James Ijames' Pultizer Prize-winning play, starring Marcel Spears and Nikki Crawford, recasts Shakespeare's tragedy as a story of intergenerational trauma among a Black Southern family.
Juicy, the mercurial protagonist played with relaxed style by Marcel Spears, reluctantly prepares to celebrate the marriage of his mother, Tedra , to his uncle, Rev . His dad, Pap , hasn’t been dead for a week and the newlyweds behave as though he never existed. Juicy isn’t one to defend his father — the two had a contentious and abusive relationship — but the atmosphere feels poisoned with malevolence., we know that Juicy is right.
“You should be scared,” Pap chides Juicy during an early spectral encounter. “There some scary stuff happening.” As Pap tells it, Rev, jealous and vicious, had him murdered in prison and it’s Juicy’s responsibility to avenge him: “I want you to catch that hog brother of mine by the snout and gut that motherfucker,” Pap screeches, his veins popping out of his neck. “He’s a literal motherfucker. He’s literally fucking your mother.
Of course Juicy feels funny about that. He’s not a fan of his uncle, who along with family, property and business, seems to have inherited Pap’s penchant for picking on Juicy. He accuses his nephew of being “soft,” hurling the word so violently it lands like a slur. But Juicy’s not sure about avenging the death of someone who wasn’t very good to him in life, either. The young, self-described empath would like to consider other options.
Reimagine is a word that has been tossed around so brazenly — by people and institutions looking to rebrand and revise history — that its invocation can elicit more knowing smirks than exciting thrills. But Ijames’is a reimagining in the most appropriate sense of the word. The production sources its skeleton from Shakespeare but fills itself out with materials borrowed from Black Southern history — rich, varied and queer.
The brash and bold production — Pap’s ghost sinks into the earth and materializes from the grill; karaoke interludes appear here and there; a rousing musical finale — reminded me of the scholar Zandria Robinson’s recent observation in
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