Starting in the latter halI oI the twentieth century, the sexual revolution began to

take root in American society. AIter the publication oI Betty Friedan`s The Feminine
Mystique, the stereotypical American home began to change Iorever. Feminism was born.
The turbulent sixties, with equal protection laws and Vietnam, came and went. The next
two decades aIterward saw Roe v. Wade, eight years oI conservatism under Ronald
Reagan, and domestic crises that shaped the way Americans like Wendy Wasserstein live
and work. In 1988, Wasserstein`s The Heidi Chronicles premiered at the Playwright
Horizons theatre, and then the Plymouth Theatre on Broadway. This play served as a
political commentary on Ieminism, as it artistically investigated the eIIectiveness oI the
movement as well as the degree to which it truly empowers women. Speaking in regards
to her intent with the play, Wasserstein stated "I wrote |The Heidi Chronicles| because I
had this image oI a woman standing up in a women's meeting saying 'I have never been
so unhappy in my liIe' "
i
In The Heidi Chronicles, Wasserstein tells the story oI Heidi
Holland, documenting her liIe Irom her youth to her older years, explaining how the
promises oI Ieminism that were so prominent during her youth were not IulIilled in
adulthood. The Heidi Chronicles, with its prominent commentary on Ieminism and selI-
identiIication, easily connects to many other aspects oI American society, as well as other
pieces oI literature, such as Betty Friedan`s The Feminine Mystique.
Friedan writes in her book, 'these women |housewives| had had no dreams oI
career, no visions oI a world larger than the home; all energy was centered on their lives
as housewives and mothers; their only ambition, their only dream already realized.
Friedan set the precedent Ior understanding what the stereotypical housewiIe is, allowing
authors such as Wasserstein to allude to her work. In The Heidi Chronicles, the character
oI Lisa Friedlander is much like what Betty Friedan described in her momentous book.
Lisa, married to Scoop, has never truly had any ambitions beyond her modest job as a
children`s book illustrator. She is the epitome oI housewiIe, as Iar as the Friedian school
oI Ieminist thought is concerned. She is always cheery and always happy, regardless oI
the Iact that her husband cheats on her. In Iact, her husband believes that women exist
solely Ior the beneIit (speciIically being the pleasure) oI men. Her liIe is nothing short oI
typical Ior a usual housewiIe. A potential venue Ior understanding why Lisa submits
herselI to such depressing conditions is that Wasserstein wrote her character that way in
order to create a dichotomous comparison between her and the other characters who have
Ilirted with Ieminism. For example, Heidi Holland was always a Iollower oI the Ieminist
movement, and reIrained Irom marrying and becoming a housewiIe like Lisa did.
Wasserstein creates the dichotomy between these characters in order to illustrate the
eIIectiveness oI Ieminism. Lisa, although ignorant to the way she is being treated,
appears to genuinely live a much happier liIe than Heidi. Although her husband oIten
betrays her love, and although she never ascribed to the conditions oI Ieminism by being
an 'independent woman, she still appeared to have issues that are much less severe and
pertinent than Heidi`s. Heidi grew up lonely, struggling with identity issues aIter she was
conIronted with the contradictions oI Ieminism at Scoop`s wedding. Scoop admitted that
he could not marry her because she would expect to be an equal with him. II marriage
cannot be equal, and iI marriage is such a well-established institution, then what authority
does Ieminism have to put conditions oI equality on marriage? Questions like this
tormented Heidi`s inner psyche, erasing the once solid lines that deIined her identity.
Heidi, like Wasserstein, became disillusioned with Ieminism in the 1980`s. Vivan
ornick, reIerenced in Claudia Barnett`s Wendy Wasserstein; A Casebook, alludes to
this abrupt and painIul shiIt Irom a powerIul Ieminist movement to a questionable moral
viewpoint. 'The Ieminists were my sword and my shield- my solace, my comIort, my
excitement. Then the unthinkable happened. Slowly, around 1980, Ieminist solidarity
began to unravel. The world had Iailed to change suIIiciently to reIlect our eIIorts.
ii

Feminism was becoming inconsistent, losing sight oI its honest and positive Ioundations.
Feminism had morphed Irom an eIIort to empower women to a movement that argues in
Iavor oI women choosing to become lesbian in an attempt to combat male hierarchy.
iii

This was all to true Ior Heidi Holland, who in Act Two, Scene Six oI The Heidi
Chronicles becomes very disillusioned with Ieminism and attributes her loneliness to it`s
conditions. However, this is not to say that Ieminism in retrospect oI The Heidi
Chronicles is a terrible thing. Act Two, Scene Six actually supports the idea that
Ieminism is in no way meant to be negative towards men and make women lonely.
Rather, it exists to liberate not only women, but men as well. From this scene, it can
easily be argued that Wasserstein Ieels that Ieminism should do nothing more than
encourage a woman to live liIe to it`s Iullest. She even clariIies this in an interview with
Jan Balakian, 'Ieminism goes astray when it comes about being acquisitive.` Feminism
should only be about personal IulIillment. When a woman can live liIe to it`s Iullest,
genuine happiness can be achieved, whether that be with or without a man.
Being such a strong commentary on Ieminism, The Heidi Chronicles are looked at
today as a staple in Ieminist theory literature. Art, particularly theatre, has always given a
strong critique oI American culture. The Iact that Wendy Wasserstein could comment on
and explore Ieminism through the dynamic medium oI theatre says a lot about the
progression and importance oI theatre in American society. Without theatre, without art,
without expression oI personal belieI, we would all be mindless drones that do not
deviate Irom the norm. II Wasserstein did not deviate Irom the Ieminist norm, we would
have never been able to appreciate and learn Irom her work.



i
Ciociola, uail. 998. Wenuy Wasseistein: Biamatizing Women, Theii Choices, anu
Theii Bounuaiies. Page .
ii
Bainett, Clauuia. 999. Wenuy Wasseistein; A Casebook. Page .
iii
Smith, }oseph. Feistman, Caila. 99. The Castiation of 0euipus: Feminism,
Psychoanalysis, anu the Will to Powei.


Works Cited
Barnett, Claudia. endy asserstein. a Casebook. New York: arland, 1999. Print.
Ciociola, ail. endy asserstein. Dramati:ing omen, Their Choices and Their
Boundaries. JeIIerson, NC: McFarland, 1998. Print.
Smith, J. C., and Carla Ferstman. The Castration of Oedipus. Feminism, Psychoanalysis,
and the ill to Power. New York: New York UP, 1996. Print.
Wasserstein, Wendy. The Heidi Chronicles. arden City, NY: Fireside Theatre, 1989.
Print.
#&! ANALYSIS
Our group worked very well together. The only issue we ran into was
miscommunication, that was eventually misunderstood as Matt having no interest in our
project. We eventually realized that the problem was not with Matt, rather, the problem
was a lack oI clear communication between group members. Overall, it was a productive
process though. We divided up certain subjects among group members to contribute to
the Prezi presentation (which I created) as well as the summary sheet. For example, one
student was responsible Ior symbols, another Ior themes, another Ior characters, and so
on. Descriptions oI each member are on the next page.

Ariel Neumann 10/10
Was responsible Ior coordination and logistics oI the
group, and did a good job. We all shared each unit oI analysis
equally, but she speciIically analyzed symbols as well as the
author`s background on her own. She made sure everyone was
on top oI their work. We probably would not have succeeded
without her.

Mattbew Moore 8J
Miscommunication between group members resulted in a
weak understanding oI his responsibilities. We all shared each
unit oI analysis equally, but he was speciIically responsible Ior
historical background.

Steven Meyer {me] J
Was responsible Ior the creation oI the Prezi presentation
as well as the summary sheet. We all shared each unit oI
analysis equally, but I speciIically analyzed themes and
character analysis. I also picked up Matt`s responsibilities Ior
historical background when we thought he was no longer in
our group.

Cina Nord J
Baked the incredible cupcakes. Helped put together the
summary sheet and oogle Doc so that we could all share
inIormation. We all shared each unit oI analysis equally, but
she was speciIically responsible Ior in-depth character
analysis. She contributed to group eIIiciency.