Elisabeth Moss, whose persevering Peggy Olson has evolved over the seasons of “Mad Men,” now plays a different sort of woman who observes American society as it changes in “The Heidi Chronicles.”
Wendy Wasserstein’s award-winning 1989 comedy-drama returns to Broadway at the Music Box Theater in an effective, low-keyed production that is likely to make Baby Boomers who experienced some of Heidi’s 1965-1989 times mist up in recognition.
An art historian, Heidi (Moss) has an eye towards detail and nuance. Heidi clearly perceives the subtleties of the world around her, even if she is too passive as an individual to make much of an impact upon it.
The episodic story features scenes at a prep school sock hop in 1965, a women’s consciousness-raising group in 1970, a wedding reception (not Heidi’s) in 1977, a baby shower (not Heidi’s) in 1980 and other segments during which the rise of feminist altruism gradually gives way to the self-absorption of the materialistic 1980s. “I thought the point was we were all in this together,” says Heidi, sadly, late in the play.