"Sparked by a 2022 Twitter commenter who asserted that 'Yeah, Anne Frank had white privilege,' it reimagines Anne as 'Anita' — a pansexual Latina hiding from the Nazis..."

"... in a radically inclusive attic with her militant black mother, her neurodiverse father and assorted other disordered personalities.... For Peter, Anita’s love interest, the real challenge isn’t evading the Nazis; it’s daring to live your authentic self. Before coming out as non-binary, he laments to Anita: 'Outside, they’re fighting a war, but in here, I’m fighting expectations!'.... [T]he show’s real target isn’t Jews (or Nazis, for that matter) but the performative politics that have come to infect so much of cultural life...."

From "Inside Slam Frank — the ‘offensive’ Holocaust musical that could save Broadway/A show has turned the tragedy of Anne Frank into an ‘inclusive’ commentary on wokeness. And New York City audiences can’t get enough" (London Times).

And here's the review at Forward: "The new Anne Frank musical wants you to laugh at ‘woke culture’ — but is it funny? In ‘Slam Frank,’ it’s hard to tell who’s in on the joke and who is just…in it":

If you understand the jokes about neurodiversity and pronouns as a form of protest humor against “woke culture,” does that mean the playwright sees political correctness as the dominant narrative in our society right now?... [E]ven among the left and among those whose identities are under attack — people who make up the cast and crew of Slam Frank — there seems to be an exhaustion with identity politics’ overpolicing of who can say what....

As a musical, Slam Frank actually holds its own.... But every time I was compelled to laugh with the audience, my amusement was mixed with apprehension and guilt. I knew why I thought the overdone Black American Accent and caricatured Jewish stereotypes were funny; but it’s hard to relax when you don’t know if the rest of the audience is laughing with you or at you.