Eddie Izzard Photo by Carol Rosegg

I last saw Hamlet in 2017 in an absolutely brilliant staging at ACT's Toni Rembe Theater (directed by Carey Perloff). But this production–while brilliant in its own way–is nearly its polar opposite. Where Perloff's take on the play emphasized the political machinations of the plot, Izzard's performance focuses more on the personal elements, giving us a more intimate view into the relationships of Hamlet to his family, his friends, and his foes.

All the action takes place on a very simple set (by Tom Piper): a box enclosed on five sides, painted in a faux-finish of cream and pale pink, with three slits of windows through which nothing can be seen. There is no door, so no escape for the prince from the horrors he faces.

Since you denizens of Talkin' Broadway are all generally veteran theatregoers, I will forgo an encapsulation of the plot and focus instead on Izzard's performance and interpretation of the play.

Clad only in tight-fitting leather trousers and an elegant deep green jacket over a black camisole and wearing black-heeled boots, Izzard manages to inhabit nearly two dozen characters entirely through her gestures, posture, expressions, and tones of voice. Her Hamlet is regularly in motion, often pacing, drawing his sword, or circling as though closing in on his prey. Her Polonius is indicated by a subtle limp, and she plays Claudius the usurper with a gravelly tone that feels somewhat hesitant, as if the guilt over his actions has made him aware of how closely under scrutiny he is. But perhaps Izzard's cleverest conceit is to indicate the characters of Rosencrantz and Guildenstern with her two hands, speaking their lines while her hands stand in as mouths, as though she were manipulating sock puppets. This is most hysterical when Izzard tosses off the "my lord, my lord" that each character speaks prior to exiting, first with the left and then the right hand. (Much funnier live than here in print!) Izzard's comedic genius is on display throughout, as if she simply can't help being funny–though she occasionally elicited laughter from the opening night audience in places where the text seems not to justify humor.

Lighting effects (by Tyler Elich and Anthony Forchielli) help set the mood, especially in the scenes where Hamlet's father's ghost appears, but also to indicate transitions of scenes and location. Composer Eliza Thompson has written an atmospheric score that subtly supports Izzard's performance and creates an aural backdrop to help establish the tone of various scenes.

If you've never seen Hamlet, this may not the best introduction to the play–especially since it has been edited to bring it in at just over two hours (including an intermission), while an unabridged version runs about four hours–for I fear an unfamiliarity with the plot and the characters' relations to each other might be exceptionally challenging for a first-time viewer. But for those looking to experience a more intimate, probing look at this classic, Izzard's Hamlet is a most powerful alternative.

Hamlet runs through April 20, 2025, at American Conservatory Theater, Strand Theater, 1127 Market Street, San Francisco CA. Shows are Tuesdays-Thursdays at 7:00pm, Fridays and Saturdays at 8:00pm Sundays at 3:00pm. There is an additional Saturday 3:00pm matinee on April 13. Tickets range from $70-$115. For tickets and information, please visit www.act-sf.org.