A small New York theater production has found itself at the center of a heated cultural storm.
The show, titled Slam Frank, reimagines Anne Frank — one of the most recognizable victims of the Holocaust — as a pansexual Latina hiding from Nazi occupation with her neurodiverse family and a non-binary love interest.
The concept alone has triggered intense backlash online, with many calling it offensive and disrespectful.
Yet, others view it as bold satire meant to challenge how modern storytelling handles themes of inclusivity and identity.
A Satirical Take on “Performative Wokeness”
Slam Frank is not meant to be a traditional retelling of history.
Instead, it’s designed as an over-the-top satire that mocks what creator Andrew Fox describes as “performative wokeness.” The musical exaggerates current social trends by applying them to one of the world’s darkest historical narratives — the story of Anne Frank.
It all began as a joke. Fox, a Jewish composer, first posted a parody video on Instagram suggesting he might create a version of Anne Frank’s story “to make Latinx girlies feel included in the Holocaust.”
That viral post quickly spiraled into something much bigger — a full-blown stage production that now fills a small theater night after night.
Turning Satire Into a Full Production
The musical’s plot unfolds as a “play within a play.”
In it, a fictional theater troupe tries to “decolonize” Anne Frank’s diary, leading to a chaotic chain of musical numbers and self-discovery.
Characters begin to uncover new “marginalized identities,” trade their yellow Stars of David for rainbow pronoun pins, and even hold séances to communicate with ancestors lost at border crossings.
Critics have compared the show’s high-energy, irreverent numbers to Hamilton — but with a sharp, satirical edge.
Divided Reactions and Full Houses
Despite its provocative premise, Slam Frank has sold out most of its 34 scheduled performances at AsylumNYC, a 150-seat venue in Manhattan.
The show, which runs from September 17 to October 26, had a marketing budget of just $60 but still managed to attract packed audiences.
Viewers are deeply split — some hail it as daring political art, while others see it as a cruel distortion of a historical tragedy.
Supporters have compared it to The Book of Mormon for its willingness to shock and provoke laughter through discomfort.
A Petition Demands Cancellation
Not everyone is amused. A petition started by activist Joy Rosenthal has demanded that the production be shut down immediately.
The statement behind the petition argues that Slam Frank “trivializes the death of Anne Frank, one of the most sacred testimonies of the atrocities committed against the Jewish people.”
The petition reads: “Turning her story into a ‘slam’ or any form of entertainment that prioritizes shock value over historical reverence is deeply offensive.”
It goes on to emphasize that Holocaust survivors and educators have spent decades preserving the dignity of this history — and that such a production risks “misinformation, desensitization, and mockery” of their suffering.
The Creator Stands His Ground
Andrew Fox, who wrote and composed the show, says he’s unshaken by the criticism.
Speaking to Daily Mail, he admitted that the backlash has affected him emotionally but insists that it hasn’t stopped people from showing up.
“Besides the devastating effect this wave of criticism has had on my mental health — I have RSD, Rejection Sensitivity Disorder — the petitions have been terrible for sales,” Fox said.
“We were selling out weeks in advance, but now, because of all the negative coverage, we only turn away half as many people from our standby line.”
He added sarcastically, “We request some privacy so that we may grieve with our chosen family.
We hope the haters are happy with themselves.”
Art, Satire, and the Line Between Expression and Offense
The debate surrounding Slam Frank has reignited a long-running question in the arts — where should satire draw the line?
While some defend Fox’s right to parody and push boundaries, others insist that certain subjects, particularly the Holocaust, should be treated with solemnity and respect.
For now, Slam Frank continues to play to full audiences in New York, balancing uneasily between comedy, commentary, and controversy — and reminding everyone that art’s power to provoke can just as easily divide as it can inspire.