Cleveland Play House’s ‘Fat Ham’ is a comically profound slice of reality
Something is rotten in Denmark or in this case “in the middle of nowhere” in North Carolina. Deep dark secrets are about to be revealed in a middle-middle class back yard Bar B Que wedding reception.
One week after the funeral of her husband Pap (Paul Oakley Stovall), Tedra (Tanesha Gary) is getting remarried to his twin brother, Rev (Paul Oakley Stovall). It seems her deceased soul mate had been shanked in prison. He had been serving a term for murdering a man because (as he put it) the victim had bad breath.
Tedra’s son Juicy (Ananias J. Dixon) is in charge of putting the final touches up for the party with the help of his stoner friend Tio (Brenden Peifer). As Juicy goes inside, the silent ghost of Pap appears then disappears in front of Tio wearing a bed sheet with eye holes. When Juicy returns to an excited Tio he discounts the vision to his friend’s herbally enhanced state.
Tio goes into the house to collect himself as Pap returns to visit with Juicy. Whipping off the sheet and dressed in a black funeral suit Pap berates his “soft” son (Juicy’s “Mamma’s Boy Shirt” is a clue). Pap orders Juicy to kill the man who ordered his murder, his own twin brother. He then departs.
Enter Tedra with her new husband, Rev and as the “new bride” goes to change Rev goes after Juicy mocking his softness just as his sibling had. New guests arrive in the form of Tedra’s friend Rabby (Mariama Whyte), her daughter Opal (Shunté Lofton) and her sailor son Larry (Mell-Vonti Bowens, Jr.). Tedra returns as Rev challenges Juicy to a fight and with one punch to the stomach the hapless lad lays in pain on the ground. Tedra and Rev then inform Juicy that they have used his college fund (University of Phoenix Degree in Human Resources) to remodel the bathroom putting his online college plans on hold.
Juicy recovers and the feasting and drinking begins. A game of Charades turns south as Juicy takes his turn to cast aspersions on his uncle/step father. He takes it a step further during a karaoke performance of the song “Creep” hinting at his own sexual identity. This prompts Opal and Larry into thinking about revealing their secrets as well.
If this story line sounds familiar it would be if you are a fan of Shakespeare’s epic but this show resembles Hamlet as much as the disco infused “A Fifth of Beethoven” resembles Ludwig’s masterpiece. One interesting note, the fourth wall is easily breached by a number of actors as they solicit the audience for advice and opinions.
The stage set by Shaun Motley is nothing short of remarkable. The rear of a nice house with a respectable back yard complete with patio, storage shed and double wide BBQ cooker (where Pap makes a second appearance) sets the scene perfectly. The costumes by Yvonne L. Miranda carefully match the personalities of the various actors ranging from funeral attire to middle age hip to wildly colorful to church going spectacular to prim and proper lady dress to smart navy uniform to grunge to stoner. The lighting design by Erica Lauren Mahomes works to set the various scenes by creating a particular mood for each one. Derek A. Graham’s sound design is crisp as each of the actors are easy to understand. The production is sharply and creatively directed by Nathan Henry.
As for the cast, Mell-Vonti Bowens, Jr. as Larry, Shunté Lofton as Opal and Ananias J. Dixon as Juicy are the perfect trio of modern “castaways” trying to escape the prison that their lives have become. They are the true core of the family whether they realize it or not. Tanesha Gary as Tedra is all bubbles and brightness with whom life has not given a lot of alternatives. She simply tries to do the best she can with what is made available to her. When she takes center stage for her karaoke version of “100% Pure Love” all eyes and ears are on her.
Paul Oakley Stovall plays the duel roles of Pap and Rev being deliciously and equally mean and contrary in both roles. Lastly, there is Brenden Peifer as Tio who is the comic relief in a rather dark tale. While showing his comic chops he is also called upon to articulate the profound. His “Gingerbread Man Soliloquy” is priceless especially with its “surprise” ending. It had the audience laughing, crying and cheering all at the same time. Mariama Whyte as the “Sunday Go To Meeting” dress, hat and personality plays the clueless mother to the hilt. The entire cast is comfortable with each other and with conversing with the audience members making for a very smooth performance. Be sure to keep your eyes peeled for the “magic trick” near the end of the show.
This is one of those off kilter productions that has a delayed action on your perception of the production. It will take a couple of days for your mind to sort through the weirdness. It is also an invitation to revisit the original “Hamlet” for clues as to what everything means in both shows. Deep waters lie beneath the still surface of this show. You will not be disappointed.
The Cleveland Playhouse production of “Fat Ham” will be on stage in the Allen Theatre at Playhouse Square in Cleveland, Ohio through February 23, 2025. for tickets and information go to http://www.clevelandplayhouse.com or call (216) 400-7096.
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