‘An American Daughter’ – Spin, Gender and Power

By Alix Cohen

Playwright Wendy Wasserstein gave voice to the contradictions of educated women in the decades following the feminist movement. She brought their lives, ambitions, and issues to center stage with wit, emotional depth, and social commentary.In An American Daughter focus moved from personal relationships to politics, power, and public life. Early recognition of something omnipresent today, her play explores how media scrutiny, gender expectations, and political ambition collide.

Dr. Lyssa Dent Hughes (Jean Lichty) is nominated for Surgeon General. It looks like a slam dunk. She’s smart, experienced, socially and professionally well positioned including with the President. Nor does it hurt to be the great- granddaughter of Ulysses S. Grant. Husband Walter (Robert Sean Leonard), an author and professor of women’s studies, is confident and supportive. We don’t see their two boys, but though he takes the lead, Lyssa seems as attentive as possible to family life.

Her Midwestern Republican senator father, Alan Hughes (Dakin Matthews) and his fourth wife, Charlotte “Chubby” Hughes (Mary Beth Peil), agree to disagree and are there every step to cheer her on.

Other examples of different women and their journeys are exemplified by Lyssa’s best friend, oncologist, Dr.Judith Kaufman (Montego Glover) who represents the underserved Black and persecuted Jewish and Quincy Quince (Carmen Zilles), a relentlessly ambitious influencer and author of The Prisoner of Gender, droll echo of Norman Mailer’s controversial 1971 book The Prisoner of Sex. Quincy is a former student of Walter.

Judith is at the end of her rope with medical and personal impotence. She’s been desperately trying to have a child. Quincy sees men only as useful on her meteoric climb towards cultural power brokering.

One day at a brunch, with a reporter present, the Hughes’ gay, clever friend, Morrow McCarthy (Ryan Spahn), notes that after being legitimately released for years, Lyssa “lost” her most recent jury summons. Wasserstein offers us no clue as to why he might be so careless- jealousy?

Because of Lyssa’s nomination, the tempest in a teapot quickly evolves to a tornado. Were she a man, several characters suggest, it would be assumed the envelope was misplaced.

Compounding this, during an interview with television host, Timber Tucker (Chris Ghaffari), the candidate’s frustration with stereotypically, domestically defined women as “ice box cakes and pimento canapé wives,” becomes a battle cry for those she’s defending. * See Hilary Clinton note. Media Hell breaks loose. Quincy rises like beer foam. Lyssa and Judith make pivotal decisions.

Some of the questions raised: Can a woman achieve power and public success without being judged by different standards than men? How much of her identity is shaped by society’s expectations of femininity, marriage, and motherhood? How do personal imperfections coexist with the idealized image expected of public figures? How does the media shape—or distort—the way we
understand political leaders?

The well written play should advance like a sequence of firecrackers and sparklers, cousin to a script by whip-smart Aaron Sorkin. It rarely does. Much of this might be attributed to the stiff, lackluster performance by Jean Lichty who evinces neither pith nor purpose. The actor feels symbolic while around her a human story is observed.

Sean Leonard (Walter) and Mary Beth Peil (Chubby) always deliver naturalistic performance. Both inhabit characters from cadence to distinctive bearing, are immediately credible, and here, immediately likeable.

Dakin Matthews’ role as the Senator fits him as if bespoke. It’s a treat to watch a persona accustomed to his own importance present in innumerable subtle ways. Timing of humor is spot on.

Carmen Zilles (Quincy) aptly manifests a prettier Laura Ingraham on steroids. Also featuring a capable Will Devary (doppelganger for the young Truman Capote) as Billy Robbins a political spinner from the Senator’s office. (A spinner tries to shape public perception of events by presenting information in the most favorable – sometimes false- way for a politician or party.)

*NOTE: The Hillary Clinton “cookie” controversy happened during the 1992 presidential campaign when the candidate defended her decision to continue a legal career rather than become a traditional stay-at-home political wife. “I suppose I could have stayed home and baked cookies and had teas, but what I decided to do was fulfill my profession…” she said. Many interpreted it as belittling women who chose homemaking—especially at a moment when the country was debating feminism, family roles, and public life. Critics felt she had dismissed the labor and value of stay-at-home mothers.

Director Sarna Lapine manages the complicated story and large cast with aesthetic staging and narrative finesse. Pacing is excellent. Lyssa and Judith tend to move their heads in birdlike fashion as if words were insufficient to hold attention, however.

The well written piece should advance like a show of firecrackers and sparklers, a cousin to writing by whip-smart Aaron Sorkin. It rarely does. Much of this might be attributed to the stiff, lackluster performance by Jean Lichty who evinces neither pith nor purpose. The actor feels symbolic while around her a human story evolves.

Mikikiko Suzuki Macadams’ Set of the Hughes’ gracious, Georgetown home hits all the right notes. Outside foliage is appealingly painterly. Well chosen props by Kathy Fabian. Costumes (Donna Zakowska) are wonderfully specific down to personalized color and shoe choices.

Sound Design (Darron L. West ) – particularly Wasserstein’s signature popular songs underlying narrative- is pristine.
Wasserstein makes sure we’re aware that characters inhabit the same pop culture as everyone else, even as their lives unfold under extraordinary public scrutiny.

Photos by Joan Marcus
Opening: Quincy (Carmen Zilles), Morrow McCarthy (Ryan Spahn) Walter (Robert Sean Leonard), Charlotte “Chubby” Hughes (Mary Beth Peil), Lyssa (Jean Lichty)

La Femme Theatre Productions presents
An American Daughter by Wendy Wasserstein
Directed by Sarna Lapine
Through September 20, 2026
The Irene Diamond Stage at The Pershing Square Signature Center
480 West 42nd Street