implications for food and water safety. Many Europeans continued to live on tainted land, and the 1990s saw a surge in cancer cases and other health issues. Remarkably, despite recurring accidents, the government stubbornly persisted with the existing system rather than exploring alternative energy solutions, keeping the facility operational.

Reaganomics

At the heart of the play's narrative lies a mirror reflecting the events unfolding across the United States, brought vividly to life in Sara's poignant remarks about her previous home. She confesses, "in many ways America is a brilliant country. But it’s becoming as class-driven a society as this one." This statement underscores the stark reality of class divisions in America, intricately intertwined with the economic trends of the time. During the Reagan administration, David Stockman, the astute director of the OMB, or Office of Management and Budget, crafted a bold fiscal strategy. Known as supply-side economics, this plan urged the government to invigorate the economy through the deregulation of commerce and industry, alongside a reduction in taxes. Stockman believed that ramping up the production of goods and services would naturally lead to a surge in consumer demand.

The theory was simple: amplify production, and the masses will follow with their wallets. By slashing taxes and loosening the reins on industry regulations, businesses would be empowered to "beef-up" their output. President Reagan embraced this vision, but with a keen eye on the budget, he also reduced government spending. Dubbed "trickle-down" economics by some, the concept hinged on alleviating the tax burden for the wealthy, spurring them to invest, with the hope that the benefits would "trickle down" to the less privileged as job opportunities. Reagan envisioned that heightened investment would translate into more taxable income, swelling the coffers of the state. However, George Bush derided this approach as "voodoo economics." Ultimately, the tax cuts failed to uplift the middle- and lower-income groups, serving instead to enrich a select few. Corporate mergers and profitable dismantling of companies left behind a trail of job losses and elevated unemployment.

The New Homeless

"I have an idea to do this year’s homeless benefit at the National as sort of a story theater. I want to hear their brilliant voices," Geoffrey announces, inspired by the notion of amplifying the voices of the homeless themselves. He envisions a performance that vividly captures their stories, a reflection of the stark reality sweeping through the United States. The lasting impact of Reagan's policies left many teetering on the brink of financial disaster, underemployed or jobless, and unable to secure their futures. City streets became canvases painted with the faces of countless homeless individuals. Alan Axelrod, in The Complete Idiot’s Guide to 20th Century History, notes that during this period, "‘homeless people’ became a ubiquitous euphemism for those formerly described as indigent, derelicts, or bums," poignantly referring to them as the "walking wounded of Reaganomics."

Point of View

The narrative of the play unfolds through a third-person lens, keeping a deliberate distance from any singular character’s viewpoint. Characters refrain from breaking the fourth wall; none directly engage with the audience or reveal the hidden layers of their drives and desires. Instead, viewers are invited to deduce these intricacies by witnessing the characters' dialogues and interactions. This dynamic interplay enriches the audience's understanding of the characters' motivations. For instance, Sara unveils her relationship history to Merv, noting her husband's fifth marriage and her own dim outlook on a third, thus hinting at her disillusionment with romance and men. When Merv encourages her to relax, Sara retorts with, "You know what really irritates me in life, Merv? When men like you tell women to take it easy because somewhere they believe that all women are innately hysterics." Through such exchanges, the audience discerns the depth of Sara's issues, revealing why she is resistant to Merv's advances.

Structure

The play adheres closely to the classical unities, grounding its narrative in the traditional principles of action, time, and place. The storyline revolves exclusively around the reunion of the Rosensweig sisters, focusing on how this gathering reshapes their life's trajectories. The play presents a clear beginning, middle, and end, chronicling their collective journey toward meaningful self-discovery. The primary events unfold over the course of a single day—Sara's birthday—and are confined to the intimate setting of her apartment in Queen Anne’s Gate.

Stereotypes

Each character crafted by the author embodies recognizable archetypes. Within the tapestry of the Rosensweig family, each sister represents a distinct stereotype. Pfeni is depicted as a whimsical, shopping-bag-laden globetrotter and journalist at forty. Gorgeous emerges as the somewhat ditzy, upper-middle-class, self-declared new age sage and modern homemaker—the sister who "did everything right." In contrast, Sara is the sharp-minded, resilient "hot-shot Jewish lady banker," twice gracing the cover of Forbes. Utilizing stereotypes serves multiple purposes. Firstly, it brings to light the diverse challenges women face from various vantage points—creating a chorus of voices rather than a single note. Secondly, Wasserstein uses these stereotypes to peel back the layers of social facade, injecting unexpected depth into her characters through their dialogue. For example, while Sara appears to be the impenetrable businesswoman, her conversation with Merv reveals that her hardened exterior is a shield against the pain of past failed marriages.

Zeitgeist

Capturing "the spirit of the time," the play reflects the moral and intellectual currents of the late 1980s. Characters engage in profound, cerebral debates on contemporary issues like the fall of the Soviet Union, the Lithuanian resistance, and the efficacy of America's educational powerhouses. Sara, when asked about the United States, describes it as a "society in transition," elaborating on the economic shifts marked by a growing disenfranchised class, deteriorating urban centers, and an underfunded education system. Her observations reflect the social and economic upheavals experienced by many under Reaganomics.

Sources Axelrod, Alan, The Complete Idiot’s Guide to 20th Century American History, Alpha Books, 1999, pp. 377–422.

Ciociola, Gail, Wendy Wasserstein: Dramatizing Women, Their Choices and Their Boundaries, McFarland, 1998.

Cohen, Esther, ‘‘An Interview,’’ in Women’s Studies: An Interdisciplinary Journal, Vol. 15, No. 3, 1998, pp. 257–70.

Kramer, Michael, ‘‘Beyond Ambivalence: (Re)imagining Jewish American Culture; Or, ‘‘Isn’t That the Way the Old Assimilated Story Goes?’’ in American Jewish History, Vol. 88, Issue 3, 2000, pp. 407–15.

Lochte, Dick, ‘‘The Sisters Rosensweig: Play Review,’’ in Los Angeles Times, Vol. 39, September 1994, pp. 140–41.

Paige, Linda Rohrer, ‘‘Wasserstein, Wendy,’’ in Feminist Writers, edited by Pamela Kester-Shelton, St. James Press, 1996.

Wasserstein, Wendy, The Sisters Rosensweig, Dramatists’ Play Service, 1993.

Further Reading

Barnett, Claudia, ed., Wendy Wasserstein: A Casebook, Casebooks on Modern Dramatists series, Garland, 1998. This casebook contains discussions of the author’s works in consideration of Jewish storytelling, feminism, comedy, and so forth. The author is also compared to playwright Anton Chekhov and others to provide context and understanding for her works.

Ciociola, Gail, Dramatizing Women, Their Choices and Their Boundaries, McFarland, 1998. A scholarly study of Wasserstein’s works, this book also provides helpful explanations of current feminist terminology to set up Ciociola’s textual analysis and in-depth character study.

Homes, A. M., ‘‘Wasserstein, Wendy,’’ in Bomb, H. W. Wilson Company, Spring 2001. In this interview with the playwright, Homes and Wasserstein discuss such topics as the concept of political correctness, a writer’s social and moral obligations, and the influence of motherhood on the author’s work.

Johnson, Haynes, Sleepwalking through History: America in the Reagan Years, Doubleday, 1991. Johnson’s work paints a harsh portrait of America during the Reagan years by recounting the nation’s economic and political fall in the 1980s.