“Fat Ham” Examines Family Relationships, Comedy and Tragedy in a Southern Shakespearean Tale

Fat Ham
by James Ijames
Directed by Geovonday Jones
The Black Rep
May 22, 2026

Does Hamlet have to be a tragedy? Is Fat Ham a rehash of Hamlet or a commentary? What do the timeless themes of Shakespeare’s legendary play have to do with life in the modern American South? How much say do people have in how their own lives play out or parallel famous tragedies, even in a “meta” show with copious fourth-wall breaking and examinations of important, recurrent themes in life, death, and family relationships? These are some fascinating questions raised by playwright James Ijames’s Pulitzer Prize-winning play that’s now onstage in St. Louis at the Black Rep, in a dynamic production that brings many thoughts to ponder, as well as a surprising amount of laughter.

The play’s initial description doesn’t adequately prepare audiences for what they are about to see, from my experience. Described as basically a retelling of Hamlet from a modern Southern, Black, queer perspective, the show basically is that, but it’s a lot more, as well. It’s not exactly a retelling, for one thing. It essentially follows a modern North Carolina family whose lives play out in an oddly parallel manner to Shakespeare’s most famous tragedy, but in a way that allows the characters to recognize that fact, examine it, and directly challenge it. The analogues to various characters are here, led by Juicy (Marshall W. Mabry IV), the Hamlet figure, who begins the story hanging out with his cousin Tio (Olajuwon Davis) before his mother Tedra’s (Angela Wildflower) wedding reception after having married Juicy’s uncle Rev (Enoch King) a week after the murder of Juicy’s imprisoned BBQ mogul father Pap (also King). After Tio is freaked out by the ghostly visitation, Pap soon appears to Juicy with the familiar challenge to avenge his death. Soon, family friend Rabby (Margery Handy) arrives with her adult children and Juicy’s childhood friends Larry (Brian McKinley) and Opal (Raevyn Ferguson), who are this show’s counterparts to Polonius, Laertes and Ophelia, although there is some deliberate blurring of those last two identities as the show plays out. As the characters struggle with forced gender roles, parental expectations, long-held attractions, and family resentments, the story begins to take a bit of a Hamlet shape, but refuses to fit neatly into that mold. In fact, the way the characters recognize the plot and soon begin to drive it is the source of much of the character development, humor, and drama of this piece. 

The world of the play is well-realized here, led by a fantastic cast starting with Mabry’s multi-faceted Juicy, who is determined, conflicted, and outspoken all at the same time, and possesses an excellent sense of timing. Davis’s Tio is also a standout in the  “Horatio” role, adding much to the overall humor and heart of the production. There are also fine turns from Wildflower as the outgoing Tedra and King in a fascinating dual role as the flawed and determined Pap and the outgoing but alternately menacing Rev. McKinley and Ferguson are also strong in their roles as two siblings who struggle to live up to their mother’s expectations, and Handy manages the role of the bossy and occasionally surprising Rabby with vibrant energy. The interactions between all these characters make the plot move with driving energy, and there’s never a dull moment.  While the overall tone is largely comic, there are some truly moving dramatic moments as well as moments of tension that also play out with strong credibility.

The look and mood of the piece are well-done, with Patrick Huber’s vibrant set providing an ideal backdrop in a suitably Southern manner. The costumes by Andre Harrington are remarkably well-realized, also, and there are some fun special effects added by lighting designer Huber and sound designer Tre’von Griffith that add an overall spooky/humorous tone to the “ghost” sequences. There’s also impressive work from props designer Mikhail Lynn in helping to keep the overall quirky tone of the show and the characters. 

I had heard a lot of good things about Fat Ham, and had been looking forward to seeing it performed by one of St. Louis’s most celebrated theatre companies. The Black Rep has certainly not disappointed. This is a show that provides a lot to think about and examine about Shakespeare, the modern American South, Black and queer culture, and more, along with timeless themes of relationships, societal and parental expectations. It’s an excellent way to end the Black Rep’s latest season. 

The Black Rep is presenting Fat Ham at Washington University’s Edison Theatre until June 7, 2026