From C-R to PR: Feminist Theatre in America

  • Alisa Solomon


Early in Wendy Wasserstein’s Pulitzer Prize-winning play, The Heidi Chronicles (1988), the hero visits a consciousness-raising group in Ann Arbor, Michigan. It’s 1970, five years into the chronicle that will follow Heidi to 1988. The scene in an Ann Arbor church basement serves as one of many occasions for Wasserstein to score some comic points off the American women’s movement. Wasserstein paints the C-R group as a touchy-feely hugfest where women embrace each other evey couple of seconds, and declare their love. Heidi, who is just visiting, remains critical, outside and unmoved, until she lets loose about an inattentive arrogant boyfriend. ‘I hope our daughters never feel like us,’ she concludes. ‘I hope our daughters feel so fucking worthwhile. Do you promise we can accomplish that much?’


Feminist Theatre Political Theatre Feminist Movement Theatre Movement Patriarchal Culture 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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Copyright information

© Palgrave Macmillan, a division of Macmillan Publishers Limited 1991

Authors and Affiliations

  • Alisa Solomon

There are no affiliations available

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