“An adept parodying and poking fun at Shakespeare’s HAMLET. That is until playwright James Ijames’ 2022 Pulitzer Prize Drama winner turns all gender identity politics near the end…Sigh…”

Unfortunately, I had to issue a spoiler alert. There’s no way around it for me and I’m not about to apologize for it.

Philip Akin’s sound direction of the play is not in question.

It’s not this excellent ensemble cast that is in question, either. They listen attentively to each other. They know when and how to set up the joke or the lines that lead to laughter.

It’s James ljames’ script of ‘Fat Ham’ that’s the issue.

The connection to the Shakespearean tragedy ‘Hamlet’ is quite clever when the production begins. There are moments where the audience is right with the storyline and the actors. I could feel a smile because of Philip Akin’s sound direction; this cast got what the play was at the beginning.

I was in for a treat…or so I thought…

Until the gender identity politics enters, and the story moves away from poking fun at the tragedy of ‘Hamlet.’

Sigh.

Jacob Lin selected memorable songs during the pre-show setting that brought a smile as I remembered many of them. I would describe them as 'summer breeze songs.’ Set designer Brandon Kleiman’s backyard barbecue appears inviting. The scene is filled with vibrant colours on this beautiful summer afternoon, from the balloons scattered on the ground to the paper plates and napkins. Kleiman again optimizes the performance space. Andre du Toit’s lighting beautifully captures the warmth of summer in the backyard. Ming Wong’s costumes consistently reflect each character's personality.

Juicy (Peter Fernandes) is blowing up balloons as the story begins. He is a twenty-year-old queer man and college student dressed entirely in black. Juicy is mourning the recent death of his father, Pap. The reason for this backyard barbecue is peculiar but closely connected to ‘Hamlet’—the charades game in Iljames’ script provides a strange yet fitting juxtaposition to the play within a play where Shakespeare’s character will “catch the conscience of the king.”

Juicy’s mother, Tedra (Raven Dauda), is marrying Pap’s brother, Rev (David Alan Anderson, playing father and uncle), at the church. Initially, Pap appears to Juicy’s friend, Tio (Tony Ofori), and doesn’t say anything. It’s amusing to see Tio’s reaction. The next time Pap shows up, he explains to Juicy what happened. Rev is to blame for what occurred to Pap. Juicy wants to right the wrongs that have been done to his father.

What follows are some terrific, laugh-out-loud moments that skewer ‘Hamlet’ in a way I never thought possible. Peter Fernandes excels as Juicy. His soliloquies about what has happened with Pap offer an interesting juxtaposition to those of Shakespeare’s Hamlet. The sexual chemistry between Raven Dauda’s Tedra and David Alan Anderson’s Rev is scorching and sizzling. There were a few moments when I thought Dauda might experience a ‘wardrobe malfunction’; that’s part of the humour of the moment.
(Spoiler alert) Until gender identity politics rears its head about three-quarters of the way through the script.

Sigh again...

Ijames’ script loses momentum by avoiding satire of Shakespeare’s text. This opening night production becomes more about joining the identity politics bandwagon.

That’s a shame.

As mentioned earlier, Fernandes shines as the central character. Tony Ofori (Juicy’s friend Tio) delivers a hilarious performance at the beginning of the show when it’s revealed what he’s watching on his mobile device. Virgilia Griffith’s Opal differs significantly from Shakespeare’s Ophelia (Hamlet’s love interest), again offering an intriguing contrast. There’s an innocence about Hamlet’s love interest. Thanks to Ming Wong’s costume, Griffith presents a gritty Opal that again makes me laugh. An opal is a beautiful gemstone. The use of ‘gritty’ to describe Opal creates a unique impression. I’ve always anticipated seeing Tawiah M’Carthy’s work as an actor/director on stage. Unfortunately, his ‘Larry’ left me feeling uncomfortable right at the end. Yes, the audience was roaring with laughter around me regarding what happens with Larry. I couldn’t find the humour as I could see this moment coming. It left me feeling empty.

Unfortunately, I wasn’t as charmed by ‘Fat Ham’ as I hoped I would have been.

Running time: approximately 100 minutes with no interval/intermission.

‘Fat Ham’ runs until March 16 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets: canadianstage.com or call (416) 368-3110.

CANADIAN STAGE presents
FAT HAM by James Ijames
Directed by Philip Akin
Sound Design: Jacob Lin
Set Design: Brandon Kleiman
Costume Design: Ming Wong
Projection Design: Laura Warren
Lighting Design: Andre du Toit
Choreographer: Jaz Fairy J
Stage Manager: Anna R. Kaltenbach

PERFORMERS: David Alan Anderson, Raven Dauda, Nehassaiu deGannes, Peter Fernandes, Virgilia Griffith, Tawiah M’Carthy, Tony Ofori

Photo Credit: Dahlia Katz. Peter Fernandes and David Alan Anderson (back to camera)