Wendy Wasserstein certainly had something to say. An now her bold play is back on Broadway to the delight of feminists everywhere. There's a sense that it is just as timely as ever. Others think it's a tired episode re-hashed on stage that needs to be made current. Heidi is not a technology genius. She's not a power-hungry executive of 2006. What she is is a feminist and what Ms. Wasserstein does so brilliantly and powerfully is to showcase a proud and true woman in her journey through the years. What someone needs to have done, however, is to shorten the play. Heidi and her companions always grade things. Here i find it an A+ for effort, C- for brevity and content.
Elisabeth Moss (Heidi Holland) was an interesting choice for Heidi. Not quite as dynamic as I would have expected her to be. Kind of a doormat. Moments of brilliant acting interlaid with a lot of hum-drum. Jason Biggs (Scoop Rosenbaum) is the dashingly successful boy she never married. He's dashing alright. But more of the hum-drum thing going on. The bright spots in this production are Bryce Pinkham (Peter Patrone) as her gay foil for life and Tracee Chimo (Fran, Molly, Betsy, and April) as a multitude of funny, biting, bold, and hysterical characters that pass through Heidi's life.
The design of the set (John Lee Beatty) is clever - a rotating platform that transforms the stage over the decades - sort of an homage to as time spins on and on. By the size of the audience at the performance I attended the show is off to a slow start - which is surprising with the high profile names attached to the show. Despite being too long, this show achieves a passing grade, it's just felt it's not quite as powerful or succinct as it could be.