The stage is simplistic yet elegant: marbled white-pink walls and floor, with a slightly raised section in the back corner. A few tall ‘windows’ are set deep into the walls of the stage, where a spotlight can shine through them to indicate time of day or mood with its color and brightness. The single performer, one Suzy Eddie Izzard, uses no props and has no outfit changes — she relies solely on her skill as a performer to communicate the timeless tale that proceeds to unfold.

This past January 2024, British comedian and actor Suzy Eddie Izzard came to New York to perform her one-man rendition of Shakespeare’s Hamlet. Originally planned for six weeks only, the show was extended multiple times and ended up stretching into April 2024. By the time the show finally closed in New York, Izzard had played 79 performances across two theaters. 

After seeing the show myself, it’s no wonder people demanded more. Izzard handily demonstrates her mastery of the performing arts, impressively soloing many scenes that on paper seem difficult to perform as one person: Laertes trying to strangle Hamlet, for instance, or a sword fight that, despite the lack of actual weapons or a visible opponent, leaves audiences on the edge of their seats. Despite being alone on the stage, Izzard easily keeps track of each character, switching roles with a quick spin or sidestep. She seems to see things the audience can’t, entrenched deep within her own personal ghost of Hamlet.

Izzard’s background in comedy also shines through in the lighter, more comedic parts – of which, despite Hamlet being a tragedy, there are many. Hamlet constantly engages himself in miniature battles of wit with other characters, which can be amusing whether the joke flies over their head (as with Polonius), or if they are able to respond in kind (as with Horatio). Another especially notable aspect was Izzard’s portrayal of Rosencrantz and Guildenstern. Rather than moving her whole body to act as the characters, as she does for each other role, Izzard uses her hands as puppets (imagine sock puppets, minus the socks and plus a fabulous red manicure) that yap away to Izzard’s real face until they are sent off with each puppet chorusing “My lord.” As well as being amusing, this also highlights the duo’s role in the play as puppets of the crown, constantly being directed and manipulated by King Claudius and Hamlet. 

Much like in the play, Izzard plays a number of roles in her day-to-day life. From comedy, to charity, to politics, to unique gender expression, Eddie Izzard does it all. While she is primarily known as a stand-up comedian – having based her career on it and done many comedy tours – Izzard has become well known in many other circles. She is a staunch Labour Party activist, and has involved herself in many different elections. She has run over 100 marathons for various causes, raising money for charities such as Sport Relief, Walking With the Wounded, and Care International. Izzard’s overall acting experience also has a far reach. She has appeared in several T.V. shows and films, including animated media in which she voice acted for characters. Hamlet is not even her first solo play – in 2022, Izzard’s Great Expectations sold out fully for the six weeks it ran. 

One other thing Izzard is especially well known for is her experience with gender identity. Izzard identifies as genderfluid, and has used both “he/him” and “she/her” pronouns in the past. Originally famous for standup comedy as simply “Eddie” Izzard, Izzard has been openly defying traditional gender roles since the 1980s. She began using primarily she/her pronouns in 2020 and added “Suzy” to her name in 2023. This aspect of Izzard’s identity, dual-wielding masculinity and femininity, is well represented in her performance. Taking on every role in Hamlet necessitates that she approach roles from both sides of the traditional gender binary. Izzard portrays the characters of Hamlet and Ophelia with equal grace and skill, singing flowery songs of delusion or seething with rage. She is both king and queen, brother and sister, father and daughter. When Izzard as Hamlet calls Izzard as Claudius his “mother,” the piece of insulting wit rings unusually true.

As the play stands, Izzard’s performance is admirable – a dramatic, straightforward retelling of Hamlet that will leave you wanting more. However, Izzard and her director, Selina Cadell, could have leaned more into the comedic aspects of the play. Shakespeare’s works, even his tragedies, are chock-full of witty jokes and puns, and Izzard’s talents as a comedian could have elevated the performance even further, using some of the light-hearted comedy of the original to contrast and deepen the drama. While Izzard may want to separate her “serious” acting from her comedy shows, many of the skills she uses in her stand-up — usually consisting of long, stream of consciousness speeches — align almost perfectly with the humor inherent in the play, and could have been better utilized. 

Additionally, the issue of understandability is one that is present in any modern Shakespearean production. The old-fashioned language can make even an expertly acted play hard to follow. While Izzard’s acting was certainly up to snuff, showing a clear understanding of the play on her part, the minimalist nature of the performance (no props, a simple stage, and a single actor in her own unique attire) made it difficult to follow without background knowledge. It is perhaps not the “accessible” show Izzard desired, but it is certainly a grand show to remember.

At the end of the play, after the several deaths in the final scene, the stage darkens, leaving Izzard in silhouette as she kneels to recite Fortinbras’ final monologue. She finishes, and one side of the stage opens like a door for her to exit, spilling out beams of light that frame Izzard’s figure. For a moment, the stage is silent, and empty. 

Then, the lights fade back in to raucous applause, and Izzard steps back onto the stage for her final bows — several of them, one for each role she played, in different places across the stage. It’s a satisfying end to a satisfying show, and to another of Izzard’s many adventures.

She seems to see things the audience can’t, entrenched deep within her own personal ghost of Hamlet.