When the Pulitzer- and Tony Award-winning playwright Wendy Wasserstein — beloved for her plays “The Heidi Chronicles,” “The Sisters Rosensweig” and “Isn’t it Romantic?” — died in 2006 at age 55, Broadway dimmed its lights in her honor. Five years later, Julie Salamon’s page-turning biography “Wendy and the Lost Boys” (The Penguin Press: $29.95) sheds light on the public and private selves of this author, whose own family dramas were no less gripping than those she wrote for the stage.
Playwright Wendy Wasserstein, known for wry portrayals of strong, conflicted, contemporary women in prizewinning works such as "The Heidi Chronicles," died this week in New York.
While not always overtly Jewish, her characters still bore the mark of the playwright's traditional Jewish upbringing in New York.
Later in her life, the feminist writer became a Jewish mother, although perhaps not in the way her own Jewish mother pictured.
But at least I'm succeeding at one thing: sloth. Yes, one of the quote/unquote seven deadly sins can actually be viewed as a virtue -- no, a lifestyle program, according to Wendy Wasserstein's new book, "Sloth: The Seven Deadly Sins" (The New York Library/Oxford, 2005).
Fertility therapy, Jewish identity, pressure to marry, single parenting. All are themes that flow through both the personal life and creative work of playwright Wendy Wasserstein, who won a Pulitzer Prize and Tony in 1998 for "The Heidi Chronicles."
In a rare peek behind the curtains on Broadway, Wasserstein will share some scenes out of her own theater experience at the Newport Beach Public Library on Jan. 23 at 7 p.m. The $36 cost per person includes a complimentary copy of Wasserstein's latest book, "Shiksa Goddess (Or How I Spent My Forties)," essays chronicling challenges facing contemporary women in America.