Reviewed by: Wendy Wasserstein by Jill Dolan Carol Martin WENDY WASSERSTEIN. By Jill Dolan. Modern Dramatists series. Ann Arbor: University of Michigan Press, 2017; pp. 206. The second wave of feminism helped usher in new voices, groundbreaking dramatic structures, and little-known subject matter. Among the many playwrights—not to mention performance artists and companies—to emerge during that time were Ntozake Shange, María Irene Fornés, Cherríe Moraga, Megan Terry, Marsha Norman, Emily Mann, Beth Henley, and Wendy Wasserstein. Wasserstein, Jill Dolan writes, wanted to “see people like herself onstage,” but was met with male resistance in the form of comments like “I can’t get into this—it’s about girls” (9). Assertions of the universality of male subjectivity demoralized generations of women. How were women supposed to tell their stories, let alone write them, if men assume that they are the universal subject? How can we understand women’s experiences apart from a disenabling notion of universality? (To be sure, Wasserstein was mostly writing about educated, heterosexual, white, and Jewish women living upper-middle-class lives.) Wasserstein was a mainstream playwright who achieved her aspirations for success with Broadway and regional theatre productions, and a Pulitzer Prize and Tony Award, both for The Heidi Chronicles. Popular profiles of Wasserstein and her work, however, often ambivalently noted her appearance (disheveled), body (overweight), voice (too high), and manner (somewhat timid). No matter her achievements, the subject was her personal self: her body, her appearance, her manner. Meanwhile, the feminist strategy at the time for reading the second-wave feminist playwrights included careful attention to how race, gender, and economic realities determine the construction of characters and their experiences. Dolan’s Wendy Wasserstein is a play-by-play consideration of the playwright’s oeuvre that demonstrates the kind of analysis that was integral to the second wave of feminism and beyond. Dolan considers several questions: “What do Wasserstein’s plays and career suggest about the last forty years of U.S. feminism? How does her journey through the most powerful echelons of American theater provide a role model—or, on the other hand, a cautionary tale—for artists who might follow? What can we glean from reading her most significant plays with an eye toward the venues in which they were produced, the directors who mounted them, and the designers who helped bring them to life? What’s revealed by studying the critical response to Wasserstein, as her plays remained for so long among the few titles by women admitted into the canon of American comedy and drama?” (3). In other words, Dolan’s feminist focus is as much about what informs the gender inequities in all areas of American theatre, including higher education—although Dolan wrote this book before the Me Too movement—as it is about Wasserstein’s career and plays. Wasserstein’s oeuvre reads like a cultural history of American progressive feminism: The uncertainties of a career path after graduating college (Uncommon Women, 1977), making romantic decisions that determine the rest of one’s life (Isn’t It Romantic, 1981), navigating career and family ambitions (The Heidi Chronicles, 1989), balancing self-interest and social activism (Sisters Rosensweig, 1993), achieving political power and social status in institutions designed to exclude women (An American Daughter, 1997), and, finally, the fault line between entrenched beliefs and political transformation (Third, 2005) that runs through her work. For those who have read Dolan’s earlier work, the style of the writing will seem familiar. At the same time, she rethinks her previous ideas with regard to Wasserstein’s work as a whole, and lets her readers in on her rethinking. She admits she once thought The Heidi Chronicles was a sellout to dominant [End Page 128] culture (59). Now, Dolan writes, she sees the play as important for themes that echo throughout Wasserstein’s work: “men speaking for women, foretelling their futures, as Scoop does (so presciently) when he first meets Heidi; women striving to ‘have it all,’ to find husbands, bear children, and exceed these traditional achievements with the even more ambitious careers to which women of a certain class, by 1989, could at least presume to aspire; and...