Writer: James IJames
Original Direction: Saheem Ali
Director: Sideeq Heard
When a play has been awarded a Pulitzer Prize and received five Tony Award nominations, its arrival on a UK stage is to be much anticipated. Sometimes things can be over hyped and fail to live up to that promise. In the case of James IJames and Fat Ham, this is absolutely not the case. It is an intelligent, hilarious and thoughtful piece of writing that fully deserves all the plaudits that it has received, and it deserves a much longer run than just these initial few weeks at the Swan Theatre.
Ostensibly, it is a reworking of Hamlet set in modern-day America. And on that surface level, it works well. But it is so much more than that. It is an examination of Black culture, queer identity and the impact of history on the present. It is a script that is fully respectful of Shakespeare’s original text, whilst also knowing exactly how far to be irreverent and transgressive. It is a play that has a unique voice and the power to delight as well as make audiences reflect.
The cast of seven brings a huge energy and life to the stage throughout. They have a confidence in the text and one another to be playful and present throughout. Olisa Odele as Juicy (Hamlet) has all the introspection necessary for the troubled college student seeking to find his place in the world. His natural flair for comedy is demonstrated through his adept timing and facial expressions. An impressive RSC debut.
Andi Osho (Tedra/Gertrude) gives an outstanding performance of a woman who has never found her voice as an independent woman. She has the inner strength but has always been overshadowed by the men in her life. Her need for liberation is captured perfectly.
Perhaps the most surprising deviation from the original is in the portrayal of Opal/Ophelia. Jasmine Elcock is unashamed and proudly determined to find her own path. She has grit, determination and plenty of attitude.
Her mother, Rabby, is a veritable force of nature. Sandra Marvin delivers this with gusto and is the ideal embodiment of many women of her generation. Sule Rimi is suitably overbearing as Rev (Claudius) bringing a physical and verbal aggression to the role that could be overwhelming but that stays just on the right side of being totally detestible.
Rounding out a true ensemble cast, Corey Montague-Sholay as Larry (Laertes) brilliantly captures the repressed marine looking for a way to express himself as he would want to be seen. And Kieran Taylor-Ford’s take on Tio (Horatio) is comic perfection.
In terms of the production as a whole, there are so many magical moments that cannot be mentioned in a review as it is part of the joy of the piece that audiences are surprised and thrilled without being spoilered. There are also moments of real magic for which Skylar Fox is to be specifically acknowledged for his illusions.
Occasionally, the thrust stage of the Swan feels a little too constricting and words are lost due to the necessity of actors having their backs to sectors of the audience. But these are very minor quibbles in what is a very polished and accomplished production.
This feels like an important piece of theatre, but it does not feel weighed down by that. It has a lightness of touch, a confidence and a rich vein of humour that means it is a play that fills audiences with joy. And we all need that in our lives right now.
Runs until 13 September 2025
