The Heidi Chronicles -- by Wendy Wasserstein (1989)

Description

Playbill.com provides this synopsis of the play: "A feminist art historian and her friends, male and female, gay and straight, mature from the 1960s to the 1980s as they search for political, professional and personal fulfillment, in Wendy Wasserstein's Pulitzer Prize and Tony Award-winning play."

The protagonist of Wasserstein's personal play is Heidi Holland. Heidi has two complex relationships with men in the play. Her closest friend, Peter Patrone, eventually confides in Heidi about his homosexuality as he becomes New York's top pediatrician. Scoop Rosenbaum consistently challenges Heidi about her satisfaction in life as he discusses his marriage and life choices. Both Peter and Scoop help Heidi to realize that she is ultimately unhappy.  

Doesn't this sound like a comedy? Probably not. However, Wasserstein threads humor, biting dialogue, and sentimental speeches into the play quite evenly. The show doesn't necessarily have a central plot. It truly is a chronicle of Heidi's adult life. 

View portions of the recent 2015 revival (pardon the language) here. More commentary and clips regarding the show can be viewed here, where Elizabeth Moss discusses the play.    

Candid Reaction

• Okay, this prologue clearly proves Heidi is a feminist. 
• What does it mean that Heidi is summarizing these artists with such brief descriptors for the students at the end? Is this a commentary on the grade-oriented student's mindset?
• This first scene helps show me what Heidi has fought against since her youth. 
• I couldn't help but think of The Glass Menagerie when Susan tells Heidi, "Don't make me laugh or my skirt will roll down" (165). Laura explains how breathing on the glass menagerie can break the figurines and the perfect appearance is shattered. Susan's plea is not as desperate, but it shares the "the image I want to preserve is broken when you tap into my humanity." Perhaps I'm reading too far into it, but what else do you expect from me?
•  Peter, let her tell you her name and don't confine her to your image of her! 
• All of these opening scenes being set at dances are appropriate. The dance motif reminds me of Pride and Prejudice and historical, societal, and literary implications of dances. 
• The communication between the characters in this play reminds me of those commercials that are currently airing that are like "Wouldn't it be great if people just said what they meant?" Ambiguity is not lacking in this play. 
• Oh, Fran, what a foul-mouth you have!
• I wonder if these women are addressing each other by name because the audience doesn't know who is who yet or if it is a stylistic choice to represent the empowerment of the women?
• What a great false dichotomy about being a feminist: "You either shave your legs or you don't" (178).   
• "Women like us have to learn to give to those who appreciate it, instead of those who accept it," responds Jill (179). Her stance reminds me of Perks of Being a Wallflower -- "We accept the love we think we deserve."
• How many times will the stage directions indicate They embrace?
• Very clever to use allusions with the songs being played. 
• Oh, gosh . . .  Peter shares, "According to my mental-health friends, we're heading into a decade of self-obsession" (187). I'm pretty sure self-obsession began in Eden . . .
• Interesting commentary about the relationship of women's rights and gay rights. 
• Poor, Heidi, saying that she is nothing but a "highly informed spectator" (206).
• As time has passed, the women seem to be less candid with each other. Why is that?
• If anyone needs a perfect example from literature of "mansplaining," just use Act Two Scene Two of The Heidi Chronicles.
• Sad to think that feminism has been supported by some merely from an economical, marketing viewpoint. 
• You're telling me that Heidi has to recite a whole monologue where she is giving a speech that she says she has no notes for? This scene would be so hard to perform as an actress! 
• All of these scenes are placed in different locations in different decades. I bet the scenic designer both loves and hates that. 
• Really?!?! That's how you end the play? Not gonna lie, that was a let-down. 

Top Two Aspects/Reasons for Winning

1. Feminism 

The show reflects a great American population. Sure, feminist texts existed before this play and feminist readings of literature were applied, too. However, this play was performed in 1989 America and commented on the American feminist movement from the 60s until the mid-80s. The subject matter was and continues to be relevant. The play addresses the complexity of what it can mean to be a woman in America who is told she can "have it all." Wasserstein unabashedly navigates the topic with self-aware women. Putting women on the stage to reflect women who are grappling with identity issues particular to being a female is empowering.

2. Span of time

As the title suggests, the play chronicles Heidi's life. Wasserstein carefully creates short scenes throughout three different decades. She avoids comical stereotypes, yet indulges in the heart of each decade. The transitions could appear quite melodramatic, too, when the reader/audience sees the change in Heidi over the years; however, Wasserstein does not allow Heidi to become a caricature in each new decade.

Classroom Implications

I think I would refrain from using this text in high school. If I had a student who was a devout feminist who loves to read, I would mention the play.

This play would be wonderful for a study on feminism in literature, on a collegiate level.

Personal Takeaway

The feminist movement has made progress, but the show seems as if it could have been written this year-- this concerns me.

Ranking

	Dialogue	Characters	Plot/Conflict	Symbol/Literary Devices	Overall Enjoyment	TOTAL SCORE 6.0
0	Unfollowable; unrealistic; diction does not match character	Undeveloped; does not reflect humanity	Not engaging; predictable; reader can step away from text because it isn’t gripping (.5)	Devices are apparent for cleverness and do not enhance the story	Reader has no interest in re-reading play
1	Not consistently realistic	Well-developed; most depictions reflect humanity	Semi-engaging; some unnecessary plot-points	Devices somewhat enhance story (1)	Reader would re-read with pleasure and reminded of work (1)
2	Realistic; connotative; diction matches characters (1.75)	Fully-developed; depictions reflect humanity (1.75)	Engaging; unique; reader finds it impossible to put down text because the conflict is so gripping!	Devices seamlessly enhance the story and provide rich interpretation	Reader would re-read the play on own volition, enthusiastically