TeenTix Blog Theater

Fat Ham is a radiant phoenix soaring through the ashes of Hamlet’s tragedy. With a lively set and explosive characters, this show is a sweet to the sweet.

We follow the story mainly from Juicy, a Queer Black man who struggles with the recent union of his mother, Tedra, and his uncle, Rev. The couple, who married shortly after the death of Juicy’s father, hosts a barbecue party to celebrate. While Juicy helps set up the backyard for the party, the ghost of his dead father visits him and orders him to kill Rev, revealing he was the one that killed him. From there, the story spirals into chaos including musical performances and questionable monologues, while introducing us to the reimagined versions of Hamlet’s characters. Giving a fresh adaptation that branches out from the original play, we see how a story of a woeful prince of Denmark becomes a tasteful tale for the modern age.

Fat Ham is a theatrical feast. It’s a pork-fectly captivating performance full of outstanding success, from the language to the dance party in the end, this production is a must-see. Don’t miss out on this flavorful ride!

Fat Ham, written by James Ijames is a Hamlet-inspired play that made its successful debut at the Public Theater in New York City on May 12, 2022. This production has been generating excitement for its strong exploration of identity through the idea of toxic masculinity, vulnerability and building community. Its recent show on May 9, 2024 in Seattle highlighted the importance of being yourself and accepting who you are. Unlike Hamlet, Fat Ham is mostly focused on finding yourself and not much on seeking revenge. The story revolves around Juicy, a young Queer African American man, who is confronted by the ghost of his dad during a barbecue in the backyard of his modern-day American house, with his contemporary Southern family.

Subverting expectations is the name of the game with this play. Fat Ham is a loose adaptation of Shakespeare’s titular play Hamlet. This play written by James Ijames is a wonderful example of subversion that deserves recognition. It truly feels like a modern take on the works of Shakespeare, who, bear in mind, actually wrote a large amount of comedies. The humor and tragedy are blended so finely that it will leave you in both kinds of tears.

Its intentional focus on Hamlet isn’t just superficial or simply the base in the blend of a story, but the core of which the whole story sits on, allowing the reflection of Shakespeare's work to be visible throughout this play. The values of this story flipped on its head as the story asks, “Why must it be this way?” creating comedy in the face of would-be tragedy. With the focus character of this play being Juicy, our Hamlet counterpart focuses on why one should be allowed to be soft combined with the hardships one would face as one strives for it. This perfectly compliments Larry, the Laertes counterpart which at first seems to coincide with Laertes much more than Juicy with Hamlet, with how he served in the military and even more so with him being an honor-bound yes-man. But if you look closer you see an inner softness that wants to escape the pressure put on him that is practically restraining him to that version of him that other people want him to be.

Fat Ham at the Seattle Rep is a wonderful performance that creates a conversation with the audience about self expression, identity, expectations, and above all else takes immense joy in having fun with the audience. From the set work to the actors’ physical performance, a sense of excitement and festivity is present through the entire play. Although it is very different from its source material of Shakespeare’s tragedy Hamlet, Fat Ham does keep a condensed form of the original’s structure, using it to orient the audience and smoothly establish the play’s characters, plot, and where it differs. The play opens with Juicy (the analog to prince Hamlet) and Tio (the analog to Horatio and Juicy’s cousin) decorating for the party celebrating the marriage of Juicy’s mother, Tedra to his uncle, Rev, which will be the setting for the rest of the play.

Throughout the performance, the cast and especially Juicy, will address or acknowledge the audience, the Shakespearean origins of the play, and the expectations the audience has from those origins. Early on, Juicy will quote lines from Hamlet to demonstrate how he is more studied and introspective than those around him and this evolves later into one of multiple fourth wall breaks, where Juicy stops the play and quotes one of Hamlet’s famous soliloquies in its entirety to the audience. This element of the play can be seen as clunky or gratuitous, but it’s a functional way to integrate Hamlet into its shortened structure and lighter self-referential tone.

Backyard barbeques aren’t your typical setting for tragedies—especially not a Shakespearean tragedy. And yet, the Pulitzer prize-winning interpretation of Hamlet, called Fat Ham, takes place in a suburban backyard. Playwright James Ijames reimagined Hamlet, a story of death, tragedy, and revenge, to be retold by a Southern African American family. Hamlet himself is represented by a queer Black man named Juicy, tackling the challenges of generational trauma and self-identity. The characters themselves struggle with modern problems in a modern-day setting, attributing to the play's biggest strength—its relatability. James Ijames took advantage of the universality of Shakespeare’s themes and effectively translated them into a Southern context. Much like Hamlet, Fat Ham begins with the celebration of Juicy’s mother marrying his Uncle, Rev. However, unlike Elsinore, their wedding cookout takes place in Juicy’s backyard, shortly after the death of Juicy’s father, Pap. Pap later returns in a ghostly form and demands that Juicy avenge him, as it was Rev who was responsible for Pap's murder. This event serves as a foundation for Ijames to introduce themes of mental health, violence, and generational trauma within Black communities. Fat Ham serves as a successful adaptation of Hamlet due to its representation of conflicts within Black communities and breaking those cycles.

While Fat Ham does showcase the darker side of African American trauma, it shows those patterns being broken and resolved. An example of this is with Pap. Ijames strategically paints him out to be an abusive father, to represent violence within Black communities in the play. This message is conveyed through aggressive, argumentative dialogue to engage the audience with captivating, evoking verbal conflicts. During Pap’s visit from beyond the grave, they argued, violent words being thrown at each other at bone-rattling volumes. As someone who has heard such conflicts many times before in my own family on similar topics, I found the disagreements to be very relatable. It feels raw, using commonly used phrases many teens hear these days coming from parents, which is something that many fights in entertainment tend to overlook. You can tell Ijames and other writers had done their research when skillfully writing what real quarrels sound like. The dialogue continues to be this play's strong suit to also convey themes of mental health to both characters and directly to the audience.

James Ijames serves a sizzling feast of social commentary with a glaze of comedy, all wrapped in the stage play, Fat Ham. In Fat Ham, we follow a Hamlet-like character, Juicy, and his struggles with his newfound family dynamic; after his father, Pap, was killed in prison, his Uncle Rev, married his mom, Tedra. At the beginning of the play, while Juicy leaves his best friend/cousin Tio in the yard, Pap's ghost appears. With flickering porch lights and a red sky, Pap, draped in white sheets, shuffles through the yard in search of Juicy as thunder cracks off stage. The same scene is repeated when Juicy is now left alone, mirroring the same sequence in the original Hamlet, yet instead of Juicy bravely seeking after his father’s ghost, he cowers in fear, freaking out as the spirit surges towards him. Pap then urges Juicy to seek revenge once he calms down, encouraging him to gut his uncle like a pig in a display of toxic masculine ideals of violence. Throughout the play, Juicy struggles with the idea of killing Rev, not wanting to follow his fathers footsteps.

Juicy, (portrayed by Taj E.M. Burroughs), is an angsty, brooding, thoughtful character; much like his Shakespearean counterpart, Hamlet. His story similarly follows Hamlet's, with the exception of the family dynamics. Though Juicy struggles with his fathers, Pap’s, (played by Reginald André Jackson), death, it’s for different reasons. Juicy isn’t super comfortable with grieving his father, seeing as they didn’t have the best relationship; he recounts a time when Pap destroyed his favorite doll because he viewed it as unmanly. His mom, Tedra, (Jasmine Lomax), also recounts how Pap would hit her, “in the tit!”, as she said. Another difference between our modern Hamlet and the original is that he doesn’t actually want to kill his uncle Rev, (also played by Jackson), because his father wants him to. He doesn’t like him, that much is the same, but Juicy dislikes him because he pressures Juicy to be more manly, even encouraging him to fight and be angry, much like Pap. Plus the fact that Juicy recognizes how fast Rev married his mom, and how harmful Rev’s behavior can be to her. Tedra still sees this as an improvement from Pap, though, because even if Rev is mean and toxic, he’s a step up from Pap, and Tedra is scared of being alone, as she states when talking to Juicy about his problems with his uncle.

Accepting a legacy is never as simple as it sounds, whether it be the weight of a crown or a sizzling hot grill. It’s considered an honor to carry what your forefathers have passed down—or at least it should be. Seattle Rep presents a modern adaptation of Shakespeare’s Hamlet called Fat Ham, written by James Ijames. It follows the story of Juicy, an aspiring HR manager, as he battles expectations creeping in from every corner and staying true to himself as a queer and Black man in the rural South. Having so much piled on his plate, Juicy’s various troubles and even that of those around him echo the many realities of swaying in contradiction. It’s hard to know where to start. Through its characters’ struggles, Fat Ham beautifully portrays the struggle of being authentic towards yourself in an environment that doesn’t nurture it.

The play opens by showing off preparations to celebrate Tedra’s (Juicy’s mom) remarriage to Juicy’s uncle, Rev. Juicy is then visited by an anguished spirit in need of revenge: his own father. With the pressure on and a blade thrust into his hands, Juicy’s subjected to countless reminders of his upbringing and is faced with an ultimatum he’s not sure he can carry out, as it goes against his core beliefs. Torn between continuing a toxic cycle and challenging expectations for the men in his family, Juicy sets himself down a path of trial and error.

It’s difficult to imagine the humanity behind a faceless entity like a corporation. With the way that many corporations are discussed in the news and media, it becomes a challenge to remember that there are people behind them and that at a certain point, the business ceases to represent them. This loss of connection and humanity was observed by Stefano Massini and captured in his play The Lehman Trilogy, a show of epic proportions that depicts the inner lives of the family behind Lehman Brothers Bank, a company widely known in part because of its eventual downfall. Ben Powers’ adaptation of the script was brought to life on stage by director John Langs and a mere trio of actors: ACT’s adaptation of The Lehman Trilogy presents an incredibly emotional, engaging elaboration on the play through the clever staging and direction, evocative performances, and impressive technical prowess. These aspects of the adaptation offer a remarkable portrayal of the Lehman family’s journey to America, their business’s rise to prominence, the painstaking power struggles against one another, and the cycle of fathers, sons, and brothers that brought the business into existence.

The play follows three generations of the Lehman family and the evolution of the family business across those generations, from humble beginnings of a fabric store in Alabama to an internationally renowned, immensely powerful investment bank. An act is dedicated to each era of the family, spanning from the 1840s to the 2000s, and with each era, a different iteration of the Lehman Brothers’ business. The first act sees the business grow in scale as the brothers are pitted against each other, through the chaos of the Montgomery fire and the beginnings of the Civil War. The second act sees the turn of the century, with the business moved to New York City and reaching new heights under the control of the family’s next generation. The business grows and grows, but faces the looming threat of the market crash by the end of act two. Finally, the third act details the harrowing struggle of the final generation of Lehmans to pull America out of the Depression. Following their success, the show takes a turn, depicting the arrogant feeling of invincibility held by the workers at the Lehman Corporation as the business transitions to one of the biggest international investment banks. The energy of the third act enraptures the viewer, to the point where the foregone conclusion of bankruptcy still felt like a shocking ending, leaving the audience reeling as the stage blacks out. The Lehman Trilogy at ACT Contemporary Theatre, photo by Rosemary Dai Ross

Lots of big ideas and only ten minutes on the clock: an author's worst nightmare. Or could it be something more? With their new 10-minute play festival, Inspired By… Mirror Stage sets up this thought-provoking challenge that bends and twists the limits of storytelling, allowing for playwrights, directors, and actors to shine. Inspired By… showcases six new plays that reflect the world we live in today, and the challenges we face in the Seattle community.

I had the pleasure of interviewing one of the Inspired By… playwrights, Stacy D. Flood, to find out why this is a festival truly like no other – and why, perhaps, limitations are a way to break through barriers. This interview has been edited for length and clarity.

Romeo and Juliet is the classic tragedy of star-crossed lovers who are famously doomed from the start. This version, produced by the Seattle Shakespeare Company, consists of 2.5 hours immersing the audience in beautiful language and guiding us through a complete rollercoaster of emotions.

Taking my seat in the audience at the Center Theatre, the sense of intimacy struck me immediately in the small, dimly lit space. This was heightened by the fact that the stage was on the floor, with the actors on the same level as the audience, blurring the line between performer and spectator. As the theatrical smoke wafted over us, anticipation hung in the air. Everyone sensed that something momentous was bound to happen; we just didn’t know what.

When you read the word “theater,” what do you picture? A raised stage with red curtains and footlights? Dramatic dialogue spoken from behind the fourth wall? Silence from the audience broken only by appropriate laughter and polite applause?

Well, if that sounds boring to you, welcome to Scrambling the Goose! Washington Ensemble Theatre’s newest show, which ran at 12th Avenue Arts from April 26 to May 17, challenges conventional boundaries of theater, not only by showcasing a wide variety of mediums and genres, but also by incorporating the audience as a crucial part of the show.

Love problems, and moral issues, Village Theatre’s The Fantasticks deals with it all. This interpretation delves into childhood naivety and the ways we can be misguided by the things we least suspect. Despite its well-trodden storyline, the production breathes new life into the classic tale, ensuring familiarity doesn't breed lethargy.

Set against a backdrop of two houses separated by a wall, the musical follows the story of two fathers who conspire to unite their children, Luisa and Matt. The show invites the audience to engage in the unfolding narrative, allowing for a more interactive and immersive experience. At times, the audience gets questioned by El Gallo, the narrator, and bandit in charge of uniting the children, or looked at directly by the cast, treated like the lesson is the audience’s to learn too. It is worth noting that while the production succeeds in revitalizing the script by taking out many controversial scenes, there are moments where it stumbles. A fleeting reference to rape felt out of place and unnecessary, detracting from the scene. As it was spoken so quickly, it solidified that the show could have easily gone on without it. Photo courtesy of Auston James

It’s a busy time of year at the TeenTix Newsroom. We’ve arrived at the last review cycle of the TeenTix program year, many of us are students and are submerged in final exams and AP tests, and, for some, graduation is on the horizon. We hope that, as the year wraps up and the days seep into summer, you can take some time to rest. To breathe, enjoy a steady moment of your day, and maybe – surely even – go see some art! Here’s what we’re covering this month at the Newsroom.

Seattle Chamber Music Society is bringing a unique classical music fix with Adam Neiman’s varied program featuring Rachmaninoff's 6 Moments Musicaux, Ravel’s Miroirs, and Neiman’s own Visions. Moments Musicaux are very well known in the piano world, with the famous No.4 in E minor held as one of the hardest piano pieces of all time due to its rolling left hand. This set of concert etudes features a combination of musical complexity from introspective reverie to inner turmoil making it a perfect concert piece. If you’re looking to explore classical and experimentalist music you can see Adam Neiman perform on May 10th.

Two spinster sisters sit in the parlor of their ancestral mansion. The mastiff, with his drooping jowls, pants rhythmically atop a brocaded carpet. The windows let in the weak light from the endless gray sky of the Moors; the maid Marjorie (or is it Mallory? Margret?) coughs and complains that their company is late. A governess, fresh-faced from London, arrives today.

Walking into Seattle Public Theater (known affectionately as “The Bathhouse”), the intimate, public-bathhouse-turned-blackbox-theater is filled with soft, slightly ominous piano music. On the stage is a dark sitting room, where antique, dark tones are counterbalanced by a millennial-pink velvet sofa. The moody set is a perfect, yet slightly quirky, canvas for a period piece—so long as you can ignore the paintings donning sunglasses and the converse-clad cast. Highlights in hair and pom-pom pens abound.

STEW at the ACT is a truly contemporary performance that explores the hefty concepts of family, guilt, and maturity. Centering on an intergenerational female household, the play relays the importance of breaking generational trauma through visual and aural cues. The narrative opens by introducing the family’s matriarch, Mama. Soon after, in a chaotic fashion, the rest of the family is introduced: Mama’s daughters Lillian, and teenage Nelly, and Lil’ Mama, Lillian’s daughter. At first, It was difficult to understand their relationships, but it became clear by the second act. The family is deeply interconnected, and each family member’s life parallels those from earlier generations. For example, Mama had Lillian at 17 and Lillian also had Lil’ Mama at 17. The other parallels are revealed at tense points throughout the performance, and the newer generations’ drive to break the often unfair norm created by their previous generation serves as a turning point for each character.

The story revolves around Mama making a large batch of stew. Stew brings the whole family together—even though Lillian and Lil’ Mama live elsewhere, they visit Mama to help her make and eat the stew. Stew serves as a symbol of hope and togetherness, and the progress of cooking the stew throughout the play reflects the mood of the story. Shaunyce Omar, Varinique “V” Davis, Shermona Mitchell, Kataka Corn in Stew, photo courtesy of Rosemary Dai Ross

MUSICAL THEATER IN THE HANDS OF TOMORROW'S LEADERS

This motto, displayed prominently at the top of The 5th Avenue Theatre’s Rising Star Project information page, is exemplified by the teen participants of the career and artistic program. Beyond the clear empowerment of future professionals, these leaders of tomorrow are also strengthening and motivating current theater professionals.

The devil himself orchestrates chaos in the heart of 1930s Moscow in Mike Lion’s adaptation of Mikhail Bulgakov's The Master and Margarita presented by Dacha Theatre. This adaptation, staged at 12th Avenue Arts, delves into the philosophical dichotomies of good and evil, exploring their coexistence against the tumultuous backdrop of the Soviet Union. This production shows the power of theater by bringing complex philosophical narratives to life, inviting both newcomers to the story and fans of the original novel to engage with its depth.

The Master and Margarita uses magical realism and gothic elements to challenge societal norms and present deep philosophical questions. Set in a time when atheism was state policy, the story starts with the arrival of Professor Woland, the devil in disguise, and his eclectic entourage, who set Moscow ablaze with events that peeled back the layers of hypocrisy and corruption embedded within society.

For this month, TEDS Aamina and Kyle have a special treat for you. An April Editorial in the format of an NYT game of Connections (Learn about the game here)! See the key below to see what events the Newsroom is covering this month.

Youth

We have all heard the theater kid stereotypes. Loud, dramatic, proud. Students in the Rising Star Project at The 5th Avenue Theatre are no exception to this, but in the best ways possible! I had the pleasure of chatting with Rising Star Project participants Spencer Barber and Sebastian Borges, who joined this community of talented youth and professionals to nurture their love for the arts. The RSP program mentors students in all aspects of theater production, and puts on a show at the end.

Barber and Borges both play the role of Dr.Grayburn in the farcical comedy, Something’s Afoot. In our interview, they both showed me how empowering the arts could be. We talked about the magic of theater, what they’ve learned from the Rising Star Project, and how more arts programs are becoming accessible to youth—a trend that will hopefully continue in the future.

Actor, writer, and director-in-progress, Isaiah Hsu is taking on what might be his most important role yet: that of a young professional.

The start of Hsu’s acting passions began at Tacoma Little Theatre’s 2014 summer camp, when he played Shan Yu in Mulan. He also participated in Curtis Senior High School’s theater and choir, experiences that both helped him grow his voice as an artist, but it wasn’t until he joined Village Theatre for their production of Newsies that he felt he really “got his foot in the door” of the theatre world.