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Eddie Izzard

• Date & Time Sep 7 , 2023 8:00 PM
• Time 8:00 PM
• On Sale On Sale Now
• Ticket Pricing $62.00 - $76.50

Eddie Izzard announces North American tour dates for her show, Eddie Izzard - The Remix: The First 35 Years, visiting theaters in 28 North American cities.

“In the first 35 years of my standup career I came up with many weird and crazy comedy stories,” stated Eddie. “The ones I like the best will be in my 2023 live Remix Tour.“

Eddie Izzard –The Remix  is a chance for Eddie, inspired by her ever loyal audiences, to remix and reimagine her favorite bits from her entire career.  

Eddie’s 35 years of sold-out comedy shows stretch from “The Ambassadors” in 1993 to “Wunderbar” in 2019.

Ever wonder what became of Darth Vader and Mr. Stevens or the monkey in the tree, did the pears ever ripen… and will God ever appear? It’s a glorious chance to ‘maybe’ find out the answers or discover more questions to those Izzard conundrums. It’s highly likely that no night will be exactly the same so as ever with Eddie, expect the unexpected. 

This show promises to be a beautiful, hilarious journey spanning a 35-year career of thought provoking, intelligent and surreal ideas. Who could resist?

Actor, comedian, multi-marathon runner and political activist Eddie Izzard’s boundary-pushing career spans 35 years of record-breaking comedy tours and critically acclaimed film, TV, and theatre performances. 

Izzard made her West End stage debut in 1993 in her show Live at the Ambassadors , in which she received an Olivier Award nomination for Outstanding Achievement.   Live at the Ambassadors was followed by a succession of critically-acclaimed stand-up shows: Unrepeatable , Definite Article , Glorious , Dress to Kill , Circle , Sexie, Stripped , Force Majeure and Wunderbar . Force Majeure became the most extensive comedy tour ever, playing in over 45 countries and in all 50 US states. She now tours her shows in four languages (English, French, German and Spanish).

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Ryman Auditorium, located at 116 Rep. John Lewis Way North, in Nashville, Tennessee, is one of the most celebrated venues in modern music. Built in 1892, the historic 2,362-seat live performance venue is the most famous former home of the Grand Ole Opry and is revered by artists and music fans for its world-class acoustics. A bucket list moment for both fans and artists alike, her iconic stage has hosted performers from across genres, such as Elvis Presley, Bruce Springsteen, Charley Pride, Loretta Lynn, Johnny Cash, Harry Styles, Wu-Tang Clan, Lizzo, and thousands more. While offering a diverse lineup and thriving concert schedule with over 200 shows per year, the venue is also open for daytime tours year-round. Along with best-in-class production technologies and livestream capabilities, the Ryman has been named  Pollstar ’s Theater of the Year for 13 years through 2021.

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Eddie Izzard Announces Fall 2023 North American Tour

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The post Eddie Izzard Announces Fall 2023 North American Tour appeared first on Consequence .

Eddie Izzard , aka Suzy Izzard, is setting out on a career-spanning North American standup comedy tour in Fall 2023.

Titled “Eddie Izzard – The Remix: The First 35 Years,” the 28-city tour kicks off in Nashville on September 7th. It will continue with multi-night stands in New York City, Los Angeles, Seattle, Denver, DC, and more, as well as stops in cities like Boston, Toronto, Chicago, Austin, and Portland before wrapping up in Dallas on November 5th. See the full schedule below.

For the majority of dates, a Live Nation pre-sale is ongoing (use access code DISCO ) ahead of the general on-sale taking place on Friday, June 23rd via Ticketmaster . For those wishing to attend the shows in San Francisco or Austin, the pre-sale begins on June 27th ahead of the general on-sale commencing on June 29th via Izzard’s website .

Once tickets are on sale, you can also find them at StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

“In the first 35 years of my standup career I came up with many weird and crazy comedy stories,” Izzard shared in a press statement. “The ones I like the best will be in my 2023 live Remix Tour.”

Izzard has been exclusively using she/her pronouns since December 2020. This past March, the comedian announced she would begin using the name Suzy in addition to Eddie, but “people can choose what they want.”

Eddie Izzard 2023 Tour Dates: 06/21 – London, UK @ Garrick Theatre 06/22 – London, UK @ Garrick Theatre 06/23 – London, UK @ Garrick Theatre 06/24 – London, UK @ Garrick Theatre (Matinee) 06/24 – London, UK @ Garrick Theatre 06/25 – London, UK @ Garrick Theatre 06/27 – London, UK @ Garrick Theatre 06/28 – London, UK @ Garrick Theatre (Matinee) 06/28 – London, UK @ Garrick Theatre 06/29 – London, UK @ Garrick Theatre 06/30 – London, UK @ Garrick Theatre 07/01 – London, UK @ Garrick Theatre (Matinee) 07/01 – London, UK @ Garrick Theatre 09/07 – Nashville, TN @ Ryman Auditorium 09/08 – Atlanta, GA @ Cobb Energy Performing Arts Centre 09/09 – Raleigh, NC @ Martin Marietta Center 09/11 – Washington, DC @ Warner Theatre 09/12 – Washington, DC @ Warner Theatre 09/14 – Philadelphia, PA @ Miller Theater 09/15 – Philadelphia, PA @ Miller Theater 09/16 – Boston, MA @ Chevalier Theatre 09/20 – New York, NY @ Beacon Theatre 09/21 – New York, NY @ Beacon Theatre 09/22 – New York, NY @ Beacon Theatre 09/24 – Ottawa, ON @ Southam Hall 09/25 – Toronto, ON @ Roy Thomson Hall 09/27 – Cleveland, OH @ Connor Palace 09/28 – Pittsburgh, PA @ Byham Theater 09/29 – Columbus, OH @ Palace Theatre 10/01 – Windsor, ON @ The Colosseum at Caesars Windsor 10/02 – Chicago, IL @ Chicago Theatre 10/03 – Minneapolis, MN @ State Theatre 10/04 – Milwaukee, WI @ Riverside Theater 10/14 – Los Angeles, CA @ Dolby Theatre 10/15 – Los Angeles, CA @ Dolby Theatre 10/16 – San Diego, CA @ Civic Theatre 10/19 – San Francisco, CA @ Orpheum Theatre 10/20 – San Francisco, CA @ Orpheum Theatre 10/21 – San Francisco, CA @ Orpheum Theatre 10/23 – Seattle, WA @ McCaw Hall 10/24 – Seattle, WA @ McCaw Hall 10/25 – Vancouver, BC @ Vogue Theatre 10/27 – Portland, OR @ Arlene Schnitzer Concert Hall 10/29 – Salt Lake City, UT @ Eccles Theater 10/30 – Denver, CO @ Paramount Theatre 10/31 – Denver, CO @ Paramount Theatre 11/02 – Austin, TX @ Paramount Theatre 11/03 – San Antonio, TX @ Majestic Theatre 11/04 – Houston, TX @ Cullen Theater At Wortham Theater Center 11/05 – Dallas, TX @ Majestic Theatre

Eddie Izzard Announces Fall 2023 North American Tour Eddie Fu

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16 Jan, 2019 posted by Beekeepers

Wunderbar - US Tour

Today Eddie announces U.S. tour dates for his Eddie Izzard: Wunderbar international tour, opening May 8 in Nashville with his final U.S. performance on July 13 in Seattle.   Tickets are on sale today for the first 43 US dates, across 26 cities from New York City to LA, and many places in between. See show information here.

Five years after his last comedy tour, Force Majeure, made comedy history having played 45 countries including all 50 of the United States AND in four languages, making it the most extensive comedy show ever, Eddie is back to his roots with an all-new show which expands on his own very unique, totally surreal view of life, love, history and his ‘theory of the universe.’

Wunderbar is a delicious insight into the surreal and fantastical world of Eddie Izzard. This is intelligent Bunkum of the highest order.

Wunderbar began life at La Nouvelle Seine, a floating theatre in Paris on the Seine where Eddie began to improvise his new show in French. He then flipped countries and continued developing the show improvising in Berlin in German. Now after more development in English, Eddie is ready to share Wunderbar with the world… But will make sure the language fits the country!

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Eddie Izzard The Remix Tour tour

Currently touring until 26 April 2024

Eddie Izzard - The Remix is a chance for Eddie, inspired by her ever loyal audiences to remix and re-imagine some of her own favourite, personal comedy highlights.

Eddie Izzard is hitting the road in 2023 for new tour The Remix with tickets on sale now.

Marking 35 years of sell- out comedy shows, Eddie Izzard – The Remix will see Eddie, inspired by her ever loyal audiences, remix and re-imagine some of her own favourite, personal comedy highlights.

Eddie Izzard The Remix tour dates and tickets

UK dates for the sure to be hit show begin in November 2023.

Sorry, no more tour dates are currently scheduled for this show! Check back soon for new dates in the near future.

Ever wondered what became of Darth Vader and Mr Stevens or the monkey in the tree, did the pears ever ripen… and will God ever appear? It’s a glorious chance to ‘maybe’ find out the answers or discover more questions to those Izzard conundrums. It’s highly likely that no night will be exactly the same so as ever with Eddie, expect the unexpected.

Eddie Izzard, whose career stretches from The Ambassadors in 1993 to Wunderbar in 2019, said: “In the first 35 years of my standup career I came up with many weird and crazy comedy stories. The ones I like the best will be in my 2023 live Remix Tour”

More Musicals On Tour

I Should Be So Lucky

Jesus Christ Superstar

Pretty Woman

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Event Times

• Wed  |  Sep 27, 2023 8:00 PM

Event Description

Brilliant, hilarious and often bizarre, the one and only Eddie Izzard is back in North America for the first time in four years with a brand-new comedy tour. ‘The Remix Tour Live’ promises to be an unforgettable night of thought provoking, intelligent and surreal comedy. As always with Eddie expect unexpected!

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Eddie Izzard performs

May 4, 2024

Courtyard Theater

Adapted by Mark Izzard Directed by Selina Cadell

★★★★ An impressive, sweeping performance... we are privileged to be partners in the drama.

The London Telegraph

Izzard’s feat is monumental. Flawless & masterfully accomplished.

DC Theater Arts

Direct from a triple-extended New York run and prior to a highly anticipated London transfer, Tony-nominated and Emmy-winning actor Eddie Izzard brings her celebrated solo theatrical performance of Shakespeare’s iconic play to Chicago in a strictly limited engagement. The King of Denmark is dead, and Prince Hamlet is determined to take revenge—initiating a cascade of events that will destroy both family and state. Izzard seamlessly shifts between 23 characters—men, women, ghosts, scholars, tyrants, courtiers, lovers, fools, and poets—in this tour de force performance.

Eddie shared, “I have always gravitated towards complex and challenging characters and Hamlet is the ultimate. This is a production for everyone, a timeless drama with an accidental hero… I want audiences to see and hear an accessible, touching, scary and dramatic Hamlet. ”  

Creative Team

Mark Izzard   Adaptor

Selina Cadell   Director

Tom Piper   Set Design

Tyler Elich   Lighting

Tom Piper   Costume Styling

Libby DaCosta   Costume Styling

Eliza Thompson   Composer

Didi Hopkins   Movement Director

J. Allen Suddeth   Fight Director

Eddie Izzard  

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    Audience Notice:       Features prop weaponry,       including simulated gunfire;       scenes of violence; fog and       haze; and brief moments       of flashing lights.

  Run Time:       2 hours, 20 minutes       (including intermission)

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Produced by Westbeth Entertainment, Mick Perrin Worldwide, and John Gore

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Eddie Izzard

• Date December 18 , 2015
• Venue North Charleston Performing Arts Center
• Event Starts 8:00 PM
• Doors Open 7:00PM $5 Parking Cash Only
• Availability On Sale Now

Eddie Izzard will bring his massive Force Majeure world tour back to the U.S. for a Southern Swing, including a stop at the North Charleston Performing Arts Center on December 18.  Tickets go on sale Friday, October 30 at 10am at the Coliseum Advance Ticket Office, Ticketmaster.com or charge by phone at 1-800-745-3000. Presented by WestBeth Entertainment.

Eddie’s Southern Swing of his U.S. tour follows his Spring 2015 U.S. tour which visited 25 western cities and his Spring 2014 U.S. tour where he performed 50 shows in 32 cities in 64 days.  Force Majeure is the most extensive comedy tour ever; launched in March of 2013, the tour will take Izzard to 25 countries on five continents and all 50 of the United States of America.  From Cardiff to Kathmandu and Moscow to Mumbai, Force Majeure will play throughout Europe, Africa, Russia, the U.K., Canada, the U.S., India, Nepal, The Far East and Australia.  Izzard has performed the show in France performing entirely in French, Berlin performing entirely in German and plans to learn and perform the show in Spanish, Russian and Arabic.

One of the most acclaimed comedians of his generation, Izzard’s unique, tangential, absurd, and surreal comic narratives are lauded for their creativity and wit, earning him a New York Drama Desk Award and two Emmys for Dress to Kill , two British Comedy Awards for Top Stand-Up Comedian, and an Olivier Award nomination for Outstanding Achievement.

In the U.S., Izzard is the first solo stand-up comedian to perform at the Hollywood Bowl; has sold-out three consecutive nights at Radio City Music Hall and toured arenas throughout the U.S. including a sold-out show at Madison Square Garden.

On TV, Izzard recently starred in the Playstation original series, Powers .  He guest starred in the series, Hannibal , on NBC, starred in and served as a producer on the critically acclaimed FX Network Show, The Riches , opposite Minnie Driver, guest starred in the final season of Showtime’s United States of Tara , and his 2010 documentary, Believe: The Eddie Izzard Story , received an Emmy nomination.

His long list of film and stage credits includes Valkyrie opposite Tom Cruise, Steven Soderbergh's Ocean’s Thirteen and Ocean’s Twelve opposite George Clooney and Brad Pitt, David Mamet's Race and The Cryptogram , the title role in Marlowe's Edward II , and A Day in the Death of Joe Egg in London and on Broadway which won him a handful of awards, including a Tony nomination for Best Actor. 

WestBeth Entertainment has consistently delivered critically acclaimed, financially successful, groundbreaking productions and performances for over 30 years. WestBeth's ability to meld creative vision with financial and production savvy has created a unique company out of making artists’ and audience's dreams come true. 

From Billy Connolly to Eddie Izzard, and The Jim Henson Company to John Leguizamo, WBE has been the creative catalyst, partner and producer of some of the most innovative performances and productions on the continent in venues throughout North America including Madison Square Garden, The Hollywood Bowl, Toronto’s Massey Hall, Chicago’s Chicago Theatre and even New York’s Radio City Musical Hall.

With entertainment and audience enjoyment being a key element, our most recent productions include: Eddie Izzard's 67 city Force Majeure American Tour; Billy Connolly's High Horse tour of Canada, the off-Broadway run of comedian Trevor Noah’s Born a Crime ; Eric Idle’s What About Dick at the Orpheum Theatre in Los Angeles; John Leguizamo’s Ghetto Klown on Broadway, the West End, and Colombia, South America; and the national tour, Off-Broadway, Australia tour and Edinburgh Fringe Festival runs of The Jim Henson Company’s Puppet Up, Uncensored!

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‘I’m going for it like crazy’: Eddie Izzard on her one-woman, 19-role Great Expectations

After 30 years, the standup star is now finally winning acting plaudits, for a ‘tour de force’ take on Dickens with sharper punchlines – and Hamlet is next

F irst names first. What does the artist formerly known as Eddie Izzard , who recently announced she was adding “Suzy” to her name, wish to be called in print? “I think stay with ‘Eddie’ because that’s my public name,” she says when we meet at her manager’s office in London. “And I am gender-fluid. I don’t want to lose Eddie. What I don’t want is ‘Suzy Eddie’. But no one can make a mistake unless they call me ‘Kenneth’ or ‘Sabrina’.”

The Suzy news broke last month but Izzard adopted the name nearly a year ago, and will soon have it added to her passport. For now, she’s been using it on Deliveroo. “They don’t say anything when they give you your order except: ‘There you go.’ But you can see it on your phone: ‘Suzy, your food is on its way …’”

Her jauntiness about the subject hides a serious point. “The new fascism tries to put a wedge between us but trans people exist and have done so since the dawn of time. I knew when I was five. I’ve been honest. In this world of Boris Johnson and Donald Trump, that’s got to be better than all the hatred and lying of the right wing.”

Izzard, who is 61, arrives this morning clutching a pink mobile phone and a Harlan Coben hardback. Her hair is punky and platinum with black roots, her lips painted bright red, her long burgundy nails click-clacking against the glass table. We are here to discuss her new one-woman show, which she tells me was born out of fear: whenever she is frightened of something, she makes a point of running towards it. Her aversion to flying is what prompted her to train as a pilot, and it is a fear of literature that will now find her alone on stage each night performing Great Expectations.

Distilled by her brother, Mark, into a 15,000-word script, the adaptation gives Izzard 19 roles to play including the enterprising Pip, his icy, beloved Estella, the convict Magwitch and the cobwebbed Miss Havisham. As if that isn’t enough – and why would it be for a woman who has performed trilingual standup sets , run 32 marathons in 31 days and campaigned valiantly if unsuccessfully to be the Labour candidate for Sheffield Central? – she will also be giving the solo treatment to Hamlet before the year is out. “I’m very serious about being a dramatic actor,” she says. “Which is not great timing as I’m giving it all up next spring to go into politics, but anyway …” So she’s doing the full Glenda Jackson? “Yes. Or Arnold Schwarzenegger.”

It was in 2017 that Izzard realised she had never read a classic novel, and sought to rectify the omission. “I’ve always been intimidated by literature,” she says. “I’m severely atypically dyslexic. My spelling’s all over the place: cat with a ‘k’, ceiling with an ‘s’. I-Spy games went on for ever as a kid.” Noticing that audiobooks were on the rise, she let it be known that she was in the market to record one. A coincidence of birth (she was born 150 years to the day after Dickens) helped whittle down the choices. “He’s very grabbable – he writes great comic characters. After three weeks in a studio, I thought: I could do this as a live performance.”

Each character in the show is differentiated by voice and posture as well as by those delicate half-turns that Izzard uses in her standup to dramatise, say, the conversation between a nonchalant cat and the owner who suspects it of drilling behind the sofa. “I’ve always had crazy characters talking to one another,” she says. “It’s something I picked up from Richard Pryor . In Great Ex, these are people talking about love and fighting and death. I’m in there being all of them, and I lose myself in it.” When Pip is rebuffed by Estella, for instance, Izzard summons a real memory of rejection. “I relive a time in my life when I expressed my love for someone and they weren’t bothered about it. It really is the most tragic thing to hear someone say, ‘Well, no. I prefer this other person.’ I totally live that on stage. It’s a killer moment.”

I first saw Izzard perform Great Expectations at Cadogan Hall in London in January 2020, where you could feel the penny drop as the audience realised her take on the material was sincere. Drilling cats were conspicuous by their absence. “I do feel Dickens-lovers will warm to this,” she says. “It’s not a comedy version. When I did it in New York, they’d sometimes laugh too much at the start and I’d think, ‘Why are they laughing? There’s no joke there.’” Fidelity hasn’t stopped her giving Dickens the odd polish. “He didn’t hit punchlines so often. There’s one line about ‘hair that stood up on his head in tufts’. I’ve made it ‘hair that had obviously been arranged by a dying relative’. Which kills . And hopefully still sounds Dickensian.”

Izzard’s most profound sense of accomplishment lies in being recognised at last as an actor. Three times during our morning together she quotes the reviews she received for the recent sell-out run of Great Expectations in New York. “It was a ridiculous abundance. ‘Tour de force’ and ‘prepare to be transfixed’ and ‘performance of the year’ and so on. They really got it.” Is that how she judges her achievements? “It shouldn’t be,” she sighs. “But it’s taken 30 years to land those reviews. Though there was the Tony nomination.” That was for playing the father of a girl with disabilities in A Day in the Death of Joe Egg in 2003. “I know some people think: ‘Oh, you dabble at this.’ But no. I’m going for it like crazy. I’ve been playing a long game.”

Her acting ambitions emerged around the age of seven, shortly after her mother’s death. “At 13, I felt I didn’t have the skills to say ‘I love you’ so that the audience would believe it. I could do the silliness. I could do ‘I love you like trees and helicopters and bits of water …’ But I didn’t know how to do the rest, so I dumped the idea of being an actor.” Comedy took over, fuelled by a passion for the Goons and Monty Python . “Then we cut to my career finally taking off at the beginning of the 1990s and that’s when I decided to go for it.”

She found a separate agent for drama and played a treacherous family friend in the 1994 London premiere of David Mamet’s The Cryptogram, a part for which Alan Rickman recommended her after turning it down himself. (“Eddie seems to be glowing with the challenge,” wrote Rickman in his diary.) Movies followed, including two instalments of the Ocean’s capers with George Clooney and Brad Pitt, as well as idiosyncratic TV roles: the head of a family of con artists in The Riches, a serial killer in Hannibal.

If the open rehearsals of Hamlet that I attended a year ago are any indication, that next show will only build on the acclaim for her Dickens performance. Is it significant that she has taken on these stories of young men discovering their true selves just as she has entered the Suzy era? “Yes! And there are also some important women in there. I’m more able to access the female or feminine side of myself, more relaxed in my skin than when I came out at 23. I grew up with a block around it.”

Playing a woman at boarding school hadn’t gone well. “After Mum died, it was just me and my brother and my dad, so even to throw on a dress was impossible. I’d been caught stealing makeup when I was 15. Suddenly I’m 16 and being cast as a gangster’s moll in this revue. I got psychosomatically ill, and they had to get someone else to do it. From the room I was in, I could hear his performance. By the time it was over, I was well again. I probably thought, ‘This is what I really want – but won’t I just sound like a boy?’”

No such worries today. “When I came out I realised I didn’t look terribly … well, I kind of look like a trans person but I think the world is more relaxed about that now, and I am too. We’ve gone through a unicorn phase but we’ve just got to be people. When we hit boring, that’s when we’ve made it. ‘You’re lesbian or gay or bi or trans, yes, but what do you do ?’ ‘Oh, I’m a librarian.’ ‘Are you a good librarian or a bad librarian?’ ‘I’m a good librarian. I can find you all the books.’ Or an astronaut. ‘Are you a good astronaut or a bad astronaut?’ ‘Ah, a bad one, I’m afraid. I landed on the wrong planet …’”

Great Expectations is at the Garrick theatre, London , from 24 May to 1 July.

• Eddie Izzard
• Comedy (Stage)
• Comedy (Culture)
• Charles Dickens

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Eddie Izzard at Majestic Theatre Dallas

Eddie izzard tickets, majestic theatre | dallas, texas.

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Eddie Izzard delivers solo 'Hamlet' with range, directness of a stand-up comedian

English actor’s straightforward take on the tragedy at chicago shakespeare theater prizes clarity above all..

Eddie Izzard plays all the roles in a “Hamlet” production at Chicago Shakespeare Theater through May 4.

Carol Rosegg

Theater these days requires so much planning to produce — the contracts, the logistics, the schedules of artists and spaces, the required advanced publicity campaigns — that there’s something rare and special about a notable, minimalist yet crystalline version of “Hamlet” just sneaking up on us.

Chicago Shakespeare’s leaders Edward Hall and Kimberly Motes saw stand-up comedian and actor Eddie Izzard’s one-person version of Shakespeare’s tragedy in New York only a month or so ago, and, with a genuine hue of resolution, wrangled it to Navy Pier before the English Izzard takes it to London. It’s coming, it’s here, it’s gone, all in a matter of weeks.

This all contrasts, of course, with the actions of the play’s hero, the famed Prince of Denmark. Even after his uncle Claudius has murdered Hamlet’s father, married his mother and taken the crown all in a speedy couple of months, Hamlet ponders the righteousness of his revenge so long that he seems carried upon the tides of others’ choices.

This version of the play is adapted for Eddie Izzard (who now goes by Suzy off-stage) by her brother Mark and directed by Selina Cadell. The adaptation and production are both quite straightforward, providing a complete, lucid telling of the tale, with Izzard playing all the characters. It takes place on an elegant set, from designer Tom Piper, of white and subtly pink walls effectively representing a castle and yet also suggesting both a prison cell and a modern spa, both appropriate for a play in which Hamlet feels both trapped and overly meditative. Izzard, looking very much like a younger Judi Dench, wears a black jacket suggesting an Elizabethan doublet but that’s also fashionable now, androgynous and sparkly.

Given Izzard’s stand-up history, it’s important to note the raw seriousness of the endeavor. Other than presenting the pathetic pawns, Rosencrantz and Guildenstern, as hand puppets, there are few standout moments of injected humor, no more than would expect of any production.

• In riveting Court production, ‘Rosencrantz and Guildenstern’ captures worries, wit of Hamlet’s stooges

What is borrowed from stand-up is how Izzard depicts multiple characters on stage, quickly switching physical positions back and forth to represent multiple people conversing. Izzard has never been a mimic or vocally dexterous comic, and she doesn’t try that here. Some characters — the old Polonius with a limp, for example — get a physical difference. The two female characters — Hamlet’s mother Gertrude, whom Hamlet eventually confronts, and his would-be love Ophelia, sadly driven to suicide — are provided a subtly higher, thinner voice and a hand up near the heart. Simple choices for sure, although Izzard also sensitively invests them with a convincing vulnerability.

This is unquestionably an impressive performance, not for the depth of its depictions of individual characters but for its overall storytelling and attention to the language. This could be an ideal first “Hamlet” for a younger theatergoer, as Izzard prizes clarity above all.

Surprisingly, the best scenes from a theatrical perspective might be considered the most challenging. The opening sequence, in which Hamlet and his friend Horatio together witness the ghost of Hamlet’s recently deceased father, not only establishes the playing style but delivers, with simple flashes of light, the sense of the supernatural. And the ending scene — a swordfight with a swirl of twists — delivers both adrenaline and narrative precision without an actual weapon in sight.

There are few flashes of surprising interpretation here, although there is a nuanced attention to Hamlet’s own sense of distance from his emotions. One of the show’s most memorable moments follows Hamlet’s asking for an actor to deliver a speech, replete with oversized emotion, at a fictional death. Before launching into one of the many gorgeous soliloquies that makes this among Shakespeare’s most prized efforts, Izzard’s Hamlet, now alone, takes the spot of the actor and attempts the same gestures, trying to summon the inner drama. He can’t, which leads him to wonder at his own inaction: “What’s Hecuba to him, or he to Hecuba/That he should weep for her? What would he do/Had he the motive and the cue for passion/That I have?”

It’s a passionate moment — about a lack of passion, no less — in a show that can seem a bit restrained. But what this “Hamlet” might lack in emotional power, it makes up for in intimacy. Izzard talks to the audience as a stand-up would, not living in some other world but right there, fully present, channeling the story with a type of relaxed ease she has developed over decades.

Eddie Izzard knows how to command an audience. Shakespeare sure knew how to weave complex tales. In this case, the sum does indeed add up.

Eddie Izzard: Hamlet

The King of Denmark is dead and Prince Hamlet must take revenge, initiating a cascade of events that will destroy both family and state. Eddie will be portraying men, women, ghosts, scholars, tyrants, courtiers, lovers, fools and poets. She says: 

“I have always gravitated towards playing complex and challenging characters and Hamlet is the ultimate. This is a production for everyone, a timeless drama with an accidental hero. Selina, Mark and I want audiences to see and hear an accessible, touching, scary and dramatic Hamlet.”

‘HAMLET’ marks Eddie’s second solo show following last year’s sold-out run of Charles Dickens’ Great Expectations, which played to rave reviews in New York and at The Garrick Theatre in London’s West End. This production of Shakespeare’s ‘HAMLET’ will see her take on 23 characters in a very unique performance of the iconic play. 

London’s Telegraph called Hamlet “Absorbing and intimate. An impressive sweeping performance. ★★★★” NBC-TV'S Today Show said “To be or not to be 23 different characters, that is the question. And Eddie Izzard’s Hamlet is the answer.” Theatermania.com  said Izzard “makes each verse crackle.” New York Stage Review said, “Oh what a noble prince (plus everyone else) is Eddie Izzard.”

Best known as an actor, multi-lingual comedian, multi-marathon runner and trailblazing political candidate. Eddie Izzard’s career pushes boundaries and defies description with record-breaking comedy tours and critically acclaimed film, TV, and theatre performances.   

Presented by:  Mick Perrin Worldwide, Westbeth Entertainment, Eleanor Lloyd Productions and John Gore.

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‘I’m going to be Suzy’: Eddie Izzard announces new alternate name people can choose to use

Izzard said people can ‘choose’ to call her whichever name they want, article bookmarked.

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Eddie Izzard has announced the new name that she now uses alongside her original name.

Izzard, 61, said she has wanted to use the name “Suzy” since she was 10 years old.

The comedian shared the news during a recent interview on Matt Forde ’s Political Party podcast on Monday (6 March).

“I’m Eddie. There’s another name I’m going to add in as well, which is Suzy, which is what I wanted to be since I was 10,” she said. “I’m going to be Suzy Eddie Izzard.”

Izzard went on to say people can choose which name they use to address her by, adding “they can’t go wrong”.

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“That’s how I’m going to roll, so people can choose what they want,” she said. “They can’t make a mistake. They can’t go wrong.”

In December 2020, Izzard appeared on Portrait Artist of the Year in which the show’s host Stephen Mangan and contestants referred to Izzard as “she” and “her” .

Speaking about her change in pronouns, Izzard told contestant Chris Holder: “This is the first programme I’ve asked if I can be ‘she’ and ‘her’ – this is a little transition period.”

At the time, Izzard said that “it feels very positive”. She continued: “I just want to be based in girl mode now.”

In October last year, Izzard launched a campaign to be elected as the Labour MP for a Sheffield constituency.

Her announcement came months after the constituency’s incumbent, Labour MP Paul Bomfield, announced that he was standing down at the next general election.

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Call her Suzy: Eddie Izzard adds to her name so fans ‘can’t make a mistake’

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Eddie Izzard is embracing a new name — one the British comedian said she’s wanted since childhood.

Speaking to Matt Forde for Tuesday’s episode of “The Political Party” podcast , the British comedian opened up about how she identifies, her pronouns and her new name.

“There’s another name I’m going to add in as well, which is Suzy, which I’ve wanted to be since I was 10,” said Izzard, who came out as transgender in 1985. “So, I’m going to be Suzy Eddie Izzard. That’s how I’m going to roll so people can choose what they want.”

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Review: Comic Eddie Izzard, at Hollywood Bowl, generates hysterics and more

Throughout the washes of guffaws, chuckles and hysterics that accompanied Eddie Izzard’s set on Saturday night at the Hollywood Bowl, the British comedian, actor, logician and mimic performed gymnastic non-sequitur sequences and nuanced physical comedy.

June 7, 2015

The comedian said she’ll keep her public name as “Eddie Izzard,” which she decided to maintain for the recognition.

Izzard said she started thinking about other names after proclaiming that she uses she/her pronouns in 2020 .

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When Forde asked earlier in the podcast whether people “second-guess themselves” when it comes to the comedian’s pronouns, Izzard quipped, “I make mistakes with my own pronouns.”

The “Oceans Twelve” actor said she was thinking of changing her pronouns until she received an honorary degree at Swansea University in July 2019.

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She recalled the ceremony when a chancellor referred to Izzard with she/her pronouns and listed her accomplishments.

“I was just sitting there having she/her pronouns in a speech about me hitting me,” she said. “And I told [the chancellor] this after — it hit some positivity on me. It just felt amazing. And I said, ‘Thank you for that.’”

“And so I wrote a statement, ‘I prefer she/her, I don’t mind he/him. No one can make a mistake,” she added.

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Alexandra Del Rosario is an entertainment reporter on the Los Angeles Times Fast Break Desk. Before The Times, she was a television reporter at Deadline Hollywood, where she first served as an associate editor. She has written about a wide range of topics including TV ratings, casting and development, video games and AAPI representation. Del Rosario is a UCLA graduate and also worked at the Hollywood Reporter and TheWrap.

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There’s a Bright Spot in New York Theater. It’s Not Where You Think.

Commercial Off Broadway, a long-dormant sector of the city’s theater economy, is having a banner season. But can it last?

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By Michael Paulson

Broadway is struggling through a postpandemic funk, squeezed between higher production costs and lower audience numbers just as a bevy of new shows set sail into those fierce headwinds. At the same time, New York’s Off Broadway nonprofits , long essential seedbeds for many of the nation’s most acclaimed playwrights, are shedding staff, programming and even real estate.

But there is an unexpected bright spot this season. Commercial Off Broadway, a small sector of New York’s theatrical economy and one that has for years been somewhere between difficult and dormant, is back in business.

“ Oh, Mary! ,” a madcap comedy that imagines Mary Todd Lincoln as a daffy alcoholic, is selling out nightly at a 295-seat theater in the West Village, and is likely to transfer to Broadway this summer. Eddie Izzard’s solo “ Hamlet ” did well enough at a 199-seat theater in Greenwich Village that it relocated to a 349-seat house in the East Village, and next is planning runs in Chicago and London.

A commercial revival of “Danny and the Deep Blue Sea,” an early John Patrick Shanley play about two misfits who meet at a Bronx bar, had a profitable run downtown this season thanks to its two stars, Aubrey Plaza and Christopher Abbott . A new play, “Job,” featuring two “Succession” alums , rode word-of-mouth to profitability, and is also exploring a Broadway transfer.

And a pair of good-time musicals, “ Little Shop of Horrors ” and “ Titanique ,” have settled in for open-ended Off Broadway runs.

“It’s interesting, because up to the pandemic, I think people had written off commercial Off Broadway entirely,” said George Forbes, the executive director of the Lucille Lortel Theater, which develops, presents and champions Off Broadway work. “The narrative was that it wasn’t financially viable. Commercial theaters were disappearing, and the not-for-profits were building new spaces.”

Now the tables have turned, although with plenty of caveats. Real estate is a limiting factor; there aren’t that many rentable Off Broadway venues with sufficient seating capacity for profit-minded producers. One long-running commercial Off Broadway hit, “Stomp,” closed last year after a 29-year run, and another, the immersive “Sleep No More,” is planning to close next month. And a number of factors could drive up costs: IATSE, the union representing stagehands, has been organizing Off Broadway crews , and Actors’ Equity Association, representing performers and stage managers, will begin negotiations later this year on a new Off Broadway contract.

The commercial Off Broadway boomlet seems to have been spurred by the success of “Little Shop,” a revival of the classic camp horror musical, which opened at the Westside Theater in 2019 and, with a long interruption caused by the pandemic, has been running since.

“Little Shop” is running in Midtown West, but most of the other new commercial Off Broadway successes are downtown, and that seems to be a key ingredient in their appeal.

“There are several generations of potential audience members who will not go above 14th Street for their Friday or Saturday or even Tuesday night out,” said Heather Shields, a founder of Business of Broadway, an organization that offers courses about theater producing. “Broadway has yet to capture their imagination,” Shields said, “but downtown is doing that very successfully.”

A vibrant commercial Off Broadway sector existed decades ago, but it shrank as the nonprofit theater movement grew, providing a home for adventurous art. It also contracted as Broadway surged, providing the temptation of bigger audiences and higher profits, and as some venues were lost for more lucrative real estate uses. In more recent years, there have been some successes — long-running entertainments like “Blue Man Group,” as well as a stream of television parody shows, murder mysteries and other fun-night-out shows that straddle the worlds of comedy, magic, nightlife and theater.

The new commercial Off Broadway ventures vary in content and tone but share the promise of an intimate experience (the houses are small, so the patrons tend to be close to the performers), a hip neighborhood (better restaurants and bars) and some kind of intangible quality of authenticity. The audiences are often younger, more local and more diverse than those on Broadway.

“There’s a genuine enthusiasm for going and discovering something off the beaten path,” said Lucas McMahon, a producer of “Oh, Mary!”

Producers and investors are finding themselves drawn to Off Broadway for several reasons. The primary one is economic: Production costs on Broadway have skyrocketed since the pandemic, making it significantly harder for shows to achieve profitability there, and causing producers and investors to look for lower-cost alternatives. (Many are also turning to Britain, where production costs are lower.)

How big are the cost differences? “Oh, Mary!,” which has five actors, period costumes and several set changes, cost $1.2 million to capitalize Off Broadway. By comparison, “The Shark Is Broken,” a three-character comedic look at the making of “Jaws” that was set entirely within a small fishing vessel, cost $5.15 million to capitalize earlier this season on Broadway.

The challenge is that the potential upside of Off Broadway is also lower, because the theaters are smaller.

Historically, Off Broadway tickets have been less expensive than tickets for Broadway shows, but these commercial hits have engaged in the same dynamic pricing practices as Broadway shows — meaning tickets are more expensive when they are more in demand. “Oh, Mary!” has a top price of $191. (That’s still vastly less than the top priced ticket on Broadway, which is $649 at “Merrily We Roll Along.”)

“It is true you can’t make a fortune Off Broadway unless you run for years and years, but with the right equation there’s a pretty good chance you can get your money back and make a little,” said Greg Nobile, one of the producers of “Danny and the Deep Blue Sea.”

The dire straits confronting the nonprofit theater sector also contribute to the interest in commercial Off Broadway.

“As the nonprofits have had to produce far less, instead of waiting to be produced, theater artists are taking careers into their own hands and doing it their way,” said Leigh Honigman, one of the producers of “You Don’t Have to Do Anything,” a small play that ran Off Broadway earlier this year.

Because multiple nonprofit theaters are now saddled with underused theaters, the boundaries are blurring. Money from commercial producers is often used to finance shows at nonprofit theaters, and nonprofit theaters are increasingly renting their spaces to commercial producers. The Lucille Lortel Theater, for example, is run by a nonprofit foundation, and until the pandemic rented only to nonprofit productions. Then it decided to rent to commercial productions as well, and now that is where “Oh, Mary!” is running.

When the actress Annaleigh Ashford reached out to the producer Aaron Glick for help breathing more life into “The White Chip,” a play about alcoholism recovery that stars Joe Tapper, her husband, they quickly found a home for their commercial production at MCC, a nonprofit theater. “We didn’t want to wait for a nonprofit season — we wanted to carve our own path,” Glick said.

The potential growth of commercial Off Broadway is limited by a shortage of available downtown theaters with several hundred seats. Over time, theaters have been lost to redevelopment, and in recent years the Minetta Lane was taken over by Audible (which has become a very active commercial Off Broadway producer at the theater) and the Cherry Lane was bought by the indie film studio A24 (which has yet to resume programming at the building).

“It’s pretty clear that commercial Off Broadway is back and viable — it’s just hit after hit that we’re seeing — but the problem is that there are no spaces,” said Oliver Roth, who last year produced an impossible-to-get-into adaptation of “Uncle Vanya” (staged at first in a 40-seat loft and then in a 95-seat space) that turned a profit. “I would have run that forever if there wasn’t a mattress company coming in for New York Fashion Week to use the event space we were in.”

There are other challenges too. It’s harder to get press coverage for Off Broadway shows, and they are not eligible for Tony Awards, another potential source of attention. But with fewer seats to sell, it’s easier to have sold-out houses, which creates a sense of scarcity that can help fuel box office demand. Some of the shows have underwhelmed critics but have thrived nonetheless.

“Twenty to 30 years ago you had to hope for reviews, and then word-of-mouth kicked in over four to six weeks,” said Arnold Engelman, a longtime producer of Eddie Izzard’s shows, including the current “Hamlet.” “Now, word-of mouth is immediate — you have 200 people in there, and after the show a large number of them rush to their phones.”

The producer Daryl Roth (no relation to Oliver Roth), who owns the commercial Off Broadway theater that currently houses “Titanique,” said one sign of health is that she keeps getting calls from producers looking for space. “There are more productions looking for homes than there ever have been,” she said.

Michael Paulson is the theater reporter for The Times. More about Michael Paulson

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