The Sisters Rosensweig by Wendy Wasserstein
"The Sisters Rosensweig" is a play by Wendy Wasserstein that draws inspiration from Anton Chekhov's "The Three Sisters," set against the backdrop of the Soviet Union's dissolution in August 1991. The narrative revolves around the celebration of Sara Goode's birthday, bringing together her two sisters, Pfeni Rosensweig and "Dr." Gorgeous Teitelbaum, in England. The ensemble cast also includes Sara's teenage daughter Tessie, Pfeni's bisexual lover Geoffrey, Sara's aristocratic lover Nicholas Pymn, and Tessie's working-class boyfriend Tom.
As the characters interact, they navigate complex themes related to identity, cultural heritage, and the vulnerabilities faced by middle-aged women. While the play is recognized for its witty dialogue, it has received mixed reviews, with some critiques pointing to the characters as resembling caricatures rather than fully developed individuals. Ultimately, "The Sisters Rosensweig" is celebrated for its exploration of personal and cultural issues, making it a noteworthy piece that balances substance and style despite not achieving the same timeless status as Chekhov's work.
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The Sisters Rosensweig by Wendy Wasserstein
First produced: 1992
First published: 1993
The Work
The Sisters Rosensweig, a play intended to echo Russian playwright Anton Chekhov’s Tri sestry (1901, revised, 1904; The Three Sisters, 1920), is set in August of 1991 as the Soviet Union is dissolving. To celebrate Sara Goode’s birthday, her two sisters, Pfeni Rosensweig and “Dr.” Gorgeous Teitelbaum, come to England. Also invited are Sara’s teenage daughter, Tessie; Pfeni’s lover, the bisexual play director, Geoffrey Duncan; Sara’s aristocratic lover, Nicholas Pymn; and Tessie’s working-class Catholic boyfriend, Tom.
As the play opens, Tessie is listening to recordings of Sara’s college chorus for a school project. Pfeni, a globe-trotting feminist journalist, arrives and embraces Geoffrey, whose friend, Mervyn Kant, “world leader in synthetic animal protective covering”—a fake furrier—meets them at Sara’s house. Mervyn becomes smitten with Sara and invites himself to dinner.
Dr. Gorgeous, a radio personality who funded her trip from Newton, Massachusetts, by leading a tour for the Temple Beth El sisterhood, enters, her feet aching from cheap shoes. Before dinner Nicholas baits Mervyn about his Jewishness, and Tom and Tessie, who want to go to the celebration in Lithuania, are entranced by Mervyn’s political views. After dinner Sara and Mervyn discuss their similar American pasts until he charms her into bed. When Mervyn asks for a song, however, Sara refuses. In act 2 Gorgeous arranges for Geoffrey to entertain her sisterhood. Then everyone questions Sara about Mervyn until she gets annoyed, offends Gorgeous, and sends Mervyn away. When Geoffrey returns he tells Pfeni he misses men. Pfeni replies, “So do I” and allows him to depart.
Pfeni turns to Sara for comfort. Gorgeous enters wearing new, expensive, accidentally broken, shoes. Pfeni suggests Gorgeous’ husband should buy her replacements and Gorgeous reveals she now supports her family. The sisters share revelations and finally relax together.
Mervyn, responding to a call from Sara, returns. He delivers a designer suit to Gorgeous, a gift from her sisterhood. Gorgeous is ecstatic, but will return it and use the money for her children’s tuition. Pfeni decides to return to work, and leaves. Sara and Mervyn agree to continue their relationship. Tessie avoids the Lithuanian celebration, realizing she would be an outsider, and cajoles her mother into joining her in song.
While Wendy Wasserstein’s play was a Broadway success, reviews were frequently lukewarm. Although blessed with witty dialogue, the sisters often seem like caricatures. Yet this is less a character drama than an exploration of issues, specifically those relating to identity, the fears common to middle-aged women, and the self-loathing, self-loving attitudes Jews have toward their culture. Not a classic like Chekhov’s masterpiece, Wasserstein’s play is nevertheless a triumph of substance and style over structure.
Bibliography
Finn, William. “Sister Act.” Vogue, September, 1992, 360.
Hoban, Phoebe. The Family Wasserstein. New York 26 (January 4, 1993): 32-37.
Shapiro, Walter. “Chronicler of Frayed Feminism.” Time, March 27, 1989, 90-92.