Review: FAT HAM at Studio Theatre

Photo Credit: Margot Schulman - Gaelyn D. Smith, Matthew Elijah Webb, Greg Alverez Reid, Marquis D. Gibson, Tanesha Gary, and Kelli Blackwell.

FAT HAM, based on Hamlet, is the stellar, creative story of a family on edge and the actions and decisions of individuals pushed to the brink.

Juicy is shocked to be confronted by the ghost of his recently deceased father, Pap, who orders Juicy to avenge his death by killing Rev- Juicy’s uncle who has swooped in and married Juicy’s mother Tedra- at the family barbeque. Juicy finds himself caught between the strained loyalty to his father, who was not kind in life to his queer, outcast son, and the violence his father demands he commit. The show delves deep into Black and LGBTQ+ identity, the nuance of which can’t begin to be described in just a theater review.

FAT HAM would be lost without the character of Juicy. Without Marquis D. Gibson, Juicy would be lost. Gibson’s Juicy isn’t feigning losing his mind like his “Hamlet” counterpart, but is instead a character pushed to his breaking point- frequently put down for his sexual orientation, berated and, in his eyes, betrayed, and often misunderstood and cast aside. Gibson allows for the audience to peer inside Juicy’s head and soul as he faces the frustrations of homophobia and expectations of masculinity that can rear their heads within the Black community.

Tanesha Gary gives Tedra so much depth. Gary portrays Tedra as a woman torn between the love she has for her son, Juicy, and the decisions she believes she has to make for the sake of herself. The structure of society, or how it appears to her, weighs heavily on Tedra. Tanesha Gary lets the audience make their own informed conclusions on Tedra’s decisions.

Greg Alverez Reid is chilling. As Pap, he is the sinister and verbally abusive father of Juicy haunting him. As Rev, he is Juicy’s misogynistic, prejudiced uncle who swoops in to marry Tedra while Pap’s body is barely even cold. Playing them as equally villainous characters allows for so much to be said on trauma, masculinity, and familial expectations. It was a great choice to cast Rev and Pap as the same person, and a great choice to cast Greg Alverez Reid. 

Thomas Walter Booker as Tio, the lighthearted and the humorous foil to Juicy’s brooding, never fails to remind us that under Tio’s goofy surface is Juicy’s loyal and committed confidante. Booker supports Marquis D. Gibson’s ability to shine, while excelling in his own right. Matching the tenacity and humor of Tio is Rabby, played by Kelli Blackwell. Blackwell can easily make the audience laugh while simultaneously instilling the expectations and demands of the “elder generation.”

Opal and Larry, played by Gaelyn D. Smith and Matthew Elijah Webb respectively, are Ophelia and Laertes like you’ve never seen them. With their own identities, so much can be explored in their interactions with Juicy and each is given opportunities to stand out. Within FAT HAM, Opal and Larry have their own stories to tell and Smith and Webb tell them beautifully.

The script is (almost entirely) not in Old English, and that serves as an excellent opportunity to play with words. When Juicy is called “soft”, “emotional”, and “weak”, the words are like a punch to the gut. When Tio asks Juicy, “you good?” the question can be interpreted as Tio asking if Juicy is okay, and also asking if Juicy has a problem with someone. Playwright James Ijames is truly an artist and genius when it comes to FAT HAM. The lighting serves a heightening effect, allowing reimagined soliloquies to resonate.

The deviations FAT HAM takes from Hamlet are important and allows the show to stand tall on its own. So many more subjects can be explored and the backgrounds of supporting characters heavily expanded upon by looking past the centuries-old material. The show ends with much fanfare and a big twist for a tragedy, while still having the audience contemplating what Juicy meant by:

“For in the sleep of death, what dreams may come.”

FAT HAM has a run time of 100 minutes with no intermission.

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