Sensual pleasure and corporeality are central to James Ijames’s Fat Ham, a play whose exploration of identity is contested on the bodies of its younger characters. Stylized under the duress of familial, social, and institutional pressures, the body becomes a site of accumulation, a surface on which discursive signs stick. But, by the end of the play, Ijames disrupts these semiotic constraints in favor of ‘[d]rag, fashion, camp, delight’, which stakes out a space for queer celebration and unsettles the sedimented accumulations of not just theatre but the performance of identity in general. Ijames’s characters thus answer the politics of stickiness with what I call an aesthetics of tackiness, a purposeful reappropriation of the signs that have accrued on their bodies, so that they might unlock emancipatory possibilities both for themselves and for the theatrical space they occupy. I argue that Fat Ham’s luxuriation in sensuality and pleasure, its insistent queering of everything it touches, not only mobilizes an embodied resistance to the discursive stickiness of all identity performance but also, and more importantly, stages the potential for self-affirmation that can be liberated by a queer aesthetics.