From the very first millisecond of Barbara Khan’s The Lady was a Gentleman, I knew I was in for a wonderful treat! In an instant, the production begins and the audience is swept into an aura of light, and energy, and laughter. Led by a brief dumb show that allows the characters to take the stage and give a silent, yet physically over exaggerated sense of who they are, the production immediately becomes alive and allows for a fantastic transposition from the mundane world into the world of a St. Louis, Missouri theater in the 1850s.
Directed by Emma Hooks, The Lady was a Gentleman will delight audiences with its silly romps around St. Louis. Based on the real-life American actress, Charlotte Cushman, Khan’s joyfully silly “docu-comedy” follows the (at the time) world-renowned actress over the course of several days while on one of her “farewell tours” as she enamors (and occasionally seduces) several women. Along the way, a very Shakespearean-style comedy of errors ensues as a lady cowboy mistakes Cushman of seducing away her mail-order-bride, and Cushman must help the lady cowboy to learn refinement and win back the love of her to-be-bride, all while juggling the affections of two other young women enamored with her portrayal of Romeo on the stage.
The ladies of this ensemble sparkle like rare gems set in a crown. Each gives a distinct performance, yet they clearly work together beautifully to complement and support each other as a single unit. While there were a few moments here and there that may not have felt completely polished, there was no doubt that each actor had a strong sense of their character and knew how to commit to each moment. There were several really lovely instances that were clearly born from listening and reacting to each other as an ensemble, not only making for some very hilarious moments, but also allowing for authenticity and a sense of groundedness in an otherwise silly environment.
Initially leading our story is Sallie Mercer (Tiana Lockhart), a free and educated woman of color in a time (and during the show’s setting, a location) where slavery was still very much legal. Lockhart brings a calm energy to the silliness around her, often serving as the voice of reason to the otherwise lively emotions to the other women on stage. Employed as the assistant to the world-renowned actress Charlotte Cushman (Julia Williams), Lockhart’s character is responsible for organizing and managing Cushman’s day-to-day itinerary and correspondence, and Lockhart steps into the role of the logic and level-headedness needed for balancing several of the performances more tense moments with humor and reason.
At the center of all action on the stage is the fascinating real-life character of Charlotte Cushman. A revolutionary on and off the stage, Cushman was a leading force not only in reshaping American stage-acting through her attempts in capturing realism through her acting, but also as a supportive figure in the European arts while living openly with her female lovers in a time where homosexuality was very much illegal. On stage, Williams brings to life the grandness and wit of her portrayal of Cushman. Williams displays real depth and brings forth an effortless breath to her character which makes her shine all the more. But despite being able to emit her own fabulous light through her performance, Williams also excels as a performer that knows how to find her light and make it work for her! In several instances of the production, Cushman’s character gives theatrical performances represented by a harsh spotlight on Williams as she recites Shakespeare or Keats. While her performance radiates beauty in and of itself, she is able to really make the light work for her and enhance the moving sparkle in her eyes. Additionally, Williams also breathes sincerity in her words. Whether professing glowing feelings of love, guilt by dedication, or passion against the injustices of the world around her and those she cares for, Williams exhibits the charisma of her character in everything she does making it easy to see why so many are drawn to her like a moth to the flame.
Acting as the on-stage Juliet to Cushman’s Romeo is her fellow actress Deidre “Dolly” Ryan (Madison Bacino). While playing Juliet, Dolly is so moved by Cushman’s performance that it is easy to be lulled in by Cushman’s charisma and begin to blur where the stage characters end and the real-life attractions begin. While not the most talkative character in the show, Bacino does a fine job balancing the action around her onstage and adding to the comedic ambience of several scenes. Her dedication to the comedic character-led attention of the candy dish was a real delight towards the end of Act II.
But Cushman’s charisma also extends beyond the limelights. Emma Crow (Julia Creutzer) is another young woman who becomes so engrossed with Cushman’s performances that she has a hard time distinguishing acting from reality, and of course, also finds herself attracted to Cushman’s magnetism. Creutzer emanates the youthful puppy-love energy of a fawning fangirl. As fiery as her red hair, Creutzer wonderfully walks a fine line between obsessive young lover and star-struck zealot with gumption and humor. Additionally, Creutzer makes good use of the space on stage to not only delight through the comedy of her physical actions, but to also exhibit the fire-ball energy of her youthful demeanor.
Our other lovers include the lady cowboy, Jane Partridge (Hannah Ruth Wellons), and Maria Louise Yvette L’Amour (Kaitlyn Fowler). Carrying with her only a small suitcase and an airy French accent, Marie arrives in St. Louis as a mail-order-bride. And while surprised to learn her procurer was a woman instead of a man, Marie is not immediately off-put by this situation. Fowler is an absolute delight as she portrays the French damsel of Partridge’s affections. With a penchant for timing and delivery, Fowler wonderfully compliments the rest of the ensemble on stage, while also shining brightly as she adds to the laughter every time she appears.
Polar opposite to Marie’s dainty lady-like demeanor is Wellons’ gruff and border-line uncivilized portrayal of Jane. Not shy to share with others that she has been in the saddle for the past five days (and unafraid to let others smell it for themselves), Wellons imbues the rough, yet sensitive, conduct of a character ready to share her life with a partner, and terrified of the prospect of losing her chance for love. While able to be domineering when she feels threatened, Wellons is also able to allow her character to be vulnerable and trusting in a simple and endearing way.
While the life and times of Charlotte Cushman is a fascinating history I invite you to learn more about, Khan’s The Lady was a Gentleman is sure to spark your curiosity for this travesty of forgotten American historical figures. Khan’s play is a delightful comedy, and the cast of The Strand Theater’s production attests to that! Yet there is also a very lovely humanization of the characters and the portrayal of their attractions and romantic inclinations. While dealing specifically with queer and lesbian relationships, the achievement of this story is in the casual acceptance of each character’s feelings and attractions. No one is shamed for questioning the attraction they feel, and each character is allowed to explore and act upon the blossoming of those feelings. Non-hetero love is nothing new, but it is easy for contemporary audiences to take for granted the real stories of those who loved who they loved in a time so far removed from our own. In this sense, it is nice to have such a wonderful story about intriguing real-life characters that spark the desire in its audience to want to learn more.
Spring is finally here, and what better way to celebrate the lusty month of May than to get yourself in the mood for love and laughter with The Lady was a Gentleman! Playing now through May 21st at The Strand Theater in Baltimore, MD, hasten to get your tickets today!
Running Time: Approximately 90 minutes, including one fifteen-minute intermission.
The Lady was a Gentleman plays through May 21st, 2023 at the Strand Theater— 5426 Harford Rd. in Baltimore, MD. For tickets call the box office at (443) 874-4917 or purchase them online.
