This story was originally published by ArtsATL.
Although Shirlene Holmes’ “A Lady and a Woman” predates the Netflix series “Heartstopper,” I found myself drawing comparisons between the play and what I have come to call the heartstopper effect — a trend in modern queer media to subvert the typical trauma narratives in favor of allowing queer characters to simply be happy.
Watching Impact Theatre Atlanta’s production of ”A Lady and a Woman,” I felt a familiar tension. I braced myself for the love between these two women to be torn asunder and for the forces of homophobia to come in and ruin any chance of happiness they may have. But what I got instead was a heartfelt tribute to sapphic love at a time when the future of Black Americans was an open question.
“A Lady and a Woman” tells the story of Flora (the lady) and Biddie (the woman) as they meet and fall in love after Biddie comes to stay at Flora’s inn. Flora is a divorcee with a traumatic past, and Biddie is a drifter who enjoys doing men’s work. Contrary to the popular wisdom of the time, both women are doing fairly well for themselves.
Credit: Photo by Jane Kim
Credit: Photo by Jane Kim
However, they are both lonely. Biddie has had more experience with other women than Flora but has struggled to find a truly meaningful relationship. Flora, meanwhile, has decided she has no use for men but has never entertained the thought of being with a woman. Nevertheless, the two form a close bond that soon evolves beyond companionship.
The simplicity of the plot feels intentional, allowing Flora and Biddie to explore their connection with a hesitant curiosity. Other characters only intrude behind the scenes, never appearing on stage. While this does require some suspension of disbelief (does Flora not have any other guests at this inn?), it also creates a distinct sense of intimacy, as if these two women exist in a world of their own creation. The pacing helps this feeling of intimacy as the two of them establish a sense of shared trust. There is even a certain domesticity to their dynamic, which an audience is not often privy to in lesbian dramas.
Impact Theatre could scarcely have found two better actors for these roles than Alia Shakira and Tracey Graves. From the moment Shakira comes on stage as Biddie, she swaggers and smirks like a true stud. Graves is far more reserved in her role as Flora, which makes it all the more impactful to see her come undone in Biddie’s presence. Intimacy director Dalyla Nicole’s work is on clear display as the differing levels of physical intimacy between Flora and Biddie offer considerable insight into their relationship.
The design elements are not extravagant but meet the needs of the story. Of all the designers, Ladisa Banks stands out the most for her 19th century costumes. Erica French provides straightforward lighting design, shifting subtly in moments where the production wants the audience to lean in. There is little to say about Juana Harper’s set design or Robert Drake’s sound other than they do what they need to do.
Credit: Photo by Jane Kim
Credit: Photo by Jane Kim
These choices serve to create a palpable dynamic between the characters. However, this comes at the cost of an intriguing plot. While it would be unfair to say that there is no conflict, the conflicts never take center stage — instead, they are all internal and do not lend themselves to a sense of dramatic tension. We are asked to sit in companionable silence with these women as they learn to love each other.
The production is a balm to those of us who have grown weary of watching queer characters struggle in the face of overwhelming prejudice — but perhaps will bore anyone looking for something more exciting. The play builds toward a potential calamity, only to subvert it at the last minute, letting the audience decide if they feel relief or disappointment.
Where it is important to distinguish this production from others is the fact that the love story centers on two Black women. Biddie and Flora have had more than their share of trauma, which they share with the audience with open hearts. If white, queer audiences are tired of watching characters be bludgeoned by bigotry, imagine how a Black, femme, queer audience member feels.
However exciting it may be to watch Flora and Biddie face some seemingly impossible obstacles, there is value in watching them process the hatred of the outside world from within a safe, comforting space.
THEATER REVIEW
“A Lady and a Woman”
Impact Theatre Atlanta. Through March 10 at Academy Theatre, 599 North Central Ave., Hapeville. $25-$70. 470-239-0620, impacttheatreatlanta.org
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Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
Credit: ArtsATL
Credit: ArtsATL
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