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The trouble with Heterosexual is that the play does not rise to its climactic moment but runs down to it like an unwound clock. As comedy, it is fitful; as a social comment, it is fretful, without being particularly penetrating or fresh. Considering how talky the evening is, Burgess Meredith's direction wings it along at a dancing pace with frenetic motion and effervescent, semi-psychedelic lighting. It may be an ironic reflection of the health, resilience and confidence of the U.S. spirit that the play, despite transparent distaste for American capitalism, was supported, promoted, and frequently applauded by an audience liberally sprinkled with Dallas millionaires.