Why is everyone laughing at Anne Frank?

The she, theys and gays of the newly diversified Annex. Photo by Jasper Lewis Photography

By Mira Fox October 15, 2025

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It’s hard to explain exactly what Slam Frank is. It’s a musical about Anne Frank in the hip-hop style of Lin-Manuel Miranda, but also with a touch of Bob Fosse. Anne is Latina and queer; her mother, Edith, is Black.

This is not race-blind casting. It’s very much on purpose, a way to leverage Anne Frank’s story for a send-up of identity politics. If that sounds pretty offensive, well, that’s kind of the point.

Slam Frank began as a parody video posted to Instagram by Andrew Fox, who is Jewish; online, he played the part of a theater director trying to create a chance for “Latinx girlies to feel seen, to feel included, to feel like they’re a part of the Holocaust.” Despite — or, perhaps, because — of how edgy the concept was, the social media account went so viral that it birthed a full-fledged show. Or, arguably, two; the conceit is a play within a play, a production of Anne Frank staged by a theater troupe working to “decolonize” the Holocaust.

The show’s jokes aren’t really focused on Anne Frank, or Anita Franco, as she is dubbed in the play. Instead, they skewer woke culture. Otto, Anita’s father, is neurodivergent, a fact he reminds everyone of about once every five minutes. Peter Van Daan, Anita’s crush, realizes they’re nonbinary, leading to an entire musical number in which each resident of the Annex discovers their own marginalized identity. “Every woman is a Jew hiding in her own attic,” warbles one character about her newly realized feminism. It culminates with the cast ripping off their yellow stars to replace them with pronoun pins in the same shape.

A few years ago, Slam Frank would have been unimaginable. But at a sold-out performance late on a Tuesday, the audience was eating it up like they’d been starving for years. The laughter was so raucous that it could occasionally be hard to hear the dialogue.

The question is what changed so that a New York audience could laugh so heartily and so openly at jokes making fun of disabilities, race, ethnicity and sexual orientation — jokes that just a few years ago would have gotten someone canceled by a full-fledged angry online mob. Even today, there is a fully-serious Latinx production of The Diary of Anne Frank going up in Los Angeles, which the director said was meant to provoke discussion about immigration in the U.S.

It’s not that people aren’t upset; some writers for Jewish publications have accused the show of going “too far.” Reducing the focus on Jewish victims is, sometimes, a tactic of Holocaust deniers or distorters. People get defensive. Fox said the show got kicked out of a workshop program.

But Slam Frank isn’t really about the Holocaust; it’s about what happens when we talk about the Holocaust in an era in which certain identities are not considered oppressable.

Fox was inspired by a viral Twitter thread from 2021 that accused Anne Frank of white privilege, calling her a “colonizer.” I wrote about this discourse at the time; ahistorical discussions of Anne Frank’s purported whiteness were cropping up every few months during that period, as the Black Lives Matter protests and the pandemic brought identity politics to the main stage.

This discourse, while obviously absurd — Jews in the 1930s were not considered white — was nevertheless taken somewhat seriously in some circles. So, to make Anne Frank more unambiguously sympathetic, Fox assigned her and her compatriots in the Annex every extra identity she might need to qualify for victimhood.

Anne Frank’s story is particularly well-suited to a send-up of identity politics. Not only is it a narrative that most people know well — which is important since Slam Frank can sometimes be so focused on its one-liners that the beats of the story get muddled — but the Holocaust has become the archetype of the oppressor-oppressed dynamic. Online, anyone who is persecuting anyone else is quickly labeled a Nazi or called Hitler; the Jews, then, become the archetypal victim. It’s fertile ground for satirizing the so-called oppression Olympics.

For all its lambasting of a type of political correctness usually associated with the left, however, Slam Frank is not a conservative or right-wing production, though it’s also clearly not “woke.” It’s a hard show to pin down; it feels like a Rorschach test in ideology. Or, to better reflect its social media roots, it feels like one giant exercise in trolling.

Going off of the bonafides and bios of the cast and creative team, however, there are hints that the show is at least somewhat identified with the very culture it’s skewering. Olivia Bernábe, who plays Anita, uses they/them pronouns in real life, despite all the show’s jokes about pronouns. Joel Sinensky, who wrote the book, has worked on another project with Chapo Traphouse, the podcast king of the dirtbag left — a brand of leftism that rejects the etiquette of the left while retaining its political aims.

It seems safe to infer that the show’s critiques are from within the liberal milieu it’s satirizing. Sigmund Freud, in a lengthy text on humor — Jokes and their Relation to the Unconscious — theorized at one point that “every joke calls for a public of its own” and that sharing the joke demonstrates “psychical conformity.” So the question becomes when, and why, the left finally became comfortable laughing at itself.

Some of Slam Frank’s jokes do go a bit far — there are, of course, big and important lessons to learn about the way systemic oppression still operates in society, and it was good that we spent the past few years grappling with them. The show makes fun of the idea that a group hiding from the Nazis would be worried about such trivial problems as the perfect label for their sexuality, but the real Anne Frank did grapple with her sexual feelings toward both boys and girls in her diary.

Still, most of Slam Frank’s jokes are not laughing at people’s identities themselves, which saves it from seeming mean-spirited. The butt of the joke is not that Peter is nonbinary or that Edith is Black or that Otto is neurodivergent, it’s the way the fellow residents of the Annex react to these labels.

And even if Slam Frank sometimes overshoots the mark, it’s reclaiming something else: funniness.

After Kamala Harris lost to Donald Trump in the presidential election, more and more pundits began to point out that scolding voters is not a winning strategy. Liberals had somehow made their brand into telling people off while Republicans, once known for stodgy lectures about tradition and sexual mores, became the party of fun. They embraced Trump’s bad dancing as a delightful meme. They threw parties in the hottest bars in the city. Most importantly, they made jokes and didn’t chastise anyone for laughing at them.

The way for the left to come back from such bad branding is to learn how to laugh at itself. And self-deprecating humor is what Jews are best known for — that and the Holocaust. So maybe turning Anne Frank into a joke isn’t so strange after all.