“Nor do not saw the air too much with your hand, thus,” implores Hamlet to the actors performing the play to entrap Claudius, “but use all gently”. The line gets a laugh here because comedian and actor Eddie Izzard does not practise what the Dane preaches in this physical and accessible one-woman take on Shakespeare’s tragedy.
The very reason why this production is easier to understand than others is, in part, down to the occasion modern flair in the script, but first and foremost it is because of the gesticulations from director Selina Cadell and movement director Didi Hopkins which add another layer of meaning – handy for those less inclined to carry out the active mental gymnastics of deciphering Shakespeare’s language. Drawing upon her time in comedy and her swaying to and fro between characters (I’ll relish any opportunity to refer to her brilliant ‘Death Star Canteen’ routine), Izzard twirls into roles with a dramatic flourish, albeit with the occasional stumble over lines.
The show appeals to those who enjoy the Bard’s classic, Izzard fans, and people who are both, at the same time – they all stand to gain something from this production, not least because she succeeds in portraying comedy and tragedy, as all stagings of the Bard should.
In the beginning, one might overlook some of the more creative elements of the staging – some rightly so, others not. Tom Piper’s stone set design is unremarkable, with the raised step upstage not doing much to denote power dynamics as it could have done. Tyler Elich’s technicolour lighting becomes more noticeable in the final scenes, when the stage is lit up in a blood red, but in hindsight there are other scenes where hues emphasise the action on stage. There’s blue for Gertrude’s melancholy, and the ghost of the vengeful King Hamlet is denoted by a wicked green. As for the costume styling from Piper and Libby Da Costa, Izzard sports an all-black outfit throughout.
There are no visual cues as to who Izzard has morphed into next, only subtle changes in her voice which, for some characters, aren’t distinct enough to establish a presence. Most of the time I had to rely on Shakespeare’s repetition of the names to remind me of who’s speaking. Granted, Claudius has a deeper, bass voice while Gertrude and Ophelia are more softly spoken, but for many of the other male characters there is little difference in vocalisation. While Hamlet is a step up from last year’s Great Expectations (in that Izzard now plays 23 characters compared to the previous 19), it is a shame that being able to discern some roles here seems dependent on having memorised the original script rather than rough plot points, the latter of which likely being the case for many audience members.
Speaking of memorable lines, what to make of Izzard’s version of the eponymous protagonist, and that iconic monologue? This scene, and others, has Hamlet wide-eyed with a searching expression on his face. Coupled with Mark Izzard’s adaptation of the script, there’s a real sense of suppression – that the Dane wants to exact revenge but is lacking answers and certainty around Claudius’ guilt; that he wants to action his thoughts but is not yet in a position to do so.
And, as mentioned above, there’s great humour contained in this staging, too. Rosencrantz and Guildenstern aren’t even afforded a physical embodiment by Izzard, but instead represented by her hands opening and closing like mouths, and like the gossipers they are. When they are no longer needed, Izzard flicks them away with a dismissive release. A lot of the hyperbolic disbelief exhibited by minor characters (such as, for example, the shock around the appearance of the ghost) is replaced for a more blunt scepticism. In a similar vein, the gravediggers possess a literal naïvety as Hamlet enquires about their work. There’s a frankness to a lot of Izzard’s performance which not only helps with making Hamlet comprehensible, but aids the more comedic elements of the story, as well.
So does this version offer any fresh interpretation of the tragedy? Hamlet’s perceived madness? Ophelia’s tragic demise? Not on the surface, no. Ultimately, this production works to make the play more succinct and accessible across 140 minutes, and from there the audience can form their own interpretations. Indeed, Izzard says as such in a short speech after curtain call, remarking that a third of the work comes from our imagination – something which, bar an initial slow start in the comedian’s character transitions, soon fills in the gaps as the play moves with pace.
It’s certainly another impressive one-woman feat from Izzard, following Great Expectations last year.
★★★★
Eddie Izzard: Hamlet is now playing at Riverside Studios until 30 June. No access performances appear to be scheduled for this show.
Production Images: Amanda Searle.
Disclaimer: I was invited to watch ‘Eddie Izzard: Hamlet’ in exchange for a review of the performance as a member of the press. I did not receive payment for this article and all opinions stated above are honest and my own.
Liam O'Dell 