By David A. Sargent,Special to the Sun Journal

AUBURN – Knowing the ending, knowing they came so close to surviving, is what makes “The Diary of Anne Frank” such a powerful story, whether it’s a movie, a play or a book.

A wonderfully talented cast brings this inspiring true story to the Community Little Theatre stage in a don’t-miss-it production that will continue Thursday through Sunday.

It’s the story of a 13-year-old Jewish girl and her family who are forced into hiding by the Nazis during World War II. She and her family, along with four others, spent 25 months in an annex of rooms in Amsterdam. This play tells of that ordeal recorded in Anne’s diary up until they are betrayed, arrested and deported to concentration camps.

In March 1945, nine months after she was arrested, Anne Frank died of typhus at Bergen-Belsen. She was 15 years old.

Kaitlin Rokowski, a 15-year-old freshman at Gray-New Gloucester High School, gives the title role such a delightful abundance of exuberance, girlish charm and budding maturity that the inevitable tragedy of Anne’s death comes with crushing finality. Rokowski’s portrayal captures Anne’s joy and irrepressible optimism, but she underscores it with a completely believable array of complex teenage feelings.

Others in the cast give equally impressive performances. Every principal character in “The Diary of Anne Frank” has exceptional depth that must be conveyed to the audience. The ensemble cast succeeds without exception.

The important role of Anne’s father, Otto Frank, is handled admirably by James R. Sargent. His restraint in the face of constant stress is the guiding example for the hiding families.

Joshua Michael Harris, a recent graduate of Poland Regional High School, plays Peter van Daan, Anne’s special friend and confidant. He plays the part in an appropriately quiet, low-key manner with occasional flare-ups aimed at his boorish father.

Bruce Gerry, a CLT veteran, gives Peter’s father just the right balance of sensitivity beneath personality weaknesses that he covers with overbearing arrogance and bluster.

Peter’s mother, played by Linda Griswold, wins the audience’s sympathy for her love of husband and son, despite some selfish and shallow personal attributes.

The two mothers endure the ordeal of hiding from the Nazis in different ways. Anne’s mother, played by Cheryl Reynolds, is under control for the sake of her family, but torn inside by the strain.

Margot, Anne’s reserved sister, is played by Jennifer Dubois, a 16-year-old student at Edward Little High School. Her role lends excellent balance to Anne’s boundless energy.

Rounding out the cast of hideaways is Mr. Dussel, the constantly complaining dentist, played by Mark Hazard. Anyone who saw Hazard’s fine portrayal of Robert in CLT’s production of “Proof” in January will admire his handling of this very different characterization.

CarlaRose Riccuiti is very good as Miep Gies, the heroic woman who risks everything to hide the families and bring them daily supplies. We see just enough of her involvement to realize there must be another remarkable story to be told about her experiences. It was Miep Gies who saved Anne’s diary after the arrests.

Donald Libby portrays another benefactor, Mr. Kraler, the owner of the building where he hides Anne and the others in an annex.

In brief, climactic appearances, Brian Hodges as a Nazi officer, and Michael Griswold and Calvin Shaw as the Green police, are all convincing.

Both the set and the lighting serve this production very well.

The excellence of Lee Griswold’s direction of “The Diary of Anne Frank” is apparent as many scenes play out in different areas of the two-level, multi-section set. The action – and reactions – bounce back and forth to amplify every nuance of meaning.

The manner in which Griswold stages the final moments is a potent theater experience.

This version is by Frances Goodrich and Albert Hackett, as adapted by Wendy Kesselman in 1998. The new adaptation contains material that Otto Frank released only in recent years before his death.

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