Audiobook2 hours
The Heidi Chronicles
Written by Wendy Wasserstein
Narrated by Kaitlin Hopkins, Martha Plimpton and Full Cast
Rating: 3.5 out of 5 stars
3.5/5
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About this audiobook
This Pulitzer Prize winning play is the tale of a baby-boomer's long, hard road from 60's confusion to 1990's self-assured woman...or so she hopes.
An L.A. Theatre Works full-cast performance featuring Lisa Akey, Kosha Engler, Kaitlin Hopkins, Barbara Klein, Lisa Pelikan, Martha Plimpton, Scot Reese, Raphael Sbarge and Grant Shaud.
An L.A. Theatre Works full-cast performance featuring Lisa Akey, Kosha Engler, Kaitlin Hopkins, Barbara Klein, Lisa Pelikan, Martha Plimpton, Scot Reese, Raphael Sbarge and Grant Shaud.
LanguageEnglish
PublisherL.A. Theatre Works
Release dateJan 1, 2004
ISBN9781580814560
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Reviews for The Heidi Chronicles
Rating: 3.7075472830188683 out of 5 stars
3.5/5
53 ratings4 reviews
- Rating: 5 out of 5 stars5/5
Nov 19, 2024
This play made so much more sense to me today than when I had to read it in college. The actor playing Heidi is wonderful, and the interview at the end of this audiobook version was fascinating. - Rating: 3 out of 5 stars3/5
Jan 23, 2021
Reading a play is never as good as watching a play.
Follows Heidi in her quest to "have it all." At times it is insightful but I feel like ending the play with Heidi adopting a baby as the way to find happiness was...unfortunate. - Rating: 3 out of 5 stars3/5
Oct 21, 2014
This is a good play, but Wasserstein seems to imply (more than once) that a woman can't have a full life without a husband and children. I find this play rather depressing. Heidi had so much going for her. Why did she need a baby for completion? I guess it's just me. I can't identify with the maternal thing. - Rating: 3 out of 5 stars3/5
Jun 12, 2010
It's weird, I only bought this because it had the same name as my baby, and I missed her. s that pathetic? Anyway, it's not my normal sort of thing. It has a bit less of that female bonding that sits comfortably in between Golden Girls and Sex and the City than Wasserstein's other plays, and more internally focused fretting--I can relate to Heidi's fears about a career and a family and getting taken advantage of to a point but no further, and the insistence Wasserstein has on writing exclusively about rich WASPs and rich Jews in New York and their serious life problems can be a bit alienating when none of them have any particular warmth for one another, as seems to be the case this time out. If this was my Heidi maybe I could relate a little better. I miss understanding her.
