Displaying items by tag: Victor Musoni

James Ijames' Pulitzer Prize-winning play, Fat Ham, bursts onto the Goodman Theatre stage in a vibrant, deeply resonant co-production with Definition Theatre. Directed with an expert hand by Definition Theatre's Artistic Director Tyrone Phillips, this contemporary reinvention of Hamlet dazzles with humor, heart, and a profound exploration of identity, toxic masculinity, and generational burdens.

Set in a Southern backyard during a family barbecue, Fat Ham transforms Shakespeare's dark tragedy into a poignant yet hilarious meditation on living one's truth. At the center of this narrative is Juicy, played with remarkable nuance and emotional depth by Trumane Alston. Juicy's journey of self-discovery unfolds amid the ghosts—both literal and figurative—of his family's past, grappling with expectations of masculinity and the weight of inherited trauma.

Alston's performance is layered and compelling; his Juicy is introspective and tender yet brimming with an undercurrent of resilience, given time he will lean more into the character arc. His comedic timing is impeccable, delivering Ijames' sharp and incisive dialogue with a natural ease that invites the audience into his emotional world. Juicy's interactions with his spirited best friend Tio, brought to life by the dynamic Victor Musoni, provide some of the play's most humorous and thought-provoking moments. Musoni's portrayal of Tio is electric, offering a counterpoint to Juicy's introspection with boundless energy and unfiltered wisdom.

Ronald Connor impresses in the dual role of Rev and Pap, seamlessly shifting between the domineering ghost of Juicy's father and the charismatic over-sexed preacher presiding over family affairs. His presence looms large, embodying the toxic masculinity that haunts Juicy's world with an intensity that is both chilling and oddly comedic. Opposite him, Anji White as Tedra, Juicy's vivacious mother, delivers a powerhouse performance—balancing maternal warmth with an underlying desperation to escape her own past.

Ireon Roach’s Opal is a revelation, with her confidence simmering to the surface, while Sheldon Brown’s Larry, a stoic Marine grappling with his own identity, offers a poignant reflection of the play’s central themes. And no production would be complete without the powerhouse that is E. Faye Butler, whose presence on stage is nothing short of magical.

The technical elements of the production elevate the storytelling to new heights. Arnel Sancianco’s set design captures the essence of a Southern backyard with rich, lived-in detail, creating a tangible sense of place that enhances the play’s themes of home and heritage. Jos N. Banks’ costume designs are vibrant and character-driven, reflecting each individual's inner conflicts and outward personas. Jason Lynch’s lighting design cleverly shifts from naturalistic warmth to eerie supernatural hues, underscoring the play’s tonal shifts. Meanwhile, Willow James’ sound design punctuates the emotional beats with a careful blend of music and ambient sounds that ground the play’s heightened moments.

Phillips’ direction is both deft and sensitive. He embraces the play's comedic elements without undercutting its emotional weight. He crafts a production that honors Ijames’ bold vision while allowing the cast to fully explore the complexities of their characters.

Fat Ham is a triumph—an innovative, riotously funny, and ultimately moving exploration of what it means to break free from the ghosts of the past and forge an authentic future. Whether you're a Shakespeare purist or someone looking for a fresh, contemporary take on a classic story, this production offers something truly special.

With an outstanding ensemble, sharp direction, and a creative team firing on all cylinders, Fat Ham at Goodman Theatre is a must-see theatrical event that redefines what it means to inherit, to resist, and to thine own self be true.

Highly Recommended
When:    Through March 2
Where:  Goodman Theatre, 170 N. Dearborn St.
Tickets:  $25 - $85
Info:     Goodmantheatre.org/Ham

Black and Irish Twitter had a field day upon the death of Her Highness Queen Elizabeth II. No tears were shed other than tears of laughter and joy at the demise of a colonizer. Telling Black twitter to be respectful of the death of the woman who inherited the legacy of an empire that contributed to the Trans-Atlantic Slave Trade, or Irish twitter to mourn the woman whose legacy includes Black Sunday is truly an eye rolling, laugh inducting matter…sorry Chris. It is ironic “The Most Spectacularly Lamentable Trial of Miz Martha Washington”, lambasting the “Mother of Our Country”, opened the same weekend as the death of the Queen of the Commonwealth.

I learned so much from seeing this play. Much of James Ijames play is based on historical fact. Martha Dandridge Custis was a widow with two children and enslaved people when she married George Washington. She had an illegitimate half-sister, Ann, born into slavery, thanks to her father. Ann had a son named William. William is both nephew and grandson to Martha since it is believed Martha’s son, John Custis is Williams’s father. George Washington did instruct his wife to release his enslaved people upon his death.  Martha feared her life was in jeopardy and expressed it to Abigail Adams. James Ijames did his research writing this exceptional play. The writing is relevant, thought-provoking, and extremely entertaining.

The play opens Christmas eve night. An enslaved woman, Ann Dandridge is attending to a dying Martha Washington. Just outside and within ear shot are Miz Washington’s enslaved chattel waiting for the glorious moment of her death. They are aware of the clause in her late husbands will freeing them of servitude upon her death, and they can hardly contain themselves.  Miz Washington falls into a deep sleep and finds herself in a fever dream where she will have to account for the people she has enslaved.

Then the fun begins……

Not every director or actor could have pulled off this spectacle. And believe me, it was a spectacle. There was nothing small or tentative about this production. It was big, it was bold, it was Black and Beautiful. Director Whitney White used every fiber of all her talented actors to wonderful results. The ensemble consists of Sydney Charles as Priscilla, Celeste M. Cooper as Doll, Donovan Session as Sucky-Boy, Carl Clemons-Hopkins as Davy, Victor Musoni as William, Nikki Crawford as Ann Dandridge, and Cindy Gold as Martha Washington. All the ensemble members, except Cindy Gold, play a host of other characters.

Clint Ramos’ set design is interesting, dark, and foreboding at times, at other times a circus

Izumi Inaba’s costumes showed a vivid imagination, among the best I’ve seen. There are several scene and costume changes and for the life of me, I’m not sure how they were done so quick and effortlessly.

Ijames doesn’t romanticize slavery as I’ve seen in other plays. There is nothing nice about slavery. Ijames has made his enslaved people the antagonist to an American way of life, putting them at odds with those who romanticize this country.

I got into a row with someone on twitter about my indifference to the Queen’s death. He reminded me the British Empire abolished slavery decades before the United States. I reminded him the British Empire used slave labor to harvest sugarcane, they realized enslaved people with machetes aren’t good for business.

This production is highly recommended.

THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON runs through October 9, 2022 at Steppenwolf Theatre Company, 1650 North Halsted. Tickets are $20-$96.