Posts Tagged ‘geovonday jones’

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

Posted in St Louis Theatre, tagged , , , , , , , , on May 25, 2026| Leave a Comment »

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

Marshall W. Mabry IV, Enoch King
Photo by Howard Ash
The Black Rep

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. 

Olajuwon Davis, Marshall W. Mabry IV, Brian McKinley, Raevyn Ferguson
Photo by Howard Ash
The Black Rep

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

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“Coconut Cake” Tells a Fascinating Character-Driven Story at the Black Rep

Posted in St Louis Theatre, tagged , , , , , on February 21, 2025| Leave a Comment »

Coconut Cake
by Melda Beaty
Directed by Geovonday Jones
The Black Rep
February 14, 2025

Richard Harris, Richard E. Waits, Joe Hanrahan, Duane Foster
Photo by Keshon Campbell
The Black Rep

The Black Rep’s current production, Melda Beaty’s Coconut Cake, is a character-driven showcase for its performers. It’s almost deceptively simple at first, while ultimately revealing itself to be much more complex as the story plays out. With effective staging and an excellent cast of five, this play holds attention from start to finish with its intriguing tale of aging, regret, conflict, and redemption. 

The story has a somewhat unexpected setting–a McDonald’s in Chicago, circa 2010. The fast food restaurant is the setting for a weekly gathering of a group of four men of distinctly different personalities and views of life an relationships. Church deacon Marty (Richard E. Waits) plays chess with Hank (Joe Hanrahan), who was married to Marty’s sister until she died the previous year. Eddie (Duane Foster) seeks out Marty’s help in a conflict with his unseen wife, and Eddie’s longtime friend Joe (Richard Harris)–a real estate developer–stresses about his projects and tenants, and brags about his many relationships with women. The four men swap stories about their lives and about their relationships with women–wives, girlfriends, daughters–even regularly ogling an unseen woman who regularly passes by the McDonald’s every week on her way to work. The fifth member of the cast is a man most of the others refer to as “Gotdamnit”–who appears to not have a permanent home and who they criticize for apparently bothering the woman who passes by. They also trade gossip about one of Joe’s new tenants–a woman who attracts the amorous interests of several men in the area. Through the course of the show, personalities conflicts come to the forefront and long-held secrets are revealed, as some characters are forced to reckon with past regrets and present conflicts. 

I don’t want to give away too much, because the gradual unfolding of this story is part of what makes it so powerful. The performances are especially strong from all the players, with Waits and Foster in memorable turns as the “voice of reason” Marty and the conflicted Eddie. Harris, as the outspoken Joe, and Hanrahan as the more softspoken Hank, are also excellent, and Evans is a revelation as the mysterious “Gotdamnit”, whose cryptic messages about life and chess prove to mean more than they first seem to. It’s a first-rate ensemble, well directed and paced by director Geovonday Jones, bringing out every ounce of humor and drama in the intriguing, if possibly a little overlong, script. 

The set by Tammy Honesty is an effective representation of the seating area of a McDonald’s restaurant, which works as a suitable background for the action of the play. Tony Anselmo’s lighting adds a convincing sense of realism and occasional mystery to the action, and there’s also excellent work from Alan Phillips on sound. Brandin Vaughn’s costumes are also strong, suiting the characters and the time period well. 

I didn’t entirely know what to expect when going into this show, and it has turned out to be a welcome surprise. With a strong message and palpable sense of drama balanced with humor, this is a memorable look at these five characters’ struggles, conflicts, and aspirations. It’s another example of  excellence from one of St. Louis’s most consistently strong theatre companies. 

Lawrence Evans, Joe Hanrahan
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Coconut Cake at Washington University’s A. E. Hotchner Studio Theatre until March 2, 2025

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The Black Rep’s “Skeleton Crew” Features Strong Performances, Technical Effects

Posted in St Louis Theatre, tagged , , , , , on April 5, 2023| Leave a Comment »

Skeleton Crew
by Dominique Morisseau
Directed by Geovonday Jones
The Black Rep
March 31, 2023

Brian McKinley, Velma Austin
Photo by Phillip Hamer
The Black Rep

The Black Rep is known for consistent excellence in theatre, both in terms of acting and production values. Their recent multiple wins at the 2023 St. Louis Theater Circle Awards are testimony to their celebrated record of accomplishments. Their latest show, Dominique Morisseau’s Skeleton Crew, currently running at COCA’s Berges Theatre, is an intense human drama that lives up to the company’s first-rate reputation, both in the acting and technical areas.

The play features a small cast, telling the story of workers at an automotive stamping plant in Detroit in the first decade of the 21st Century. Factory closures are happening all around them, and the workers here are worried that their factory will be next. The workforce has already been reduced, and the employees are struggling to meet demands. Long-time worker and union representative Faye (Velma Austin) deals with a dilemma as foreman Reggie (Brian McKinley)–who she originally helped get hired–entrusts her with news that threatens to disrupt the already tense situation at work. Fellow workers Dez (Olajuwon Davis) and Shanita (Carmia Imani) are also wondering about why Faye has suddenly started hanging around the factory more than usual, and everyone is concerned about a string of thefts at the factory. As the tensions build, the characters are forced to examine their own hopes, dreams, and plans along with the various personal conflicts. The dialogue is insightful and realistic, and the characters are well-drawn and well-rounded, each with strengths and flaws. It’s a compelling look at the real struggle of factory workers in the once-thriving US auto industry.

Austin, in an excellent performance as Faye, is the anchor of an especially strong cast with no weak links. Austin’s Faye is complex and compelling, and her relationships with her co-workers are thoroughly believable. Her scenes with McKinley’s conflicted Reggie are especially convincing. Imani, as the earnest, pregnant Shanita, is also excellent, as is Davis as the stubborn, secretive Dez, who has an attraction for Shanita and a strong suspicion of Reggie. The conversations and conflicts here seem organic and realistic, and the ensemble chemistry and energy add much to that sense of credibility. 

Technically, the show impresses to the point where the scene is set so well that it’s not always entirely clear what’s real and what is a projection. The vivid set and video design by Margery and Peter Spack puts the factory setting on stage in a detailed, thoroughly impressive manner. Jayson Lawshee’s lighting adds atmosphere to the setting, as well, as does Lamar Harris’s sound design. The costumes, by Marissa Perry, are well-suited to the characters and lend credibility to the time and place of the story. The whole production fits well into the space at the Berges Theatre.

Overall, Skeleton Crew is a compelling, meticulously scripted, smartly directed and impeccably acted piece that brings the audience into the world of its characters with veracity and intensity. It provides much to think about, and characters that embody the story in a remarkably realistic way. It’s another excellent production from the Black Rep.

Carmia Imani, Brian McKinley, Velma Austin, Olajuwan Davis
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Skeleton Crew at COCA’s Catherine B. Berges Theatre until April 16, 2023

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