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Tedra and Rev argue loudly inside the house. The others pick at their food. Rabby insinuates that Juicy has upset Rev and that he is wrong to have done so. She brags that her children will be successful: Larry will pursue a military career and Opal, she argues, should pursue human resources. Opal scoffs and says that she is not good with people. Rabby orders Opal to go with her to help Tedra console Rev.
Alone, Larry makes Juicy a plate of food. Juicy thanks him and asks about killing men during his military service. Larry tells him that it is not an easy task. They talk briefly about being children together, and Larry compliments Juicy on his looks. Larry speaks of wanting to be “soft” like Juicy, then asks Juicy if he can kiss him. They embrace softly. Larry kisses Juicy on the neck, though Juicy worries they will be seen. Larry exits, and Juicy recites one of Hamlet’s soliloquies.
Tedra returns and berates Juicy for upsetting Rev, ordering him to “just be nice” (116). Pap’s ghost appears, though Tedra cannot see him. Pap angrily reminds Juicy of the order he has given him to kill Rev. Juicy pleads with him, insisting he is not like Pap and incapable of such an act. Pap sneers as he hides behind Tedra, insisting that he always does this. Juicy becomes increasingly agitated and panicked as Pap orders him to obtain revenge. Tedra cradles Juicy, trying to console him. She begs Juicy not to lose his grip on reality, insisting that she needs him. As she cradles him, Juicy tells Tedra that Rev had Pap killed. Tedra is shocked and confused. Rev interrupts instantly, yelling for Tedra from inside the house.
Tedra exits, and Juicy cries softly. Tio enters with the beer Tedra sent him to buy. He offers one to Juicy, and they drink. Juicy tells Tio that everyone is mad at him. Tio is high and contemplative. Larry and Opal join them, Opal complaining about her mother and Tio remarking on how strange she looks in a dress. They talk about how awful adulthood is, and Tio asks each of them what they would like to do with their lives. Opal would like to open a shooting range, and Juicy hopes to enter human resources. They are all surprised to hear Larry say he would like to be a performer.
Rabby enters and orders Opal to come inside to help them put the food away. When Opal refuses, Larry offers to help. A fight unfolds in which Rabby yells at Opal for not being more like Larry and insults Juicy for being weird. Juicy retorts and Larry defends Rabby. Juicy, in his anger, taunts Larry, alluding to him being gay. Larry is upset, but Juicy continues to goad him, urging him to tell everyone that he is gay. They slap one another. The fight escalates, and Larry slams Juicy’s face into the table, making Juicy’s nose bleed. Larry backs off, then tells Juicy that it was not his place to out him.
Opal approaches slowly, and Larry allows her to hug him. She tells him she is proud of him, then turns to Rabby and declares that she too is gay. Juicy apologizes to everyone, and the mood is much calmer. Rabby goes inside to check on Rev.
Juicy, alone with Opal, Tio, and Larry, suggests they process what has just happened. Tio asks if he might say something and launches into a long story about playing a VR video game while high. Playing the game led him to the realization that one should live life for oneself and find happiness however one can.
Suddenly, there is a commotion inside the house, and Rev runs outside. He rushes to Juicy and confronts him about the insinuation during charades. Juicy tells the group that Rev killed Pap. Rev insists that Juicy is lying, but Juicy argues that Pap’s ghost told him about the murder. Rev accuses Juicy of being weird and disrespectful, but Tio testifies to the ghost being real. Rev disregards him and angrily asserts that he is here to stay. Rev grabs a barbecue rib and begins eating as Juicy makes to leave. Tedra pleads with Juicy not to go.
Rev begins to choke on the rib. There is confusion amid the commotion; no one knows how to perform the Heimlich maneuver, though Juicy tries to recall how to do so and moves toward Rev to help him. Rev pushes him off, insinuating that he will not allow Juicy to touch him because Juicy is gay. Everyone urges Rev to allow Juicy to help him but, in his refusal, he chokes and dies.
Everyone is dumbfounded. They agree that Rev looks peaceful. Juicy looks at the audience and notes that they likely expect everyone on stage to die, given that this is a tragedy. He suggests to the other characters that they try to kill one another, and a comedic and cathartic fight breaks out. When it is over, Tedra says she feels lighter than she has ever felt. She asks Juicy to say a kind of eulogy over Rev’s body. Afterward, everyone happily chats and returns to the uneaten food. Rabby asks where Larry is, and suddenly, he appears, dressed in drag. He performs, singing and dancing to a song about love as the play ends.
This section explores Familial Bonds and Loyalty. Tedra is caught between her loyalty to her son and her new husband. She comforts Rev and seeks to calm him in a way that shows subservience: His happiness is more important than hers. Her admission that she suffered abuse from Pap indicates that she has grown accustomed to bearing responsibility for calming men’s tempers and keeping the peace. She does this at the expense of her own desires, with only Juicy providing the same kind of support that she gives him. Tedra implores Juicy to “not go crazy” when he behaves erratically after conversing once again with Pap’s ghost (119). This is reminiscent of Gertrude and Hamlet. More importantly, it indicates that Juicy will break the cycle of generational abuse by being the first man in his family to provide true support and love for a female family member.
Juicy insists that he is not like his father or Rev and that he is incapable of violence. Repeatedly, Juicy shows the ways that traditional masculine traits are inconsistent with his identity. As the play unfolds and draws to a close, Juicy becomes increasingly more comfortable and confident with the unique person he is and unapologetic for the ways he differs from his father and uncle.
The play continues to explore Establishing a Queer Identity when Juicy outs Larry. Juicy’s motivations are open to interpretation: He comes across as taunting and forceful when he tries to make Larry come out to Rabby. He insists, however, that he is acting out of care for Larry—that by forcing Larry to be honest about his sexuality he is helping him take steps toward asserting his identity and celebrating himself. However, Larry is angry and hurt and feels as though Juicy usurped an important step in his journey.
The play continues to allude to Hamlet. Larry’s attack of Juicy parallels Laertes’s killing of Hamlet at the end of Shakespeare’s play. Opal mirrors the unconditional support that Tedra shows Juicy and that Ophelia shows Hamlet. Tedra also comforts and praises Larry, encouraging him. Rabby is shocked by her children’s admission that they are gay but in a way that is comical rather than detrimental or threatening. She quickly recovers to share secrets of her own, suggesting, just like the character Polonius after whom she is modeled, that she is far from morally pure and has little right to judge others.
As the four younger characters sit together, they reflect on the pressures they face from family. The pressure to be loyal is at odds with the characters’ desire to break negative generational cycles. Each character has unique dreams and aspirations for what he or she wants to become as adulthood unfolds but must overcome the fear of judgment, criticism, and potential failure.
Unlike the tragic Hamlet, Fat Ham ends comedically. Tio’s speech is fraught with humor; the story he tells of his experience with virtual reality is ridiculous and therefore funny. He blatantly mentions sex and is unembarrassed and unapologetic. Though Tio’s anecdote is shocking and paints him as clownlike and carefree, it is filled with truth and wisdom—he conveys the importance of self-preservation and self-love as a means to achieve happiness and worth. This paves the way for Larry’s final performance, in which he openly expresses his sexuality for the first time.
The play ends with Rev’s demise, though his death is an accident rather than a murder. It is ironic and fitting that Rev’s own barbecue is the instrument of his death; in this way, his boastful attitude and self-absorbed ego harm him. The family and friends quickly become happier and lighter, suggesting that Rev was a burden to them all. With Rev’s death comes the end of a generational cycle of abuse. The younger generation is now free to live in ways fitting their unique identities.