17c起草社区

The 鈥渙ne actor,听every听role鈥� trend in theatre has been extremely popular in recent years,听surely听popularised听in no small part to the effort of Australia鈥檚 own Kip Williams with his critically acclaimed adaptations of听顿谤补肠耻濒补听补苍诲听The Picture of Dorian Grey.听听

Retrofitting iconic works like Shakespeare to such a framework feels like a natural progression of this format, and in the very capable hands of a performer like Eddie Izzard, a tale like听Hamlet听can come to life in a way rarely ever seen before.听听听

Unlike these other more opulent productions that utilise bedazzling stagecraft and pre-recorded footage, Izzard鈥檚 take on Shakespeare鈥檚 singular story of revenge is well and truly just her performing every role in听Hamlet.听There鈥檚听not much in the way of lighting, zero set and flourishes are kept to a minimum 鈥� the spotlight is entirely on Izzard, and the fact that she shines brighter on it is a serious commendation of her skills as a performer.听听

It鈥檚听always a struggle to bring a new interpretation or aesthetic to the work of Shakespeare, and so听Izzard:听The Tragedy of Hamlet听practically eschews any听particular look听at all.听Apart from its performer鈥檚 wonderful costume, everything about this version is tailored to focus entirely on Izzard stepping into the role of every character in this play.听听

Given its distinct lack of flourishes, the performer at the core of this show听kind of has听to be sensational 鈥� and luckily, Eddie Izzard is a splendid fit for such a task. She begins the show not in character, but by shattering the fourth wall in a way that evokes how Shakespeare鈥檚 plays were originally performed. She soon settles into character(s) 补苍诲听provides听a听wholly unique听way to experience听Hamlet听that is nonetheless enrapturing.听听

Izzard shines brighter than the spotlight upon her

It鈥檚 a serious testament to both Izzard as a performer and the enduring relevance of Shakespeare鈥檚 work that this show is so good. These have always been words written to be performed, and hearing them from Izzard as she rapidly switches characters makes the show whiz by.听 听

Not many听actors get the chance to deliver all three of the play鈥檚 soliloquies, but Izzard handles them all with听seemingly effortless听gusto and grace. Yet even outside of the more serious elements, the play鈥檚 humour is also delivered in a way that smartly adjusts the humour to fit the one-actor format.听听

The only real criticism I harbour for听Izzard: The Tragedy of Hamlet听is that I do think the various roles of the play could serve to be a smidge more separate. While Izzard is a funny,听warm听and dramatically affecting performer, I occasionally found it a bit difficult to understand which character was which in this show.听听

While I鈥檝e no complaints about Izzard鈥檚 magnetism as a performer, I do wish that each of the characters felt slightly more enunciated from one another.听I鈥檓听fairly听familiar听with听Hamlet, but听not enough听to be able to听tell by听only lines of听dialogue听who is who听鈥� 补苍诲听there were times where,听given the听simplicity of the rest of听the show,听it was hard to听tell who听was听who.听听

Alas, it matters听very little听when听Izzard: The Tragedy of听Hamlet听is听a most impressive act of performance and control over the stage.听Izzard is magnetic as听all the听characters in听this听iconic play,听and she shows听us that听there鈥檚听always a听new way to put on the works听of Shakespeare听that鈥檒l听be quite unlike any other version听you鈥檝e听seen before.听听

Izzard: The Tragedy of Hamlet is at the Sydney Opera House from 9 鈥� 21 June 2026.