We’ve all been there. You know the problem: your uncle murders your dad and then marries your mum, and just as the wedding celebrations are getting underway, the ghost of your dad arrives to confirm your suspicions and instructs you to avenge his death. That may be just another day in Elsinore, but it’s not quite so common in 21st century North Carolina. This isn’t Hamlet, but the story of Juicy, the black, queer son of Pap and Tedra, studying online for a University of Phoenix degree in Human Resources. OK, it’s not exactly Wittenberg, but nor does he have a Rosencrantz and Guildenstern studying with him. What do you think this is, Stoppard?
There’s no doubt that Hamlet continues to inspire modern writers to tell fresh stories of betrayal, revenge, honour and liberation. James Ijames’ Pulitzer Prize-winning Fat Ham is a welcome addition to the canon, a true explosion of joy on the Swan Theatre stage, written with rhythm and panache, creating memorable characters and, in Sideeq Heard’s fabulous production, boasting some tremendous performances. Recognising how it harks back to its source material is a constant delight, with the audience enjoying Ijames’ own equivalents of a “play within a play”, Yorick, and mentions of “laying in your lap” and “ay, there’s the rub”.
Despite the hilariously funny script and its comic creations, Juicy’s dilemma is real. How can he maintain a relationship with his mother now that she’s married a wicked murderer who picks on him and shames him in public, and who is as diametrically opposite to Juicy in character as it’s possible to be? How can he hold his own when his world is falling apart? The problems he faces are as real as the problems Hamlet faces; can he survive where Hamlet didn’t?
It’s full of delightful coups-de-theatre, from the whizzing tablecloths in the opening moments, to the revelations of the characters’ secrets, the disappearance of a dead body, and the spectacular surprise finale. Despite Juicy’s realisation that the Hamlet story can only end in tragedy for all (spoiler alert: in Shakespeare’s play, nearly everyone dies), Fat Ham ends in a triumph of positivity, with everyone having discovered or revealed something new about themselves. It takes Polonius’ advice of to thine own self be true and cranks it up to full blast. I shall say no more, because the surprises are a huge part of the fun.
Maruti Evans’ set reveals a comfortable suburban back garden, all planned for a sunny barbecue party, with suggestions of the rooms of the house seen through the windows and patio doors; it’s all very Pleasant Valley Sunday. It undergoes a dramatic change at the end, which works perfectly for the finale – I’ll say no more. Dominique Fawn Hill has a great time creating eye-catching costumes for Andi Osho’s flighty Tedra and Sandra Marvin’s churchy Rabby, as well as Opal’s delightfully unsuitable dress, the immaculate military uniform for Corey Montague-Sholay’s Larry, and Sule Rimi’s classy white suit emitting a smoky aurora as the Ghost. Kieran Taylor-Ford’s Tio wears a relaxed party/beach outfit, and Olisa Odele’s Juicy – as Hamlet – wears the traditional mourning black, with just the occasional splash of colour.
Central to the story, and hardly ever off stage, is Olisa Odele as Juicy; decent, reserved, eloquent, always attuned to his own thoughts and concerns. Unwavering in his attempts to do the right thing by his mom, and even when she disappoints him with her behaviour, he always stands by her like a good son. It’s a fantastic portrayal, because, despite any temptation to loosen up and relax, he always maintains an aloofness, observing from the sidelines, keeping a perfect connection to Hamlet himself. Sule Rimi is also terrific in his portrayals of Juicy’s appalling uncle and new stepfather Rev, a homophobic bully and archetypal competitive dad, grotesque in his old-fashioned “man of the house” role; and as Pap’s ghost, a plain-talking brute who continues his demands beyond the grave.
Andi Osho gives us a hilarious, fun-loving, flirtatious, slightly vacuous Tedra, all façade and knowingly doing wrong because she’s afraid of Rev, but lovable all the same; and the ever-reliable Sandra Marvin is wonderful as Rabby, casting silent glances of disapproval that speak a thousand words, breaking into unrestrained gospel accompaniments at the drop of a hat, and always with that impish twinkle in her eye. Jasmine Elcock’s marvellously sulky and obstructive 
Opal reveals with her every stomp that she doesn’t want to be anywhere near her oppressive mother. Corey Montague-Sholay gives us a beautifully underplayed and elegant Larry, and Kieran Taylor-Ford is warm and funny as Juicy’s best friend Tio, who comes to appreciate Gingerbread men in an unexpected way.
Clever, endlessly surprising, and tremendously funny; everything about it warms your heart and is irresistably adorable. This got an instant standing ovation at a Saturday matinee, which was fully deserved.
Production photos by Ali Wright
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