Ten years ago, I sat in the dark at the Public Theater in downtown New York City, surrounded by a murmuring crowd, waiting for the curtain to rise on a brand-new play called "Hamilton."

At that point in time, Lin-Manuel Miranda’s hip-hop musical had yet to become the behemoth it is now. Quite the opposite — there were no cast albums or Disney+ recordings, and aside from a few regional workshops years earlier and its word-of-mouth reputation as the “next big thing,” no one in the audience had any idea what we were in for.

A pansexual Latina Anne Frank with an Afro-Caribbean tiger mom and a chronically 'neurospicy' closet case for a dad? Now you've gone too far.

Expanding the form

The next few hours were filled with a strange, albeit thoroughly impressive, showing of lyrical prowess. Miranda had somehow managed to turn historian Ron Chernow's 818-page Alexander Hamilton biography into a crowd-pleasing, pop-culture-infused depiction of the earliest days of a fledgling America.

More provocative was Miranda's deliberate choice to cast primarily black and Latino actors to portray the founding fathers. While a few nitpickers balked at the spectacle of "people of color" portraying slave owners, most marveled at the audacious ingenuity of it: What could be more revolutionary than retelling the American story so that it reflects all Americans?

The crowd left the theater excited. There was no doubt that we had witnessed something groundbreaking. If Aaron Burr could be black and Alexander Hamilton Puerto Rican, what else was possible?

Decolonizing 'Diary'

Eight years later, lyricist and composer Andrew Fox stumbled upon an answer. It came to him in the form of a (since-deleted) 2022 Twitter thread hotly debating a never-before-asked question: Did Anne Frank ever acknowledge her white privilege?

As is often the case, the online arguing devolved into acrimonious ad hominem and fruitless whataboutism. Fox realized that mere words would never get to heart of the matter. As with "Hamilton," it would take the power of musical theater to win hearts and minds. And he would do Miranda's non-white casting one better — reimagining Anne Frank herself as a person of color.

And so Fox and librettist Joel Sinensky set out to transform the "Diary of Anne Frank" into "Slam Frank," an intersectional, multiethnic, gender-queer, decolonized, anti-capitalist, hyper-empowering Afro-Latin hip-hop musical.

Originally slated for three weeks at small off-Broadway venue the Asylum, "Slam Frank" has become a massive hit for the theater, which recently extended its run through the end of December.

Piercings and Patagonias

Want diversity? Look no farther than the viewers showing up in droves. At any given performance, you can find a septum piercing, a Patagonia vest, and a pair of bifocals all in the same row.

Yes, even liberals enjoy "Slam Frank," despite the outrage it has provoked in some of their compatriots. “This whole project is head-spinningly grotesque and offensive,” went one post to the r/JewsOfConscience sub-Reddit. “Bringing up the holocaust and not mentioning the current genocide in Gaza just gives me the ick,” lamented another.

The irony of takes like these is thick, since one can imagine these same critics of "Slam Frank" being perfectly open to the idea of race- and gender-swapping other historical characters. But a pansexual Latina Anne Frank with an Afro-Caribbean tiger mom and a chronically "neurospicy" closet case for a dad? Now you've gone too far.

RELATED: 'Anne Frank' kindergarten is being renamed for the sake of diversity: 'We wanted a name without a political background'

TIM SLOAN/AFP via Getty Images

A real production

The show's earliest marketing attracted attention with a simpler question: “Is 'Slam Frank' a real musical?”

The answer is a decisive "yes." "Slam Frank" is not a social media gimmick or an expertly crafted exercise in long-form rage- bait. Again: It is a full-length show, with a cast, that is being performed on regularly scheduled dates at the Asylum NYC.

I know because I've seen it. "Slam Frank" is not just a real production, but an entertaining one. It is smartly written, balancing humor with sincerity, featuring songs composed and performed with impressive musicianship. Think Trey Parker and Matt Stone’s "The Book of Mormon" or the award-winning puppet extravaganza "Avenue Q" — but with a final gesture of leftist piety that pushes the logic of your average keffiyeh-clad student protester at Columbia to uncomfortable extremes.

The shocking finale is played so straight that plenty will miss the satire, and even those in on the joke may notice how easily it could be mistaken for peak-wokeness agitprop. If there is a clear "message" here, the show's creators aren't about to clarify it. "Slam Frank" is happy to offend each viewer in whatever way he, she, or they wish to be offended. How's that for inclusive?