Asterisk denotes entries on real places.
Church basement. Place in Ann Arbor, Michigan, where Heidi and other women meet to discuss women’s issues in 1970. The emergence of socially conscious groups such as hers reflects the rise of collective movements during the 1960’s and 1970’s. Heidi herself merely observes the group’s discussion in the play.
*Chicago Art Institute. Place where Heidi and a friend try to persuade passersby to participate in a protest against the lack of representation of women in art in 1974. Heidi speaks on a bullhorn, purposely creating a spectacle to attract an audience. She appropriately chooses an art institute to protest because the setting is patriarchal in itself.
Television studio. New York City television station in which Heidi and some of her associates are interviewed for a program in 1982. Heidi and the other interviewees represent the baby-boom generation, who are well off, white-collar professionals living in cosmopolitan cities such as New York City. Their presence in the studio gives them a sense of success, as the studio offers them exposure as representatives of an elite who have it all. However, Heidi is reticent to speak during this interview because she senses that the limelight is not really what she wants. With bright lights pouring on her and a camera aimed at her, Heidi realizes that the limelight of any aspect of a person’s life is ephemeral.