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The Heidi Chronicles and Other Plays, by Wendy Wasserstein
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The graduating seniors of a Seven Sisters college, trying to decide whether to pattern themselves after Katharine Hepburn or Emily Dickinson. Two young women besieged by the demands of mothers, lovers, and careers—not to mention a highly persistent telephone answering machine—as they struggle to have it all. A brilliant feminist art historian trying to keep her bearings and her sense of humor on the elevator ride from the radical sixties to the heartless eighties.
Wendy Wasserstein's characters are so funny, so many-sided, and so real that we seem to know them from their Scene One entrances, though the places they go are invariably surprising. And these three plays—Uncommon Women and Others, Isn't It Romantic, and the Pulitzer Prize-winning The Heidi Chronicles—manage to engage us heart, mind, and soul on such a deep and lasting level that they are already recognized as classics of the modern theater.
- Sales Rank: #1594349 in Books
- Published on: 1990-06-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.25" w x 1.25" l, .0 pounds
- Binding: Hardcover
- 249 pages
Most helpful customer reviews
2 of 2 people found the following review helpful.
Chronicles of our Boomer Generation
By LynC
I ordered this initially because the DVD of the same name does not have closed captions and I am hard of hearing. It is a good script, but the movie doesn't follow it exactly. Wendy Wasserstein is a playwright of my generation and I like how she captures so many of the dilemmas women I know went through at the times the book covers.
2 of 2 people found the following review helpful.
The Wendy Chronicles
By Lauri A Levenberg
My first foray into Wasserstein as a playwright. I've been familiar with her name and story for quite some time, but hadn't read her. So glad I did. This compilation of three Wasserstein pieces began with Uncommon Women and Others, continued with Isn't It Romantic and ended with the incredible Heidi Chronicles. Maybe the plays got better in succession or maybe I just became a more skilled Wasserstein reader as I experienced her more, I'm not sure. So much reflected women's struggles with the world and with themselves. Although I was never a 'Seven Sisters' girl, I remember those same feelings of wanting to take over the world while feeling inadequate to do much of anything. The Heidi Chronicles was a bittersweet end to the compilation, as it ends with Heidi's single-mom-adoption of a little girl and hope for the future, while the contemporary reader knows that Wasserstein herself could only enjoy her single-momness for a few years before dying of lymphoma.
34 of 34 people found the following review helpful.
"I don't have a life. I'm expendable."
By Mary Whipple
Heidi Holland, with an Ivy League education and a Fulbright in England under her belt, is a lecturer in art history, an expert on female artists virtually unknown in their lifetimes, though their work is as good as that of the male painters who dominated their ages. Using the art history "hook" into the question of women and their roles--as they see their roles, as men see women's roles, and as women search for happiness within these roles--Wendy Wasserstein has written a thoughtful and very funny drama about the Baby Boom generation and the price its women have paid as they have searched for fulfillment.
Exploring Heidi Holland's life from the late 1960s to the 1990s, Wasserstein takes us from Heidi's high school and college days, as she grows in her thinking and view of her role in life, to her experiences with women's lib focus groups, the Eugene McCarthy campaign, the rise of AIDS, the gay movement, and ultimately Heidi's realization of what is important to her, not just professionally and philosophically, but personally and emotionally.
Wasserstein uses wit and a keen ear for dialogue to create quick, often humorous interchanges which advance the action and the feminist message without polemics. Heidi is, on the surface, a success by all external measurements, but she feels that she is missing something from her life. Professional success is not enough for her, a revelation that made this play somewhat controversial within the women's movement when it was first produced in 1988. Some feminists apparently believed Heidi's desire for emotional fulfillment through love to be a sellout to a male dominated culture.
Wasserstein emphasizes that women should be able to pursue both professional success and a personal life, however, and the rounded character of Heidi remains a nice contrast to the more strident and sometimes hostile female characters with whom she interacts on stage. Throughout the action, the play's high humor and absurdity are nicely balanced with scenes of sentiment and sorrowful revelation, and Wasserstein maintains her light touch without trivializing the issues. Winner of the Pulitzer Prize for Drama in 1989, the play offers insights into significant social issues, gracefully presented so that they do not alienate the audience. Mary Whipple
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