Fat Ham is a contemporary adaptation of Shakespeare’s Hamlet, written by James Ijames. Set in a southern family barbecue, the play reimagines the classic tragedy through the lens of modern Black culture, blending humor, pathos, and social commentary. The protagonist, Juicy, grapples with familial expectations, identity, and unresolved trauma, all while navigating the complexities of love, revenge, and personal freedom. Fat Ham explores themes of legacy, masculinity, and self-acceptance, offering a fresh, relatable take on the timeless struggle between the past and the future.

Fat Ham is being performed at the Wilbury Theatre Group, in Providence from March 27 through April 13.

IDA: Fat Ham is a reimagining of Shakespeare’s Hamlet—what drew you to directing this play?

DON: I am a classically trained actor, who has studied at the Shakespeare Company in New York City. I have always had a special relationship with “The Bard.” The story of Hamlet works its way into so many current themes and different genres of theater and film. People have taken useful advantage of the pliability of the original Hamlet. And James Ijames melds the story well into the Fat Ham script.

IDA: What was your approach in blending the Shakespearean elements with the modern elements?

DON: This play is more comedic than Hamlet and takes place during a black family’s backyard cookout. For those who have been brought up in a Black family, they will relate to the kinds of calamity that can happen at a family barbeque. My approach is always about getting to the essence of the character and building those characters into an authentic story.

IDA: What was your vision for staging the play, and bringing it to life?

DON: It is within the rehearsal process that my vision evolves. As I work with the actors during that process, the vision is being created - by all of us. It is important to me to bring together people I trust and who are willing to develop collaboratively as an ensemble in order to blend and maximize the actors’ talents into play. As my vision develops, I use their talents to get us to the finish line. My approach is to ask questions rather than to give directions because each character contributes to that visionary development.

IDA: What was your approach in shaping Juicy’s character?

DON: I worked in one-on-one sessions with Juicy. We avoided making the role of Juicy a caricature. Together, we discovered his own sexuality and how he approaches relationships, career path and his place in the family as well as the demanding expectations from his deceased father. The playwright is familiar with North Carolina, where the play is placed, and understands the cultural, social and political environments. While these elements may seem ponderous, Ijames has found a way of having fun with these themes as he bends the Shakespearian narrative.

IDA: Were there moments where the actors brought something unexpected to their roles?

DON: When the actors were discovering their own characters and relationships with other characters, they each found elements that were surprises to them. My process of posing questions instead of giving answers allows actors to uncover, on their own, who they are on stage. This results in a deeper, personal character development which emerges faster and is sustained longer.

IDA: How did you navigate the complex themes of masculinity, queerness, and family?

DON: One of the great things about theater and the people who are drawn to it, is their greater understanding of these themes. They are open to them. This cast came into rehearsals hungry and ready to get at it. I appreciated their willingness to discover every and all aspects of who they are in this play.

IDA: How did you balance the deep emotions and comedy of this play?

DON: It helps that the play is well written. Having a comedy background and having done stand-up helps, too. My experiences come with the understanding of people being the most human. The comedy is organic. Teasing out physical comedy and innuendo that enhances the storytelling is an element of my methodology. I will ask actors about their own personal stories as it relates to the scene. Invariably, when retelling their stories, even the sad ones, they find some humor in them. They bring that to their characters.

IDA: While directing Fat Ham, what most stands out for you?

DON: The production is surrounded by gifted people and what stands out most for me is the fun we have had. I start every rehearsal process with, “If it ain’t fun, we ain’t doin’ it right.”

IDA: What do you hope audiences take away from Fat Ham?

DON: Audiences will have a lively, fun and provocative night of theater. They will appreciate Hamlet’s adaptation. And I hope they reflect upon their own personal lives and how they treat people: with respect or lack thereof inside and outside of the family.

IDA: How do you see Fat Ham contributing to conversations about identity, trauma, and self-acceptance?

DON: I think it is spot-on in addressing all of these conversations. It doesn’t hide, mask, or make them stereotypes. The play has some beautiful overtones that allow the audience to see these themes in very different ways. We need these issues portrayed in a way in which we are able to see these characters as real people living real lives. We need more of this in this country; to see everyone as who they are; who they are as individuals, who we are as people and who we are as a country.