Eddie Izzard Electrifies Hollywood With Solo Hamlet Run

At the Montalbán Theatre in Hollywood, a daring new solo adaptation of Shakespeare’s “Hamlet” is captivating audiences and critics alike. The production, starring the inimitable Eddie Izzard—who now also goes by Suzy and uses she/her pronouns—offers a whirlwind tour through the Bard’s most famous tragedy, all channeled through a single, indefatigable performer. Directed by Selina Cadell, the show runs through Saturday, January 31, 2026, and has become a must-see event for theatergoers eager to witness one of literature’s most complex works reimagined by a singular talent.

Izzard’s stagecraft is as bold as her reputation suggests. The set is stripped to its essentials: a minimalist platform, atmospheric lighting, and suspenseful sound effects—no ornate scenery, just the raw bones of the play. According to Los Angeles Times, the production “is a daredevil feat of memory, theatrical bravado and cardio fitness.” Izzard’s costume, described as evening wear built for battle, evokes the unlikely image of “Margaret Thatcher at Studio 54,” adding a touch of visual whimsy to the otherwise somber setting.

The adaptation, crafted with the help of Izzard’s brother Mark, aims to include as much of the original Shakespearean text as possible. The result, as Los Angeles Times notes, is a “breakneck” pace, with Izzard delivering lines at high speed, sometimes at the expense of subtlety and interpretive nuance. “The plot’s the thing for Izzard,” the review observes, pointing out that this version favors dynamic storytelling over intricate character exploration. Still, it’s impossible not to marvel at the sheer stamina required to perform more than 12,500 words—portraying 23 distinct characters—without missing a beat.

Before the performance begins, Izzard greets the audience with characteristic humor, warning, “If anyone has come under the mistaken impression that this is a new comedy act, the time to escape is now.” It’s a playful nod to her roots in stand-up and observational comedy, but also a clear signal that this “Hamlet” is a serious theatrical endeavor, albeit one enlivened by moments of levity. As LA Weekly reports, “Izzard’s performance blends humor with the complex narrative, focusing on straightforward storytelling rather than subtlety.”

The character work throughout the performance is nothing short of remarkable. Rosencrantz and Guildenstern are rendered as playful caricatures, almost like sock puppets, their lighthearted banter providing comic relief. Claudius, Hamlet’s villainous uncle, is depicted as a “sinister puffed-up phony,” while Polonius is reimagined as a shrewd, anxious courtier desperate to maintain his privileged status. Horatio, Hamlet’s loyal confidant, barely registers, a casualty of the production’s relentless pace. The ghost of Hamlet’s father, meanwhile, is given a monotone delivery, reminiscent of an amateur troupe, adding an eerie layer to the proceedings.

Gender fluidity is subtly woven into the fabric of the performance. While Izzard is billed as Eddie Izzard for this production, she embraces her identity as Suzy and uses she/her pronouns both on and off stage. This choice lends a contemporary vibrancy to the centuries-old play, challenging traditional casting conventions and inviting audiences to see familiar characters in a new light.

Some roles are more fully realized than others. Ophelia’s tragic descent into madness is portrayed with raw, physical intensity—“enhanced by the simple yet forceful way Izzard helplessly pounds her chest,” according to Los Angeles Times. Gertrude, Hamlet’s mother, is less clearly defined, her motivations and emotional arc somewhat obscured by the rapid-fire delivery. Yet, even in these moments, Izzard’s commitment to the material is evident, her athleticism and fervor driving the narrative forward.

The iconic soliloquies, including the famed “To be, or not to be,” are handled with practiced precision. However, as Los Angeles Times notes, “the ‘To be, or not to be’ monologue came across as a rhetorical set piece that Hamlet has been polishing for ages.” The emotional weight of Shakespeare’s poetry sometimes takes a back seat to the show’s relentless energy, but Izzard’s verbal dexterity and stage presence keep the audience engaged.

Maintaining intensity in a solo performance of this magnitude is no small feat. The climactic duel between Hamlet and Laertes is staged with palpable excitement, even as Izzard performs in a knee brace—an emblem of her physical commitment to the role. The final act is a testament to her endurance, leaving both performer and audience exhilarated and, perhaps, a bit exhausted.

Offstage, Izzard’s passion for performance and activism is equally impressive. During a recent conversation at the Chicago Shakespeare Theater, she reflected on her journey from street performer to international star, crediting her early influences—Monty Python, her mother’s early death, and her struggles with dyslexia—for shaping her artistic voice. “I discovered a strong emotional connection to Shakespeare’s works,” she shared, emphasizing the importance of creativity and bravery in her career.

Izzard’s adaptation of “Hamlet” has already sold over 50,000 tickets worldwide, with more than 206 performances completed. She and her brother Mark spent months refining the script, and Izzard memorized every line herself—a Herculean task by any standard. She draws a clear distinction between theatrical acting and stand-up: “Theater involves a different pacing and emotional engagement,” she explained in Chicago, underscoring the unique demands of her current project.

Beyond the stage, Izzard is an active philanthropist. She has completed 31 marathons in 32 days, raising over £4.5 million for charity, and once ran 27 marathons in 27 days in honor of Nelson Mandela. Her activism, influenced by her family’s military background, is as much a part of her identity as her art. “I want to use my art for education and inspiration,” she has said, encouraging others to embrace creativity’s transformative power.

For those eager to experience this audacious take on “Hamlet,” performances at the Montalbán Theatre continue through Saturday. Showtimes are 3 p.m. Sunday, 7 p.m. Thursday, 8 p.m. Friday, and 3 p.m. Saturday, with tickets starting at $85 plus fees and available at ticketmaster.com. The running time is two hours and twenty minutes, including an intermission—a marathon for both Izzard and her audience.

Ultimately, Eddie Izzard’s solo “Hamlet” is less about reinventing Shakespeare’s tragedy and more about celebrating the enduring power of live performance. It’s a spectacle of stamina, wit, and theatrical daring, reminding us that even the oldest stories can feel new again when told with courage and conviction.