nazis. Sent to Dachau, Max pretends to be Jewish rather than gay to get better treatment from the guards, and meets Horst - an openly gay prisoner. The pair gradually fall in love, but Max refuses to admit it until circumstances force him to make a defining choice. Sam and Alex talk about aspects such as the historical context, including the infamous German law Paragraph 175; the rumours and lack of public awareness about the Nazi persecution of gay men until the play’s inception; Bent’s UK production history, with Sir Ian McKellen starring as Max in 1979 and 1990 under very different circumstances; the question of a ‘different’ ending; and ‘that’ scene…Don’t forget to comment (especially with your ideas for a different ending), rate, review, subscribe and share!Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode Sources: Full list forthcoming

CONTENT WARNING: References to suicideIn this week’s episode, Sam and Alex talk to director and dramaturg Paul Bargetto about devised part process, part docu-drama Album Karla Höckera / The Album of Karl Höcker. Co-created by Paul in collaboration with his team at Teatr Trans-Atlantyk, an international independent theatre ensemble from Warsaw, the piece delves into the album of 116 photos received by the United States Holocaust Memorial Museum in 2007, chronicling the activities of the Auschwitz SS. The album was created by and belonged to Karl Höcker - adjutant to the Commandant from May 1944 until the camp’s forced evacuation in January 1945. “Album Karla Höckera” [...] is an attempt to understand the historical catastrophe of Auschwitz from the largely unexamined perspective of the perpetrators. Using documentary theatre techniques, improvisation, research and scripted drama, the performance explores the all-too-human men and women who carried out the Final Solution.Sam, Alex and Paul discuss elements including the devising process; the highlights and challenges of both participating and watching; the historical context, including Höcker’s life after the war; how the piece both implicitly and explicitly encourages spectators to consider their own ability to say ‘no’; and Paul’s experiences of performing the piece to different audiences around the world - from dozens of Polish Army cadets to an audience in Oświęcim that included three Auschwitz survivors.Don’t forget to rate, review, subscribe and share!Hosts: Samantha Mitschke & Alexandra GellnerGuest: Paul BargettoExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Episode SourcesBooks & ArticlesHolocaust Survivors and Remembrance Project, ⁠Karl Hoecker (Höcker)United States Holocaust Memorial Museum (USHMM), ⁠Auschwitz Through the Lens of the SS: The Album⁠.United States Holocaust Memorial Museum (USHMM), ⁠Collections Highlight: Auschwitz Through the Lens of the SS⁠.PlaysTeatr Trans-Atlantyk, ⁠Album Karla Höckera⁠. Other sourcesTo learn more about Paul and his work, please visit ⁠https://paulbargetto.com/⁠. To request a full list of other sources, please use the Contact details.

In this week’s season premiere, timed to coincide with Holocaust Memorial Day and its 2026 theme of “Bridging Generations,” Sam and Alex look at Tom Stoppard’s Leopoldstadt.At the beginning of the twentieth century, Leopoldstadt was the old, crowded Jewish quarter of Vienna. But Hermann Merz, a manufacturer and baptised Jew married to Catholic Gretl, has moved up in the world. Gathered in the Merz apartment in a fashionable part of the city, Hermann’s extended family are at the heart of Tom Stoppard’s epic yet intimate drama. By the time we have taken leave of them, Austria has passed through the convulsions of war, revolution, impoverishment, annexation by Nazi Germany and – for Austrian Jews – the Holocaust in which 65,000 of them were murdered. It is for the survivors to pass on a story which hasn’t ended yet.Sam and Alex explore key themes covered in the play, from antisemitism to family relationships; discuss Stoppard’s skill in placing ‘Easter eggs’ throughout the play to show, rather than tell, Jewish and Holocaust history; look at the historical context of Leopoldstadt, Vienna’s second district; and consider how the play, which spans the period from 1899-1956, illustrates the importance of passing on stories before they are lost.Don’t forget to rate, review, subscribe, comment, and share!Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode Sources: Full list forthcoming

In this episode - the last one of Season 2 - Sam and Alex look back on 2025 and the first two seasons of LUOTD. They recap how the podcast came about; talk about the highlights, from special guests to a global audience; the challenges, including politics and time zones; their top three Holocaust plays so far; podcast plans for 2026; and how even 103 editing notes for a single episode hasn’t ruined their friendship. Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/

In this episode, Sam and Alex explore Kindertransport by Diane Samuels. In 1938-39, nearly 10,000 mostly Jewish children were brought to the UK as part of a humanitarian mission that rescued them from what was to come in Nazi-occupied Europe - but meant that many never saw their parents again. Kindertransport draws upon the experiences of kinder and rescuers to look at what it means to survive when everything you once knew has been ripped away.When nine-year-old Eva arrives in Manchester from Germany, she knows it won’t be long before her parents join her. But as time passes, contact stops and hope fades, Eva begins to transform herself into Evelyn, blocking out her past to reinvent herself. It’s only years later, when her own daughter Faith is getting ready to fly the nest, that Evelyn is forced to admit the truth and face what she thought was already gone. Sam and Alex discuss elements including the themes of identity, loss and intergenerational trauma; comparisons between the Kindertransports and British evacuees during WWII; the device of the Ratcatcher; and Kindertransport’s contemporary relevance in the context of child refugees and rising global tides of hate. Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesBooks & ArticlesMelissa Hacker and Ernest Goodman, "Kindertransport." Encyclopedia Britannica, 24 November 2025. PlaysDiane Samuels (1995/2009) Kindertransport. Nick Hern Books.

In this week’s episode, Sam and Alex look at two short plays for middle schoolers: Rescued From The Holocaust by Sean Price and Dr. Yanush Korczak by Alina Kentof.As well as a discussion about the highlights, challenges and contemporary relevance of working with the plays, the pair explore the historical contexts behind each one. American diplomat Varian Fry led successful efforts in southern France to rescue around 2,000 people, both Jews and non-Jews; while Janusz Korczak was a Polish Jewish paediatrician, writer, educator and children’s rights advocate who ran a Jewish orphanage in the Warsaw Ghetto. Don’t forget to rate, review, subscribe, comment, and share!Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesBooks & ArticlesAnita Kassof / Holocaust Teacher Resource Center / Walter Meyerhof / Varian Fry Foundation, Varian Fry and the Emergency Rescue Committee: A Resource Guide for Teachers. Arolsen Archives, Janusz Korczak. The man who set an example for educators.United States Holocaust Memorial Museum (USHMM), Holocaust Encyclopedia: Varian Fry.PlaysRescued From the Holocaust by Sean Price and Dr. Yanush Korczak by Alina Kent in A Teacher’s Guide to the Holocaust: Plays, Florida Center for Instructional Technology.

“In the last clearing of the Warsaw Ghetto three children find themselves on a transportation to Auschwitz and encounter the Fool of the Warsaw Ghetto. He offers them a moment of magic in which to escape – if they have the courage to take it…Not all stories have a happy ending, but they should all begin with outrageous hope.” In the second part of this special two-part episode, Sam and Alex continue their exploration of a vibrant part of Jewish culture that was nearly lost during the Holocaust: the drut’syla storytelling tradition.Following on from the first part of the episode with special guest Shonaleigh Cumbers, believed to be the last living drut’syla, the girls listen to the CD recording of The Fool of the Warsaw Ghetto and discuss their reactions - from standout moments and favourite characters to some of the themes. Be warned - plot spoilers abound, so be prepared to skip parts if you don’t want to know what happens! Please rate, review, comment, share and subscribe to help us reach more listeners.Hosts: Samantha Mitschke & Alexandra GellnerReason (A Prayer) from The Fool of the Warsaw Ghetto (2006): Shonaleigh Cumbers with Ilana Cravitz, Mike Layward and Jo VealExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesShonaleigh Cumbers with Ilana Cravitz, Mike Layward and Jo Veal (2006) The Fool of the Warsaw Ghetto. Audio CD. For more information about The Fool of the Warsaw Ghetto, and to learn more about Shonaleigh and her tellings, courses and events, please visit https://shonaleigh.uk. A published collection of some of Shonaleigh’s stories, A Garment for the Moon, is forthcoming from Orkneyology Press.

In the first part of this special two-part episode, Sam and Alex look at a vibrant part of Jewish culture that was nearly lost during the Holocaust: the drut’syla storytelling tradition.Special guest Shonaleigh Cumbers, believed to be the last living drut’syla, talks to the girls about the tradition and her life and experiences as a storyteller. She also offers some insights into her incredible story The Fool of the Warsaw Ghetto, a beautiful and bittersweet story about three children who, in the final roundup after the Warsaw Ghetto Uprising, encounter a man who offers them what could be another chance at life. Dare they trust the man with a coat like beggar’s velvet? Don’t forget to rate, review, comment and subscribe!Hosts: Samantha Mitschke & Alexandra GellnerGuest: Shonaleigh CumbersExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesBooks & ArticlesThe United States Holocaust Memorial Museum (USHMM), Holocaust Encyclopedia: Warsaw. The Wiener Holocaust Library, The Holocaust Explained: Case Study: Warsaw Ghetto.Other sourcesTo learn more about Shonaleigh and her tellings, courses and events, please visit https://shonaleigh.uk. For more information about Twilight Tales and to join the online tellings, please visit https://www.facebook.com/groups/twilighttales.A published collection of some of Shonaleigh’s stories, A Garment for the Moon, is forthcoming from Orkneyology Press.

Wilkommen, bienvenue, welcome…the girls are back! In the season premiere, Sam and Alex look at the iconic musical Cabaret and ask: Is it a ‘Holocaust play’?The conversation includes their encounters with it, from childhood memories up to recent performances in London and New York; key differences between the film and the stage version(s); the depictions of characters from Clifford and Sally to Herr Schultz and Frau Schneider, and what they represent; and what Cabaret itself represents in the current global political climate. Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesBooks & ArticlesJoel Grey, “I Starred In ‘Cabaret.’ We Need to Heed Its Warning” in The New York Times, 24 November 2024.PlaysJoe Masteroff (book), John Kander (music) and Fred Ebb (lyrics) (1966/1987) Cabaret. Other sourcesYou can find all three education packs by Susie Ferguson for the London production here: https://kitkat.club/education/.

In this week’s episode, Sam and Alex look at Arthur Miller’s adaptation of Fania Fénelon’s memoir of her time in the women’s orchestra of Auschwitz. The pair talk about the history of the orchestras at Auschwitz, including the relative ‘privilege’ of the musicians; the life and experiences of Fénelon, a French singer and pianist; the moral challenges facing the orchestra members; the representation of women’s experiences; and the complex, overarching theme of perpetrators as ‘humans’ rather than ‘monsters.’ To skip updates and recommendations and go straight into the episode, listen from 15.15.Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “Image” by Infraction MusicContact: https://holocaustonstage.com/contact/ Episode SourcesTim Auld, “How Arthur Miller struck a discord with the Women's Orchestra of Auschwitz” in The Guardian, 6 March 2015.Auschwitz-Birkenau State Museum, On Auschwitz (25): Orchestras at Auschwitz.BBC Media Centre, The Last Musician of Auschwitz.Fania Fénelon (1977) The Musicians of Auschwitz. Michael Joseph Ltd. Kathryn Hughes, “The Women’s Orchestra of Auschwitz by Anne Sebba review – playing for their lives” in The Guardian, 21 March 2025. Arthur Miller (1990) Playing for Time. Nick Hern Books.Music and the Holocaust / ORT.org: Fania Fénelon / Anita Lasker-Wallfish / Alma RoséTime Note, Maria Mandel.To request a full list of resources, please use the contact form.

Content warning: this episode contains references to disordered eating.In this week’s episode, Alex and Dr Sam talk to Professor Lisa Peschel - whose interviews with Czech survivors of Terezin/Theresienstadt led to the discovery of numerous scripts, previously thought lost, of the performances staged inside the ghetto. This led to the publication in German, Czech and English of Performing Captivity, Performing Escape, a collection of 12 of these scripts.The trio discuss elements including the historical background of Terezin/Theresienstadt; the cultural life in the ghetto; Lisa’s interviews; her experiences of working with the plays, including reactions from students; and the potential highlights and challenges for educators. Lisa gives a reading of the book’s epilogue, the satirical yet poignant New Year’s Eve in the Oederan Slave-Labor Camp. Overall, the discussion considers how the plays allow students and teachers to gain an insight into the lives and experiences of the people who created and performed them. Some sound issues were experienced during recording - thank you for bearing with us!Hosts: Samantha Mitschke & Alexandra GellnerGuest: Lisa PeschelExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠PlaysLisa Peschel (ed.) (2014) ⁠Performing Captivity, Performing Escape: Cabarets and Plays from the Terezín/Theresienstadt Ghetto⁠. Seagull Books.Other sourcesVisit the ⁠Performing the Jewish Archive⁠ website to explore a vast range of material, including a video recording of The Smoke of Home.To learn more about Lisa and her work, please visit the ⁠University of York website⁠.To request a full list of resources for this episode, please use this form.

In this week’s episode, Dr Sam and guest co-host John Summers-Campbell explore the most naturalistic of Brecht’s works: a series of 24 episodic scenes that illustrate what life was like for ordinary Germans under the Nazis in the build-up to the Second World War.Sam and John discuss aspects such as the (under)representation of different groups; which of the scenes they think are the most powerful, and why; John’s experiences of directing the play, including a tap-dancing schoolgirl, a maid in drag and a fainting Nazi; how Fear and Misery… inspired a 1980s sci-fi series; and how the play is, once again, hauntingly timely.Hosts: Samantha Mitschke & John Summers-CampbellExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Books & ArticlesThe Poetry Foundation, “Bertolt Brecht”: ⁠https://www.poetryfoundation.org/poets/bertolt-brecht⁠PlaysBertolt Brecht; John Willett (trans.) (2006) ⁠Fear and Misery of the Third Reich⁠. Methuen Drama. Unfortunately Leopoldstadt is no longer available on National Theatre at Home (we checked), but you can watch the National Theatre trailer ⁠here⁠ and find copies of the text ⁠here⁠.To request a full list of sources for this episode, please use this form.

Content warning: Discussions of sexual violence and graphic descriptions of antisemitic violence and killings. In this episode - the first in the Contested Histories series - Sam and Alex explore Our Class by Tadeusz Słobodzianek, translated/adapted by Ryan Craig. Based on the controversial history of the Jedwabne pogrom, in which the Jews of the town were murdered in July 1941 by their Polish Catholic neighbours, the play looks at the stories of victims, perpetrators and survivors. The real life events on which the play is based challenged the image of Poles as solely victims in World War II, and debates continue to this day. Sam and Alex discuss aspects including the history and investigation of the massacre; ‘responsible’ stage portrayals of violent acts; and the resonance of Our Class in the current moment - all in a play where the name ‘Jedwabne’ is never actually spoken. Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Books & ArticlesThe Contested Histories Initiative, “Jedwabne Pogrom Memorial in Poland”, Contested Histories Case Study #125 (June 2021).Museum of the History of Polish Jews (POLIN), ⁠The anniversary of the Jedwabne massacre and ⁠Timeline of pogroms in the former Soviet occupation zone – summer of 1941.⁠PlaysTadeusz Słobodzianek; Ryan Craig (trans.) (2009) ⁠Our Class⁠. Oberon Modern Plays.To request a full list of resources for this episode, please use this form.

Since its publication in 2006, John Boyne’s novel has been the subject of criticism in the world of Holocaust education. Set at Auschwitz and telling the fictional story of a friendship between the naive son of a Nazi officer and a Jewish boy imprisoned in the camp, the book continues to split opinion - with some saying it shouldn’t be utilised at all, and others pointing out its value as a tool for teaching critical thinking. In this episode, Sam and Alex set out to discuss Angus Jackson’s 2015 adaptation and end up covering the play, the book (and its sequel), the film, and the ballet…with their conclusions even surprising themselves. Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Books & Articles John Boyne (2006) ⁠The Boy in the Striped Pyjamas⁠. David Fickling Books. UCL Centre for Holocaust Education, Continuity and Change Research Study, ⁠Third data release: “The Boy in the Striped Pyjamas” in English Secondary Schools⁠ (accessed 06/04/2025) PlaysAngus Jackson (2015) ⁠The Boy in the Striped Pyjamas⁠. Nick Hern Books. To request a full list of resources for this episode, please use this form.

CONTENT WARNING: This episode contains references to violence and a mention of SA against children.“January 1941. A terrible crime is taking place in a clinic for disabled children. The perpetrators argue that it will help struggling parents and lift the financial burden on the mighty German state. One brave voice is raised in objection. But will the doctor listen?”In this episode, Sam and Alex welcome their very first guest to the show. Director, writer and teacher Stephen Unwin talks about his play All Our Children; his experiences as the father of a disabled son; his work in disability rights and activism; Aktion T4, the Nazi campaign to ‘euthanise’ all those with physical and mental disabilities; and the play’s terrible relevance today. Hosts: Samantha Mitschke & Alexandra GellnerGuest: Stephen UnwinExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠ Books & Articles Michael Burleigh (1995/2002) ⁠Death and Deliverance: ‘Euthanasia’ in Germany 1900-1945⁠. Cambridge University Press/Pan Books. Dagmar Herzog (2024) ⁠The Question of Unworthy Life: Eugenics and Germany’s Twentieth Century⁠. Princeton University Press.Sara Ryan (2017) ⁠Justice for Laughing Boy: Connor Sparrowhawk - A Death by Indifference⁠. Jessica Kingsley Publishers.PlaysStephen Unwin (2017) ⁠All Our Children⁠. Nick Hern Books. Stephen Unwin (2024) ⁠Laughing Boy⁠. Nick Hern Books.Other sourcesThe film Stephen highly recommends is ⁠Korczak (1990), written by Agnieszka Holland and directed by Andrzej Wajda. For more information and to contact Stephen: ⁠https://www.stephenunwin.uk/⁠ You can learn more about Aktion T4 from ⁠Gedenkstätte Hadamar⁠ and in the ⁠Holocaust Encyclopedia⁠ of the United States Holocaust Memorial Museum (USHMM).

Content warning: References to suicide and SA against women and children.In this episode - the first in the Impossible Choices series - Sam and Alex explore Dmitry Glukhovsky’s The White Factory. Beginning in 1960s New York, the play follows survivor Yosef Kaufmann as he learns a notorious SS officer has finally been apprehended. Forced to confront his own experiences in the Łódź Ghetto, Yosef once again finds himself caught between seemingly impossible choices.Sam and Alex discuss themes such as the history of the Ghetto, including the controversial figure of Chaim Rumkowski; and how The White Factory emphasises Jewish history and culture, vitally demonstrating the humanity that the Nazis tried to annihilate. This episode is dedicated to the memory of Adrian Schiller.Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Episode SourcesBooks & ArticlesMarc Tracy, “The Holocaust’s Grandchildren Are Speaking Now” in The New York Times, 20 October 2024: ⁠https://www.nytimes.com/2024/10/20/arts/real-pain-eisenberg-holocaust-third-generation.html⁠PlaysThe Merchant of Venice 1936 (2025 UK tour): ⁠https://merchantofvenice1936.co.uk/⁠The White Factory at the Marylebone Theatre, London (2023): ⁠https://www.marylebonetheatre.com/productions/the-white-factory⁠

In their very first episode, Sam and Alex explore stage adaptations of Anne Frank’s diary - including one man’s obsession with telling Anne’s story; how most people don’t realise how a single play has impacted their perception of the Diary; ideas on how working with a stage adaptation can help students engage in different ways; and how Sam bumped into Otto Frank in Amsterdam…Hosts: Samantha Mitschke & Alexandra GellnerExecutive Producer: Samantha MitschkeProducer / Editor: Alexandra GellnerMusic: “⁠Image⁠” by ⁠Infraction Music⁠Contact: ⁠https://holocaustonstage.com/contact/⁠Episode SourcesBooks & ArticlesAmy Coplan and Peter Goldie (ed.) (2011) Empathy: Philosophical and Psychological Perspectives. Oxford University Press.Anne Frank; Otto H. Frank, & Mirjam Pressler (ed.); Susan Massotty (trans.) (2002) Anne Frank: The Diary of a Young Girl, 60th Anniversary edition. Puffin Books.David L. Goodrich (2001) The Real Nick and Nora: Frances Goodrich and Albert Hackett, Writers of Stage and Screen Classics. Southern Illinois University Press. Graver, Laurence (1995) An Obsession with Anne Frank: Meyer Levin and theDiary. University of California Press.Edward R. Isser (1997) Stages of Annihilation: Theatrical Representations of the Holocaust. Associated University Presses.George Lakoff and Mark Johnson (1999) Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. Basic Books.Carol Ann Lee (1999) Roses from the Earth: The Biography of Anne Frank. BCA. Carol Ann Lee (2002) The Hidden Life of Otto Frank. Penguin Books.Meyer Levin (1950) In Search. Authors’ Press.Samantha Mitschke (2018) ‘Have We Found Anne Frank? A Critical Analysis of Theater Amsterdam’s Anne,’ in Kara Reilly (ed.) (2018) Contemporary Approaches to Adaptation in Theatre. Palgrave Macmillan, pp. 143-160.Claude Schumacher (ed.) (1998) Staging the Holocaust: The Shoah in drama and performance. Cambridge University Press.PlaysFrances Goodrich and Albert Hackett (1956) The Diary of Anne Frank. Samuel French. Wendy Kesselman (2000) The Diary of Anne Frank. Dramatists Play Service Inc.Meyer Levin (1967) Anne Frank: A Play. Private publication. Other sourcesSamantha Mitschke (2015) Empathy Effects: Towards an understanding of empathy in British and American Holocaust theatre. PhD thesis, University of Birmingham.Theater Amsterdam’s⁠ Anne⁠ (ImagineNation)Tereska Torres (Undated)The haunted houses of Meyer Levin. Unpublished manuscript.