The Pulitzer Prize-winning play will run for 14 weeks at the American Airlines Theatre.
Fat Ham is not actually about a hog, but there is pork involved.
The play, written by James Ijames, sees Juicy (Marcel Spears), a queer Southern college kid and the outcast of his family setting up the wedding reception between his mother and his uncle Rev (Billy Eugene Jones). Everything is just like any ordinary party; there’s string lights, balloons, silly decorations, and barbecue set on the grill. Juicy then comes in contact with his father’s ghost (also, Billy Eugene), and everything changes. A week ago, his father was shanked in prison which Juicy then learns was orchestrated by his uncle. Juicy is now tasked with seeking vengeance for his father’s death by killing his uncle. But, will he do it?
There are a number of modern Shakespearean text, but what sets Fat Ham apart is its lack of gruesome details. The story puts joy at its forefront. Occurring in a backyard during a cookout with no blood and gore, but old fashion ribs and greens. Even the dynamic of a family, though dysfunctional—coming together sparks a familiar feeling of happiness. Ijames writes a world that prioritizes Black joy even in the midst of trauma.
Fat Ham features one of the strongest casts currently on Broadway with each performer excelling in their role. Marcel Spears is an actor to be on the lookout for this year. He currently stars on CBS’ The Neighborhood and it was delightful seeing him bring his talents to live theater.
Nikki Crawford gives a marvelous performance as “Tedra,” Juicy’s mother. While a caring mother, she often puts the approval of other’s before her son’s. This and the sheer belief in needing someone to care for her leads Teda to falling for her now deceased husband’s brother. Crawford is both comedic in her delivery, but tends toward a woman not meant to be alone. Billy Eugene Jones balances his roles of “Rev” and “Pap” extraordinarily—the two characters never blended, a feat difficult for even the most skilled actors. Chris Herbie Holland as “Tio” is the perfect quick-witted sidekick to the lead, and the relationship between Benja Kay Thomas as “Rabby,” Calvin Leon Smith as “Larry,” and Adrianna Mitchell as “Opal” mirrors that of most families—loving, but complex.
It goes without saying, but a great cast with such palpable chemistry can only be crafted by an even greater director and Saheem Ali truly embodies this sentiment. Nothing felt out of place. Ali is a seasoned veteran in the industry and previously worked with Ijames on his other play Kill Move Paradise in 2017.
The production is wrapped in a number prevalent themes. For example, Black masculinity and how that affects the dynamic between Juicy and his father and his uncle. His father instilled in him that he can never be soft—going as far as abusing him to get his point across. Once his father dies, his uncle continues this cycle of violence—an attribute generally found in most families of color.
Photo by Joan Marcus
Then, there’s generational trauma within the story. Tio mentions briefly that Pap’s father went to jail and so did his father before him. This cycle spans several generations of men in their family, and prior to the prison industrial complex—slavery. Fat Ham makes wonderful use of generational trauma in such an underlying way. There’s several lines referencing the issue and education on the topic that captivates the entirety of the play.
However, the added brilliance of Fat Ham is that even with such dark themes the story still centers itself on celebration. You can’t help, but laugh through it. From Tedra singing 100% Pure Love by Crystal Waters (which was stuck in my head several days after I saw it) in the midst of tension between Juicy and Rev to a coming out scene that ends in bloody noses and heavy laughter from the audience. The best moment, however, comes from Tio who gives a drug induced soliloquy about erotic gingerbread men and living life freely.
Another remarkable aspect was having the characters address the audience at certain points. Breaking the fourth wall aided in the comedic angle while drawing the audience into the world as well. Juicy’s feelings become our own as he delivers his monologues center stage. We understand Tedra even more as she tells us about the reasons behind her actions. This narrative device gives an empathetic side to the audience and I enjoyed seeing it used in Fat Ham.
Photo by Joan Marcus
As I took in the final moments of the play, I couldn’t help but feel overwhelmed and on the verge of tears. Nothing truly saddening happens, but there is nothing on Broadway quite like Fat Ham, and that to me was moving. Ijames, Ali, the cast, and crew have come together for something truly beautiful, and it deserves to be seen by everyone who feels misunderstood, out of place, and like a Creep.
Fat Ham is 95 minutes of pure bliss.
Tickets for Fat Ham are available now! The production wraps up in early June at the American Airlines Theatre.
