Written by J.A. Jones, Staff Writer
ST. PETERSBURG – The Pulitzer Prize-winning play FAT HAM, written by James Ijames and directed by Raymond O. Caldwell, brings a comedic, unexpected, no-holds-barred take on family dysfunction to American Stage.
Chaz D Photography
A loose take on Shakespeare’s Hamlet, the story remains true to the original: after an act of violence perpetrated on the father – in this case, Pap — by his own brother, in this version, Rev – the son, this time called Juicy, is charged with avenging his father Pap (who appears as ghost throughout the play).
While the original was decrying bad behavior in the realms of Denmark, this version is set in a nameless hood, at a wedding and its afterparty – at the family barbecue, of course.
While the playwright weaves in select pieces of the bard’s poetry, FAT HAM is pretty much its own hilarious and sometimes scandalous presentation of trash family behavior. While it might fly over the heads of people outside of the Black community, FAT HAM serves up a whole lot of familiar dysfunction that most of us would rather keep in the closet.
Chaz D Photography
The play’s language is adult — but also feels like a new-gen read on Black family dynamics, presenting clear generational differences and views, while exploring how generational trauma is passed on as issues are ignored or denied.
In the lead role of Juicy, Deimoni Brewington brings a relatable attitude of disbelief at the levels of confusion, denial, and brutality surrounding him. As the mother, Tedra, Janell “J’Nelle” Richardson offers the perfect combination of sexy, sorry, and self-sabotaging that we love to judge, while Jefferson A. Russell, playing the Ghost of Papa and Uncle Rev, is repulsively goofy and terrifyingly violent at the same time.
The ensemble is rounded out by a wonderfully kooky cousin Tio, well-played by Julen Barini-Brown; Andresia Moseley, Mykail Cooley, and Jai Shanae do justice to their roles, as a family of old friends with secrets of their own.
There are many inspired moments in the production – hats off to Jonathan Dahm Robertson, whose set is magical and, with lovely lighting by Hailey LaRoe offers delicious visual surprises.
For a play that is an hour and forty-five minutes with no intermission, director Raymond O. Caldwell deserves an ovation for crafting a production that moves with such seamless, light-hearted energy that you don’t even notice the lack of a break.
Chaz D Photography
There’s a brilliance to the play in its ability to weave in strong subject matter, painful family revelations, moments of magical realism (the ensemble rock out to Radiohead’s Creep is a thing of beauty) – along with eye-raising and sometimes uncomfortably familiar acknowledgements of our community and family failings.
Running until June 22 at American Stage, 163 3rd St N, Raymond James Theatre, St. Petersburg, FL 33701. Visit https://www.americanstage.org for tickets and information.
