Theater review by Raven Snook
Eddie Izzard's experience as a marathon runner comes in handy in Hamlet, her one-woman workout of Shakespeare's classic. In addition to playing 23 different parts, she sprints around the theater, even up to the balcony, and fights herself in the climactic duel. It's an ambitious undertaking, and her passion for the play is evident. But it's not so much a triumph as a tour de forced.
Like her recent solo version of Great Expectations—which was also adapted by her brother, Mark Izzard, and directed by Selina Cadell—this show is all about Eddie. The set is minimal, the props are nonexistent and the costume is just vinyl pants and a smart Tudoresque blazer. Izzard's performance and Tyler Elich's moody lighting are tasked with all the emotional heavy lifting. Unsurprisingly given her standup background, she does well with the comic roles: Her ingenious take on Rosencrantz and Guildenstern would make Tom Stoppard giggle, her stiff-gaited Polonius is a garrulous hoot and the Cockney Gravediggers are fun. Aside from a few stumbles, she speaks the reams of verse trippingly, and her delivery of the play's most famous speeches, particularly Hamlet's "To be or not to be" soliloquy, are thoughtful and lucid.
But as dynamic as Izzard is to watch as she spins around switching characters, she's no Shakespearean shapeshifter, and that dilutes the power of this tragedy. It's tough to become invested in this dense tale of a volatile prince avenging his father's murder—or, for newbies, even to follow it—when so many characters are, despite her best efforts, nearly indistinguishable. Hamlet’s run is essentially sold out, so it's clearly a commercial success. From an artistic standpoint, it's less palpable a hit.
Hamlet. Greenwich House Theater (Off Broadway). By William Shakespeare. Adapted by Mark Izzard. Directed by Selina Cadell. With Eddie Izzard. Running time: 2hrs 20mins. One intermission.
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Hamlet | Photograph: Courtesy Carol Rosegg