Leading Actor Joined: 1/26/08
I'm not sure it would work in a larger venue. I mean, they could stage it in a larger venue, but it constantly breaks the fourth wall, and part of why it works is the intimate venue. It's also a play that really benefits from the setup of having the action happen right in the center of the audience. They even have the first row set up on the floor with random camp/lounge/plastic chairs to feed into the cookout/ barbecue feel.
At one point in my show, somebody accidentally stepped on a Capri Sun, and it squirted all over somebody in the front row. The whole cast broke after that, and it was hilarious.
Featured Actor Joined: 12/28/21
I saw this on Friday and thought it was phenomenal. A brilliant combination of modern and classic; hilarious and devastating; straightforward and meta. I was so incredibly impressed with this piece.
Sounds like a perfect fit for Circle.
I just think the name alone "Fat Ham" is so good and could see this doing well on Broadway next season.
But maybe they wait until his taping is finished.
This would be a real uphill climb if it went for a commercial run. It would need a star and a lot of advertising dollars. I think Helen Shaw in Vulture hit the nail on the head with her review, in that the shows thesis of breaking free of a “play” mold makes it kind of boring. I found it really underwhelming, and the fourth wall breaks and karaoke songs didn’t work for me. They read as lazy, and then when the fourth wall wasn’t being broken, there wasn’t much plot going on in its place. I think Broadway is a mistake, but power to them if they make it happen.
If not the Circle, could this work at the Helen Hayes?
Broadway Legend Joined: 4/22/21
I can imagine it will be a hit on the regional theater circle.
ACL2006 said: "If not the Circle, could this work at the Helen Hayes?"
Design wise, I don't think it would work as that stage is pretty high.
I found this show to be an utter joy. Surprising and hilarious, with a lot of psychological underpinnings bubbling under the surface, not to mention an inherent theatricality that is so lovely to see. I don’t see it being rushed to a commercial production. The intimacy really does add quite a lot. Truly, what a pleasure. Though yes, I imagine that you lose a lot of you aren’t familiar with Hamlet.
It's a nice, fun, slight play –– and it also has the energy of a playwright who feels they are terribly clever for this conceit of setting Hamlet in a Black family's backyard BBQ. I guess one could make the same argument about Vanya and Sonia or Doll's House 2 or a number of other plays that made it to Broadway so...what do I know! The cast and production are rock solid, but I left kind of flabbergasted that it won the Pulitzer.
It, like WHICH WAY TO THE STAGE, doesn't know how to end, and in an incredibly lazy move it ends with a jukebox musical number/drag performance.
Broadway Legend Joined: 11/12/14
ErmengardeStopSniveling said: "It's a nice, fun, slight play –– and it also has the energy of a playwright who feels they areterriblyclever for this conceit of setting Hamlet in a Black family's backyard BBQ.I guess one could make the same argument aboutVanya and SoniaorDoll's House 2or a number of other plays that made it to Broadway so...what do I know! The cast and production are rock solid, but I left kind of flabbergasted that it won the Pulitzer.
It, like WHICH WAY TO THE STAGE, doesn't know how to end, and in an incredibly lazy move it ends with a jukebox musical number/drag performance."
I agree with this to a certain extent, and it certainly seemed like the NYT review was most enamored by how it reused the conceit of Hamlet, but that conceit, while clever, left me feeling unsatisfied. It seemed to pick it up and drop it at will, only using it when it was convenient, so it came off a little unfocused.
I see the value in a lot of the themes this show touches on (family dynamics, masculinity, acceptance of self and others, etc.) but none of those themes seem as fully realized as I'd expect from a Pulitzer winner, and the play overall seems more like light entertainment with a few deeper themes rather than a meaningful play that also happens to be entertaining. It's another play where I agree wholeheartedly with Helen Shaw's review for Vulture--I like many parts of it, but I'm unsure if I like it as a whole.
I agree the ending felt more like a cop out than anything. I think it worked for Which Way to the Stage because it showed Judy's moment of self-actualization and breaking out of the bounds that had held her back, but I just don't see that same sort of moment here, unless it's meant to be a "who cares, let's just have fun" moment. Despite the entire cast taking their bows, I was so sure there would be one last soliloquy at the end to tie everything up, but there wasn't, so it felt very unfinished to me.
FWIW, all this commentary about the show’s ending is a huge spoiler, and I’m very glad I didn’t read it before I went.
Updated On: 6/12/22 at 09:08 AMBroadway Legend Joined: 1/21/20
robbie_731 said: "KevinKlawitter said: "Congratulations to James Ijames and The Public!
I still can't help but feel irked thatThe Hot Wing Kingstill hasn't been published for the general public. How long will we have to be able to read it andFat Ham?"
You're not the only one that's irked.
I wonder what's taking so long to publish "The Hot Wing King"?
It won the freaking Pulitzer! Are they worried people won't buy it?
https://forum.broadwayworld.com/readmessage.php?thread=1126198"
Quick update on this topic - the script for Fat Ham is now available for pre-order on Amazon ahead of a November release. The Hot Wing King still cannot be bought from Dramatists.
Featured Actor Joined: 5/30/19
TaffyDavenport said: "FWIW, all this commentary about the show’s ending is a huge spoiler, and I’m very glad I didn’t read it before I went."
Agree. Very inconsiderate of them.
Fat Ham has extended again through July 31. Got a ticket for one of the matinee slots I had still had open for my upcoming trip, and 90% of the seats were already gone.
I thought this was really fun and smart. I'm a big fan of approaching Shakespeare in such a way that deliberately subverts the comedy/tragedy boxes, at least when it's done with purpose. And I think James Ijames does it well with this one. Loved the ending.
I think the best scenes in the show are the ones that actually deviate from the original play, and work in active dialogue with it. The scenes where they're kind of just hitting the major plot points are fine, but less interesting.
This probably wouldn't have been my pick for the Pulitzer in a more competitive year. But I think it was a solid pick, given the options.
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