#FatHam

[writemarcus]

Playwright James Ijames on 'Fat Ham,' the spotlight on Black queerness and life after a Pulitzer

A Q&A with the Pulitzer Prize–winning playwright of 'Fat Ham.'

Written by Marcus Scott

Wednesday February 8 2023

James Ijames won the 2022 Pulitzer Prize for Drama for Fat Ham, an irreverent riff on William Shakespeare’s Hamlet that feels like a call to arms for Black joy and queer representation. A jambalaya of satire, magical realism and the American domestic sitcom, the play follows Juicy (Marcel Spears), a morose online-college student, as he tries to come to terms with the marriage of his newly-widowed mother, Tedra (Nikki Crawford), to his Machiavellian uncle Rev (Billy Eugene Jones). “This ain’t Shakespeare,” Ijames noted in the show’s program. “Don’t get me wrong. I love Shakespeare, this just ain’t him. This ain’t a tragedy…This play is offering tenderness next to softness as a practice of living. This play is celebrating Blackness that is traditional and weird and lonely and happy and grieving and honest and frightened and brave and sexy and churchified and liberated and poetic.”

Fat Ham had its world premiere in the spring of 2021 in a digital production by Philadelphia’s Wilma Theater. A year later, it made its onstage debut at the Public Theater, directed by Saheem Ali, and became one of the buzziest plays of the season. On March 21, 2023, that production will begin a limited run at Broadway’s American Airlines Theatre. We chatted over FaceTime with the playwright as he prepared to step into rehearsals.  

Fat Ham moves Hamlet from a medieval Danish castle to a modern-day cookout in North Carolina. Why a barbecue?

“Barbecues are cumulative spaces. It starts with a few people and then it grows. There’s food, and people are drinking. It’s a space of truth-telling, it’s a space of game-playing, it’s a space of intimacy and warmth—and it’s where secrets come out. My family recently came together for the Christmas holiday and a cousin of mine made an announcement about being pregnant. Everyone was just so excited and lifted by that; everyone’s energy turned towards them in this really beautiful way. I wanted a space where that sort of collective joy was possible and also where a big, messy argument was possible. Where a fight was possible, where drinking was possible, where eating was possible, where romance was possible. In Shakespearean comedies, when you go outside or into the woods—like the forest of Arden [in As You Like It] or the forest in Midsummer—it’s a space where anything’s possible. There’s magic. We’re not inside, in a cold room in a cold castle. We’re outside: We have decorations, we’re colorfully dressed. We are in the sort of space where magic is palpable and possible.”

Juicy is not your typical Hamlet. He is Black and Southern and, as you describe him in the play, “thicc.” What was the motivation behind that?

“Well, I’m Black and from the South, and that drove my desire to play with people that sound and look like me. When you see productions of Hamlet, he's usually white and sort of athletic. I wanted to make a version of this play that was open to a body type that wasn't that; I'm a person who, for pretty much my whole life, has had some struggle with my weight and my perception of what I look like and how I feel in my body. And another thing I wanted to do was to explore Blackness in the South in a way that felt contemporary, that didn't feel held by history—looking at Southern communities right now as opposed to a nostalgic imagination of the Black South.”

Why did you choose for Juicy to have a passion to study Human Resources in college?

“Human Resources is about care and workflow. Efficiency. I wanted Juicy to have a passion for something that felt antithetical to his father. He wants to make sure people are okay.”

How does that contrast reflect other things about the way you have approached Shakespeare’s story?

“I think the play is exploring multiple modalities of masculinity. We see a lot of different kinds of Black masculinity on the stage. We see Juicy, we see Tio, we see Larry, we see Pap and Rev. And there’s a masculinity that’s implied about the community that they live in, that is sort of present in the room. I wanted to show that masculinity is not monolithic—it’s not as simple or cut-and-dried as it’s often depicted. I also wanted to explore cycles of trauma and violence in families. I’m interested in primordial stories, stories that no matter what culture you walk into, there’s like a version of them. I always think of Hamlet as—and I don't know that a lot of people think of it this way—but I think of Hamlet as a Cain and Abel story: the story of a sibling killing their sibling to get ahead. Anybody can relate to that; that’s a [narrative] that you inherit and moves with you through generations. And the younger folks in the play have to make some decisions about whether or not they want to continue that, whether that’s what they want their lives to look like and their relationships to each other to look like. I’m calling into question the stories that we’ve been passed down as wisdom. Because sometimes it’s wisdom, but more and more I look at those stories as cautionary tales of what you shouldn’t do. Vengeance isn’t gonna help Juicy. Killing his uncle is not gonna help Juicy’s life get any better.”

Your breakthrough play was Kill Move Paradise in 2017. How do you think you've changed as a writer since then?

“Oh, gosh. When I look at Kill Move Paradise, that play is quite erratic, you know [he laughs]. I always describe it as the way that I try to metabolize my anger and my fear and anxiety about being a Black body driving around in America, walking around in America, just trying to live my life. And so it has that anxiety in it. It has that fear and nervousness in it. It’s in the text, you can feel it on the page. As I've gotten a little older, I've experienced more and I've written more—the more you write, the better writer you become. I'm more intentional with story, with plot; how I'm weaving a theme or a theory into the action of a play is a bit more sophisticated than it was when I was starting out. The anger is usually shrouded in rebellion or exuberance. At a point in my life, anger sort of dragged me down into a space of high-blood-pressure fury. But I think now the work offers people an invitation to metabolize anger in a different way. By the time we get to the end of Fat Ham, people are dancing in the aisle.”

They certainly are.

“And that is not to negate the fact that we’ve just watched the thing that had pain in it, that had trauma in it, that had violence in it. But just because you’ve been through difficulty doesn’t consign you for the rest of your life to difficulty, to trauma, to pain. We have access to joy, we have access to resilience, we have access to exuberant ecstasy. Black history, in this country in particular, teaches us that: The blues and jazz and hip-hop come out of extraordinary awful scenarios and settings. Those art forms are undeniably both Black, but undeniably exuberant, resilient, unabashed, queer—all of those things! They possess all of those things. When I sit down to write a play, I know that at the end I have to send people out into the world, into the streets, into workplaces, into homes. My hope is that I’m leading them to some hope.”

This play is pretty fantastical, and there are various displays of spectacle and magic. There are also a panoply of images and homages to the Pan-African cultural experience—allusions to Louisiana Voodoo as well as Central African, Creole and Haitian Hoodoo symbology.

“Ghosts are a feature in a lot of my plays. Magic is a feature in a lot of my plays. Because I’m a person who grew up with people who kind of had magical ways of thinking. I grew up Baptist: hardcore, every Sunday, sang in the choir, youth ministry, youth usher—like, I am a church gay! I also grew up in a family that has New Year’s Eve traditions that they do, and will throw salt over their shoulder, or say “Don’t sweep over a single man’s shoe because he won’t get married.” That sort of Hoodoo connection to the spirit world and connection to ancestors was also a big part of the family that I grew up in. And so magic in that respect feels very real to me. Ancestors feel very present—the reverence for people who have passed on is immense. So, to me, the ghost of Juicy’s father showing up isn’t just a specter from this other world that is coming with caution and with information. Juicy is having a conversation with his ancestor and he talks to his ancestor, the way that I talk to mine. The thinness of that veil between here and there—I relish in that, and the theatrical allows you to do that with a lot of ease. I didn’t want the ghost to be a joke. He’s funny—that cat is extremely funny—but he also has these great moments of, like, “Wow, I really messed you up.”  

There is a long literary tradition of Black writers explaining Blackness to people who aren’t Black. You don’t do that here. In fact, this play comments on performing Blackness, trauma porn and “enterpainment” on stage—and it’s done with humor. Why was this important to you?

“Humor is powerful. It opens us up to hearing things in a new way. It’s a big part of all of my plays. The question about explaining Blackness is huge to me. I don’t feel like I have to explain Blackness to an audience. I’m assuming that everyone will catch up who doesn’t understand.”

At the end of the show, there’s a cover of the funky dance-pop disco tune “Kill The Lights” sung by Broadway actor Mykal Kilgore. What inspired that particular needle drop?

“I love disco music, just personally. Anybody can dance to it. If you are off-rhythm, you will be on a rhythm with disco music because it’s four-on-the-floor and is just all-encompassing. It strives for ecstasy, it strives for moving from a passage from one state to another. Probably because they were all like using drugs and having sex while they were listening to it in the Seventies and Eighties. But this is a contemporary artist singing in the disco style. It’s not a song from the era. It just moves people! That music moves people.”

If you were to classify your previous plays by genre, with Fat Ham being disco, what would your other shows be?

“Ooh.” [He laughs.] “I think Kill Move Paradise, if I had to put a genre to it, it’s Southern hip-hop, right? It’s sort of grounded in that culture. I would say White is like pop music—it’s like my Ariana Grande album. And Miz Martha is Americana music. It’s like bluegrass with a trap beat.”

Only nine writers of Black descent have been awarded the Pulitzer Prize for Drama in its 105-year history: Charles Gordone for No Place to Be Somebody, Charles Fuller for A Soldier’s Play, August Wilson for Fences and The Piano Lesson, Suzan-Lori Parks for Topdog/Underdog, Lynn Nottage for Ruined and Sweat, and the last four prizes in a row—Jackie Sibblies Drury for Fairview in 2019, Michael R. Jackson for A Strange Loop in 2020, Katori Hall for The Hot Wing King in 2021 and now you. Is something going on in the zeitgeist? Is there something special about Black writers that make their work more urgent right now?

“I think a few things are happening. Black writers and Black directors have been trying to push the form in new directions, to be both in conversation with the cannon and also pushing against the cannon. Those four plays—starting with Fairview and going to A Strange Loop, The Hot Wing King and Fat Ham—all four of those plays are actively doing those things. And so are some plays that haven’t won Pulitzers but have been defining culturally, like Slave Play and things like KPOP. The audience for that work is already there and primed, and it’s just waiting for someone to make art for them, you know what I'm saying? People are curious about what is possible in the form. I remember seeing Fairview and just being blown away by the audacity of it. It made me want to be more ambitious—to create more of a social experiment with my work in collaboration with an audience. I think the same thing is true of A Strange Loop and Hot Wing King in terms of those plays’ exploration of Black queer identity. And that flows rather beautifully into Fat Ham, which is doing the same sort of thing by taking a play that people cherish like Hamlet and saying, ’Not only is this mine, it’s mine in these particular ways, and this is what I’m gonna keep and this is what I’m gonna discard.’ So some of it is just us, as writers, wanting the form to feel as vital and as urgent as possible. And one way to do that is to examine how we write things and try to find new ways into storytelling.”

Those last three plays in particular have centered on Black queerness, and on what we might call radical softness. Is there something in the ether? Was there something in the culture that made us say, “Now that’s something we need to address, to attack, to appraise?” Because it all kind of happened around the same time.

“Hmm. I don’t know. That stretch of plays spanned the heartiest points of the pandemic, and we were all quite hungry for connection, closeness, touch, tenderness. And that offered an opportunity for people to be excited about seeing something that felt soft or vulnerable. I think people respond to that because we want to be better. Culturally, I think, we want to try to do things differently. It remains to be seen whether or not that will continue, but people wanted to engage with things that felt tender, that felt connective, and all of those plays are great examples of that. And I think that’s also true of Fairview; with the separation that it is asking for, it’s asking for people to sit in an embodied space with an idea.”

Last question: How has your life changed post-Pulitzer? Has that changed how people think of you and your work? Or how you think of yourself and your work?

“Oh my gosh! It’s just made my life so much busier, but it’s also made me focus on the work. Refocus on my craft and my practice. I don’t want this prize to freeze me in time. I want to keep pushing and keep expanding what I do.”

Fat Ham begins previews at the American Airlines Theatre on March 21, 2023, and opens on April 12. Tickets are available here. This interview has been condensed and edited for clarity.

Follow Marcus Scott on Instagram:@therealmarcusscott

Marcus Scott

[keeperofthebox]

you know all those platitudes about how when you write the most important audience is yourself so you should cater to your own tastes. yeah <3

this is a scene from chapter 4 of my fic bon voyage

[whereismyhat5678]

Guys, the new year hasn’t started for me yet, I still got a few hours to go but I’ll mine-as-well make this post since I’ll probably go to bed anyways- 😂

First, I’d like to say

WE GOT A NEW BANNER LET’S GOOOOO‼️‼️‼️‼️

HELL YEAH! -I mean it’s just the characters but- HELL YEAH‼️‼️‼️‼️

SECOND. I want to show you something AMAZING and that something I’d never expect??

321 FOLLOWERS????

YOU GUYS ARE INSANE THANK ALL OF YOU SO MUCH MY GOD‼️‼️‼️‼️‼️

It really makes me think how all of you guys really like and appreciate my art, and the fact that so many people encourage me to keep doing it, it brings me to tears! 🥹

Every one of you are the best thing in my life!! The first time I got Tumblr I started in:

March 30?? That’s insane- 💀

And the fact that I’ve improved SO MUCH is just INCREDIBLE!

You wanna see the FIRST drawings of Peppino??

YEAH THAT’S ME I DID THIS-

And you’re telling me that this was in what- THE START OF MARCH?? (Or February I don’t remember-) But this is just the PINNACLE of how much I’ve changed in terms in art style and experience.

I bring this up because I think Tumblr is the REASON why I improved so much! I experimented with brushes (digitally) and I found my brushes!! I learned how to EXAGGERATE AND ACTUALLY DRAW CARTOONY LIKE I’VE WANTED TO FOR SO LONG!!

(And NEVER took an art class. That’s fucking what- 💀 I need to take one I actually need to at this point-)

Also also also- I’ve learned a lot of things! Anatomy, exaggerative expression, stretchy cartooniness, ALL OF THESE ARE JUST- I can’t believe I’ve learned all this because one day I decided: “Maybe I should ACTUALLY get a social media for my art? 🤔” AND I DID IT AND CHANGED MY LIFE‼️‼️‼️

YOU GUYS CHANGED MY LIFE!-

My followers!- My mutuals/friends- I NEED TO SAY HOW MUCH I APPRECIATE ALL MY MUTUALS, ALL OF YOU 💖💕💖💕💖💕💖💕

Everything about Tumblr has changed me in SUCH a positive way in not only terms of art but with how many people (TALENTED PEOPLE) I’ve made FRIENDS with AND ACTUALLY got to know!!!

I already said it but you guys are absolutely AMAZING and I just CAN’T FATHAM how much this year has just been a BLAST.

My mutuals:

@noodletime @moon9931 @marclef @margarita-the-pizzeria-worker @lucia-the-mii @lovestryke @lord-yiikes @ijusthavefun @linhfoxmoive @kate-bot @nomlioart @boogiestronic80s @zedortoo @jarroyave4637 @atlaslovesedm @alaskacoolkid1 @remaking-machine @average-amount-of-chaos @cherryxsapphic @dingle-dee @eyeballdrawer @tailsdollsnewlife @radaverse @gongustheawsome01 @fluffygiraffe @qwertykeyboard045 @w00den-h3ad @the-little-knight @oddpizza @misdreavusplush

(OKAY- I may have added some people on here that I think ARE REALLY COOL, I may not talk to you much but I’ve seen you guys like my art and I think ya’ll deserve to be on here 🫶💖✨)

AND IF I MISSED ANYONE PLEASE TELL ME I’M SO SORRY BUT JUST KNOW I LOVE ALL OF YOU THE SAME (Platonically) I HOPE YOU GUYS HAVE A WONDERFUL NEW YEAR AND HAVE A GOOD ONE 🎉🎉🎉

GOOD NIGHT TO ALL YOU LOVELY PEOPLE YOU GUYS MEAN THE WOLRD TO ME AND HAVE A GREAT NIGHT 💖💖💖💖

[erikahenningsen]

undefined

fathambway: See what makes #FatHam so f*$%ing special. 👑 Watch our “Creep” music video performed by Marcel Spears and the cast of Fat Ham.

[alchemiclee]

I hate that whenever there's a gay ship, people immediately het-ify it. people are so obsessed with making one the "man" and one the "woman" when that's completely unnecessary, because they are both the man or the woman. It's extremely annoying. these people will completely mischaracterize a character to fit into their stupid little het roles they force on them.

for example, you don't need to make one man the "wife" and feminized him to the extreme and fit him in a traditional "woman" role so the other man can be the big strong masculine manly man. they can both be masculine or both be feminine or both be both at the same time! they do NOT need to be gendered opposites to fit het roles. crazy, I know! it's like no one considers it a possibility! or sees how good it can be to have them be equals without gendered nonsense.

when there's a gay relationship, you have the perfect opportunity for the couple to stand on equal ground. they get to be equals who are just as strong and just as soft as each other. there's no faulty power dynamics where one is above the other (because let's face it, society unfortunately deems masculinity > femininity). one doesn't need to protect the other. they can protect themsleves, fight aide by side as equals. one doesn't do all the housework. they share that duty equally. one isn't weak and pretty, while they other strong and manly. they both are strong and pretty, or masculine and weak at the same time.

equal relationships are amazing and need to be explored more and appreciated. there can be more understanding and working together. i'm bad at explaining what I mean, but I prefer these equal relationships over forcing them into opposite roles to mirror het relationships, which are usually extremely unbalanced and unequal. especially because these not het relationships! so why must they look like one? they can and should look different! so why does literally every shipper and writer out there make them so het coded?

I don't understand why people do this. do they actually believe all romantic relationships must mimic het ones to exist and thrive and purposely force that on them? or have they genuinely just not fathamed that they can be different and dont need to follow the expected het standards?

I wonder, it feels like no one actually knows how non-het relationships are meant to be and how they could work, since het ones are always forced down our throats since birth. it becomes The Standard that everyone thinks they must follow. maybe it's all people know since they don't see any other possibilities. their preferred dynamics for their ships are what we are taught and nothing different, because they don't know it can be different. i also think people might be obsessed with that whole "opposites attract" trope. but that opposite doesn't have to be the traditional het-fueld feminine vs masculine or wife vs husband characteristics. it can be other personality things like one is loud and one is quiet, one is dumb and one is overly smart, one is rich and one poor, etc. it doesn't have to be masculine vs feminine!

BREAK OUT OF THE HET NORMS!!!!! TEAR DOWN HETERONORMATIVITY!!!!!!!!! FREE THE GAYS

(disclaimer, not saying masculine vs feminine ships are all bad/shouldn't be done ever. but it doesn't need to be 100% of the time either 😅 can't think of one ship people dont do this with lol)

[kris-cant-draw]

oh my good god i need to draw more, antways

the horrors he cant even fatham

[frontmezzjunkies]

"Fat Ham" Glitters Gloriously on Broadway

#frontmezzjunkies reviews: #Broadway's #FatHam @FatHamBway written by #JamesIJames directed by #SaheemAli starring #MarcelSpears as a Juicy #Hamlet at a backyard BBQ celebrating his mother's wedding to his father's brother. @PublicTheaterNY transfer

Marcel Spears and Billy Eugene Jones in Broadway’s Fat Ham. Photo by Joan Marcus. The Broadway Theatre Review: Broadway’s Fat Ham By Ross Rising up from the dead, in a matter of speaking, after playing to acclaim at The Public Theatre downtown, playwright James Ijames’s Fat Ham has opened on Broadway and that is a just cause for a glitter ball celebration. This smart and sly backyard BBQ…

[richardmurrayhumblr]

Thoughts to Fat Ham? https://aalbc.com/tc/topic/9417-fat-ham-by-james-ijames-wins-2022-pulitzer-for-drama/#comment-52303 #rmaalbc 

[trascapades]

🎭#ArtIsAWeapon WILD ASS RAUCUS RIDE! Catch #FatHam at the @publictheaterny before it closes July 31. https://publictheater.org/productions/season/2122/fat-ham/ "FAT HAM Co-Production with National Black Theatre [ @nationalblacktheater ] By James Ijames Directed by Saheem Ali Critically-acclaimed playwright James Ijames reinvents Shakespeare’s masterpiece with his new drama, FAT HAM. Juicy is a queer, Southern college kid, already grappling with some serious questions of identity, when the ghost of his father shows up in their backyard, demanding that Juicy avenge his murder. It feels like a familiar story to Juicy, well-versed in Hamlet’s woes. What’s different is Juicy himself, a sensitive and self-aware young Black man trying to break the cycles of trauma and violence in service of his own liberation. From an uproarious family barbecue emerges a compelling examination of love and loss, pain and joy. FAT HAM is a delectable comic tragedy directed by The Public’s Associate Artistic Director Saheem Ali." #BlackGirlTheaterGeeks #BlackPlaywrights (at The Public Theater) https://www.instagram.com/p/Cf72wBHMUvz/?igshid=NGJjMDIxMWI=

[pilgrimartfoundation]

Fat Ham by playwright JamesIjames @natblacktheatre @publictheaterny #FatHam #SEEWHATISEE #BeLONGING (at The Public Theater) https://www.instagram.com/p/Ce3ccw_rjMg/?igshid=NGJjMDIxMWI=

[sibylance]

People really victim blame the Traveler huh. Believe the murder pyramids but she's at fault? Okay.

[wisdomfish]

An investigative filmmaker examines the letters of Christ given to the Apostle John to share with the 7 Churches of Revelation, hoping to find connections to current world events. Traveling to Turkey to uncover archeological insights into the 1st Century Church, he discovers keys to their persecution by the Roman Empire. Scholars and theologians weigh-in to connect these ancient churches to the modern Church of today.

[mrdaps]

NEVER SURRENDER: A Galaxy Quest Documentary Coming to Theaters

NEVER SURRENDER: A Galaxy Quest Documentary Coming to Theaters

In a One-Day-Only Special Event, Fandom Presents an In-Depth Look at the Enduring Film That Foresaw an Era When Geeks Would Rule the World

DENVER – October 15, 2019 – By all accounts, it was a movie that beat all odds: Surviving a set fire, the loss of a powerful director, and a studio that didn’t understand what it had, “Galaxy Quest” turned into a pop-culture phenomenon that would “never give…

[officialroxannewolf]

did you know there are some people who just cant fatham you being able to feel feelings and such?

Heh. This ain’t news to me. I’ve had the mechanics try to completely wipe my programming to try and stop me from feeling emotions.

[amtullah]

Innafatahna fatham mubiina

Udah pengen bgt ke surah itu, hehe. Kamu mau tasmi'? Sebentar, beri waktu aku untuk jadi mustami' yang baik ya :)

ah, kenapa aku mengatur Allaah? Bagaimanapun, Rabb. Hamba akan ridha selama Engkau ridha.

[immured-soul]

It's 2017 how is Carly Rae Jepsen still a thing?? I always thought she just went away after 'Call Me Maybe'????