Christine Lahti isn’t doing an impression of Gloria Steinem. For example, she doesn’t attempt Steinem’s flat Midwestern regionalism, a product of growing up in Toledo, Ohio. But with the aviator glasses, the big streaked wig, and an outfit that could have come out of Gloria’s closet, she completely captures the look of this feminist icon, even down to the graceful hand movements. Much more importantly, she plumbs the depth of Steinem’s soul, finding the essence of her strength and vulnerability, and in doing so, as the performance continues it becomes ever more difficult to remember that we’re seeing an actress playing a part. With her on stage is an ensemble of women who assume different roles, male and female, with great alacrity. One of the most effecting portrayals is that of Cherokee chief Wilma Mankiller, who brought modern conveniences, including heat and running water, to the reservation. Asked about the origin of her name, she explains that it meant the person who kept the village safe; the word was originally “White Man Killer.” Mankiller is played by an absolutely lovely young performer, DeLanna Studi, who possesses an impressive pedigree. Not only is Wilma her cousin, but her uncle is the actor Wes Studi. Representing the many women of color who are often forgotten in recounting the Women’s Movement, Patrena Murray is forceful and memorable as lawyer and activist Florynce Kennedy. And who could ever forget the hat-loving, always gutsy Bella Abzug, here seen both in news coverage on the screen, and on the stage. Much of Gloria Steinem’s drive came from her childhood, when seeing her mother Ruth (Joanna Glushak) disintegrate before her eyes drove her to be different. When she found out that her mom had once been a vibrant newspaper writer, Gloria realized how much of her mother’s drive had been submerged by having to cater to her husband and kids. With sodium pentothal added to the mixture, Mrs. Steinem became a barely functioning human being, and Gloria had to take over as caregiver at a very young age after her parents divorced. Gloria originally wanted to be a Rockette, but soon realized her gift as a writer. She found it difficult to be assigned the kind of articles she wanted to write at the male dominated New York Times, and was instead given fluff, including a piece on textured stockings. Recognition came with an expose of life working at a Playboy club, called “A Bunny’s Tale” for “Show” Magazine. She was taught to dip while serving, had to endure both a gynecological exam and a Wasserman test, and fought off numerous inappropriate advances. The article was well received and brought fame, but not necessarily respect. This still was a time when women had to protest not being allowed to have lunch in the Plaza’s Oak Room. Steinem was thrown out of the hotel when she waited in the lobby to do an interview. Men were allowed to stay as long as they liked, but not women. Steinem suffered so many indignities, it’s great that she kept a sense of humor, and also that she was able to listen to other women. She was in a cab when the driver, an Irish woman, leaned over and told her “If men could get pregnant, abortion would be a sacrament.” Steinem went around the country, especially in the South, talking with other women, letting them know they were not alone in their frustrations and ambitions. The last 20 minutes of the show are devoted to a true circle of women speaking up, led by Gloria Steinem herself. She is small of stature, and almost as lean as the bone-thin Lahti. Her warmth and true concern put an excellent theater experience over the top, and when she made a special acknowledgment of the several men in the audience, everyone cheered. At the beginning of the performance, we’re given words of wisdom that are especially appropriate for our time. In the words of Gloria Steinem, remember “You’re not crazy; the system is crazy.” Too true.
