A rare and exhilarating theatrical event is unfolding at American Conservatory Theater’s Strand Theater: Suzy Eddie Izzard’s one-person performance of Hamlet. This is no ordinary production. It’s a singular encounter with Shakespeare’s masterpiece, filtered through the mind, wit, and boundless energy of a celebrated British comedian, actor, and self-described “action transvestite” who now goes by Suzy.
Izzard, known for her gender-fluid identity since 2020, is also a two-time Emmy winner, an ultra-marathon runner (45 and counting), and now—perhaps most impressively—the sole performer in a streamlined Hamlet that brings all 23 characters to vivid life. To call this a feat of acting would be an understatement. It is a theatrical marathon in its own right, staged with clarity, intelligence, and surprising emotional weight.
Eddie Izzard’s Hamlet (photo by Carol Rosegg)
This adaptation, penned by Izzard’s brother Mark Izzard and directed with crisp economy by Suzy Cadell, has already enjoyed acclaimed runs in New York, Chicago, and London. Now in San Francisco, it offers local audiences the chance to witness not only a fresh interpretation of Shakespeare but also a singular display of performance virtuosity.
Wearing sleek black slacks, a skirt, short boots, and a light green leather jacket, Izzard cuts a figure both militant and elegant. The gender-blurring costume suits the production perfectly—it’s minimalist, modern, and adaptable, just like the performance itself. A simple white backdrop and subtle lighting shifts by Anthony Forchelli provide the only set. There are no props, no elaborate effects—only Izzard’s voice, body, and imagination.
Eddie Izzard’s Hamlet (photo by Amanda Searle)
And yet, the effect is remarkably rich. With the turn of a head, a change in posture, or a flick of tone, Izzard becomes Claudius, Gertrude, Polonius, Ophelia, Laertes, Rosencrantz and Guildenstern (in a cheeky two-for-one bit), a ghost, a priest, and more—including, of course, the introspective Danish prince himself.
Rather than deliver Shakespeare’s lines in rigid verse, Izzard employs a stream-of-consciousness rhythm that makes the language accessible without dumbing it down. The soliloquies, in particular, feel alive—intimate, almost conversational. It’s as if Hamlet is thinking aloud, and we’re catching every flicker of emotion and thought in real time.
Eddie Izzard’s Hamlet (photo by Carol Rosegg)
Somehow, amidst the comedy, character work, and technical precision, Izzard still finds the emotional core of the play. Her Hamlet is haunted, deeply human, and ultimately moving. That she manages all of this alone—without losing the audience for a second—is nothing short of extraordinary.
This production is more than a reinterpretation of Hamlet. It’s a testament to the power of the individual performer, to the adaptability of Shakespeare, and to the creative fearlessness of Suzy Eddie Izzard. It’s also a master class in transformation—gendered, artistic, and theatrical.
Eddie Izzard’s Hamlet (photo by Amanda Searle)
For San Francisco audiences, this is not just a chance to see Hamlet. It’s a chance to witness a singular artist doing something few would dare and even fewer could pull off. Unmissable.
Hamlet
American Conservatory Theatre
A.C.T.’s Strand Theater, 1127 Market St
ends on April 20, 2025
for tickets, call 415.749.2228 or visit A.C.T.
