By Barbara Smith
Good theatre amplifies, activates and entertains. And this is exactly what director Sideeq Heard sees happening with Fat Ham, James Ijames’ 2022 groundbreaking Pulitzer Prize-winning, Tony-nominated show that has been keeping audiences howling with laughter and at the same time digging deep into big life questions. Headed by an all-new cast with Ṣọla Fadiran in the title role, Fat Ham opened May 30 at the Old Globe’s Shiley Stage after a successful run on Broadway and performances in theatres throughout the U.S.
“It’s Shakespeare, but kinda,” says director Heard, describing the bones of the play, which is loosely based on the bard’s timeless classic Hamlet. But instead of a castle in Denmark, this modern-day adaptation takes place during a backyard BBQ in the South and the Hamlet character is a black queer man named Juicy. As in the original, a murderous plot keeps the storyline gripping, adding much more that keeps the joint jumping with plenty of smack talk, music, ghosts and hijinks.
Should audience members who are not familiar with Hamlet be worried? Heard chuckles with the question. “I think it’s perfect If you don’t know anything about Hamlet. There are two clear levels to the show,” he explains in a recent conversation at the Old Globe. “On one level it’s simply a story about family in the South having a barbeque. We get to understand their family and go on that journey with them. On the other hand, the story loosely follows the plot line of Hamlet. But you don’t need to know about either experience when you step into the theatre because playwright Ijames work is so clever.” True, an added benefit is having familiarity with Shakespeare and Hamlet. “But for folks who have no experience, it’s fun to just latch on to the story of this black family in the South. There is karaoke, games, absurdity, connections. It’s a good time to be a human when you’re in the theater watching Fat Ham because there is so much to relate to.”
Heard comes to this assignment with a wealth of experience already lining his portfolio. A
self-described multi-hyphenate director, actor, and rapper, his credits abound for film (Here is a Man), recording (“Fatal Attraction”) and assisting Carl Cofield at the Classical Theatre of Harlem’s adaptation of Twelfth Night. Directing the show is exhilarating for Heard. The Howard University and NYU grad is a deep thinker with a big purpose. Mentored by original director Saheem Ali during the show’s Broadway run, Heard sees magic in the show, adding to the current dynamic explosion of theatre works that challenge traditional narratives, driven by a diverse array of voices. “The Black experience is woven through the play as is the queer experience,” says the New Jersey native, who identifies as queer. He sees the power of storytelling as transformational, a way to start conversations and lead to deeper understandings of the humanity that connects us all.
“I love embodying and creating big stories,” he says, reminiscing on his youth in the church in Georgia where he first glimpsed how storytelling could change people’s hearts. Now that
passion has opened for him the gift of storytelling in different ways to different people.
“Whether I’m onstage acting or in a studio writing or directing a film that elevates a queer
or underdog experience, that is my passion. That makes me feel like I’m living a life that’s worth living. Because ultimately, I believe storytelling changes people.
“This show will ask you to fully engage with the characters,” he offers. They may go in the aisle.
The show may ask you to jump up on your feet, to clap your hands. It’s like being in a black church. The pastor just preaches. They don’t ask you to participate, but they’ll rile you up and give you what you need. That’s what this show does. It asks, ‘How can we coexist when we have different identities?’ And the answer is, for me, to tell stories about each other, gain an understanding about the other person. Then you can empathize with them. And then we can move forward as a society.” Fat Ham runs through June 23 at the Old Globe.
