Wendy and the Lost Boys (48 page)

241.
In subsequent years she and Fay:
Wasserstein, “Days of Awe: The Birth of Lucy Jane,”
Shiksa Goddess,
206.

241.
He had begun wearing Brooks Brothers in prep school:
Wasserstein, “Reflections on Leather Rhinos,”
Bachelor Girls.

241.
“Seized by a moment”:
Ibid., 69.

242.
It was André who converted Wendy:
Wasserstein, “The Muse That Meowed,”
Shiksa Goddess,
124.

245.
“There isn’t much to say about my relationship with Nina”:
Stephen McCauley,
The Object of My Affection
(New York: Washington Square Press, 1987), 72.

247.
The two women already knew each other:
Michiko Kakutani, “A Play and Its Author Mature,”
New York Times,
Jan. 3, 1984.

247.
Wendy talked about people who had “nut-juice”:
Michiko Kakutani, “A Remembrance of Wasserstein,” a booklet compiled for Wasserstein’s memorial service, Mar. 13, 2006.

248.
She was married:
After having three children together, she and Landesman divorced and Ettinger dropped Landesman as her surname.

251.
For the
Times Magazine:
Wasserstein, “Boy Meets Girl,”
Bachelor Girls,
199.

251.
“Rest in the midmorning”:
Wasserstein, “Body Minimal,”
Bachelor Girls,
24.

Fifteen: The Heidi Chronicles, 1988–89

261.
“In order to complete my writing”:
Wasserstein, “A Second Act for the Playwright’s Central Park West Apartment,”
Architectural Digest,
30.

265.
They replied with a spoof:
Terrence McNally and Wendy Wasserstein, “The Girl from Fargo”: A Play by Terrence McNally and Wendy Wasserstein,
New York Times,
Mar. 8, 1987.

268.
The play cost $175,000:
Laurie Winer, “In Moving Uptown, a Hopeful ‘Heidi’ Takes a Gamble,”
New York Times,
Mar. 12, 1989.

268.
Within five years:
Donald G. McNeil Jr., “Why Neil Simon Decided to Turn His Back on Broadway,”
New York Times,
Nov. 21, 1994.

269.
“I stared at the delicate”:
Wasserstein, “Dear Broadway, This Isn’t Really Goodbye,”
Shiksa Goddess,
156, 157.

269.
“I’d never been someone who won”:
Interview with Laurie Winer,
Paris Review,
no. 14, Spring 1997, 20, 21.

270.
Wendy wasn’t in the mood:
Ibid., 21.

270.
Wendy lightened the Lola story:
Wasserstein, “Winner Take All,”
Bachelor Girls,
195.

271.
“The phone started ringing off the hook”:
Winer,
Paris Review,
21.

Sixteen: Wendy Wasserstein, Inc., 1990-92

280.
“Even with a personal assistant”:
Wasserstein,
Elements of Style
(New York: Vintage, 2006), 11.

282.
Both couples are gay-friendly:
Frank Rich, “Struggling to Love, but Aware of the Odds,”
New York Times,
June 26, 1991.

282.
“A producer must have the cunning”:
Frank Rich, “Stage View; The Last of the One-Man Shows,”
New York Times,
Sept. 22, 1991.

283.
“While none of these producers”:
Ibid.

Seventeen: Thicker Than Water, 1990-93

290.
“Chekhov tells us a story”:
Wasserstein, “Theater Problems? Call Dr. Chekhov,”
Shiksa Goddess,
180.

292.
“
The Cherry Orchard
”:
Ibid., 183.

296.
“In an almost Pirandellian stroke”:
Wasserstein, “How I Spent My Forties,”
Shiksa Goddess
, 190.

297.
“I am to learn that breast cancer treatment”:
Ibid., 191.

299.
“Part of the explanation”:
Judith Miller, “Theater; The Secret Wendy Wasserstein,”
New York Times,
Oct. 18, 1992.

300.
As they followed “the Lola Schleifer Wasserstein Freedom Trail”:
Wasserstein, “Poles Apart,”
Shiksa Goddess,
161.

300.
Wendy’s desire to have a child:
Wasserstein, “How I Spent My Forties,”
Shiksa Goddess,
196.

301.
“There’s nothing like sitting in a fertility doctor’s office”:
Ibid., 192–93.

Eighteen: The Objects of Her Affection, 1993-98

310.
She thought the apartment:
Wasserstein, “A Second Act for the Playwright’s Central Park West Apartment,”
Architectural Digest,
40.

313.
“As election year arrived”:
Frank Rich, “Exit the Critic,”
New York Times,
Feb. 13, 1994.

314.
Wendy felt Baird was a scapegoat:
Wasserstein, “Hillary Clinton’s Muddled Legacy,”
Shiksa Goddess,
19.

315.
She brought Wendy with her:
Wasserstein, “How I Spent My Forties,”
Shiksa Goddess,
196.

315.
“I’ve stumped the star”:
Ibid.

316.
The admiration was mutual:
Wasserstein, “Perfect Women Who Are Bearable,”
Bachelor Girls,
78.

317.
Most crushing was the slap:
Ben Brantley, “In the Hostile Glare of Washington, the Media Define and Defy,”
New York Times,
Apr. 14, 1997.

317.
Lloyd Rose of the
Washington Post
:
Lloyd Rose, “Wasserstein’s Daughter: Thin and Flighty,”
Washington Post,
Apr. 14, 1997.

318.
The only family member to know was Sandra:
Wasserstein, “How I Spent My Forties,”
Shiksa Goddess,
194–95.

318.
“I thought of Sandra valiantly”:
Ibid., 194.

Nineteen: Festival of Regrets, 1998-99

328.
In an impassioned article:
Wasserstein, “Hillary Clinton’s Muddled Legacy,”
New York Times
, Aug. 25, 1998.

329.
“Now, the impressive personal qualities”:
Ibid.

333. Beatty designed the sets for
The Sisters Rosensweig
and
An American Daughter.

335.
“I am certain that I became a playwright”:
Wasserstein, “A Place They’d Never Seen: The Theater,”
Shiksa Goddess
, 7.

335.
Wendy had begun to reconcile herself:
Wasserstein, “Days of Awe: The Birth of Lucy Jane,”
Shiksa Goddess,
209.

336.
Wendy had been struck:
Wasserstein, “My Manhattan; A Lifetime of Memories and Magic,”
New York Times
, May 23, 2003.

Twenty: The Birth of Lucy Jane, 1999

344.
These tactics help explain:
Wasserstein, “Complications,” the
New Yorker,
Feb. 21, 2000, 87.

Twenty-One: The New Millennium, 2000-01

360.
After watching a performance of
Vienna Waltzes
:
Wasserstein,
Old Money
(New York: Harcourt), x.

360.
“There were a bowl of three dozen roses”:
Ibid., vii, viii.

365.
“I had my child so late”:
Interview with A. M. Homes,
Bomb
magazine, Spring 2001.

365.
“My life has changed completely”:
Ibid.

Twenty-Two: Welcome to My Rash, 2002-04

373.
She experienced her share of the side effects:
www.compath.com
.

376.
“The morning was a clear winter blue”:
Wasserstein, “My Manhattan; A Lifetime of Memories and Magic,”
New York Times,
May 23, 2003.

376.
Recalling the affecting scene:
Jill Krementz in “A Remembrance of Wendy Wasserstein,” booklet compiled for her memorial service at Lincoln Center Theater, Mar. 13, 2006.

381.
“I find myself unable to touch it”:
A. M. Homes,
Bomb,
Spring 2001.

383.
André had been put on the defensive:
John Lahr, “Deep Pockets Run Shallow,” the
New Yorker,
Dec. 25, 2000 & Jan. 1, 2001, 167.

Twenty-Four: Legacy, 2005-06

416.
“Frankie wasn’t angry”:
Wasserstein,
Elements of Style,
281.

424.
Her memorial service:
Jesse McKinley, “An Overflow Crowd Attends a Wendy Wasserstein Tribute,”
New York Times,
Mar. 14, 2006.

424.
“How could the most public artist”:
Frank Rich, “Everybody’s Wendy,”
New York Times,
Dec. 31, 2006.

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