The Heidi Chronicles chronicles covers several decades in the life of Heidi Holland . She begins as a the type of girl who reads at a dance, while her more outgoing friend, Susan, pursues a boy who can “twist and smoke” at the same time. Then she meets Peter, who is witty and friendly, and proves to be a stable force in her life.

Heidi goes to Vassar and attends a “Eugene McCarthy for president” rally, where she meets Scoop Rosenbaum, who is flirtatious, older and passes grades on everything and everyone. Later, she attends a consciousness raising group, and finds herself shifting from being merely a humanist to being a feminist as well. She participates in a rally to bring more art by female artists to The Chicago Museum of Art. She grows older. One of her friends confesses that he is gay; another tells her that he is in love with her at his own wedding.

Throughout the play the audience witnesses Heidi’s own development, politically and emotionally. “I think all people deserve to fulfill their potential,” an early Heidi says, and that, at least, Heidi sticks to, even as her other views change, and she evolves from the naïve high school student to a jaded, yet somehow optimistic, adult.

Adding to The Heidi Chronicle’s charm is its acknowledgement of history and pop culture. Heidi attends a memorial service after John Lennon, of Beatles fame, dies. She discusses art, MRS degrees and AIDS.

Even more important is the play’s relevance. Heidi seeks equal time and consideration, and though many are quick to pass off today’s feminist movements as militant or passé, women still have not found complete equality, even in the United States. Heidi’s shock and anger when one of her friends comes out of the closet is mirrored by today’s homophobia, found even among Springbrook students. Though she comes to terms with her friend’s sexuality, many people around the world do not understand nor respect homosexuality. Heidi herself finds herself struggling to come to terms with her need for freedom and equality as a woman and her own maternal instincts. The play asks, Can a woman be maternal, feminine and a feminist? The answer is a loud, resounding, “Yes!”