There are plenty of actors who have tackled Hamlet over the years. There are considerably fewer who have attempted to play every character in Hamlet. Eddie Izzard’s one-woman performance of William Shakespeare’s The Tragedy of Hamlet, adapted by Mark Izzard, at the Sydney Opera House is an impressive theatrical feat that somehow makes one of Shakespeare’s most complex works feel remarkably accessible.
Directed by Selina Cadell, the production strips away everything except the text, the performer and the audience. There is no set and no costume. Just one woman and the characters. For nearly three hours, Izzard holds the stage alone, portraying more than twenty characters as the familiar tale of murder, revenge and madness unfolds.
The first ten minutes are perhaps the hardest work the audience has to do all evening. Watching a single performer jump between Hamlet, Claudius, Gertrude, Polonius and Horatio takes a little adjustment. Once the rhythm of the production settles in, however, it becomes surprisingly easy to follow. Through subtle physical changes, vocal shifts and an extraordinary command of the text, Izzard creates distinct characters without ever resorting to caricature.
What is most striking is how conversational the performance feels. Shakespeare can often become trapped beneath centuries of reverence, with actors determined to prove how well they can speak the language rather than tell the story. Izzard approaches the text differently. The words feel natural, almost contemporary at times, allowing the humour and humanity hidden within the tragedy to emerge.
The production is aided by Cadell’s confident direction, which wisely avoids overcomplicating the concept. There are no flashy technical tricks designed to distract from the challenge at hand. Instead, the focus remains squarely on the storytelling. With nothing on stage but Izzard, the audience is left to imagine castles, graveyards and royal chambers from little more than suggestion.
While the evening is undoubtedly a showcase for Izzard’s talent and stamina, it never feels self-indulgent. The performance remains rooted in the story rather than the achievement. By the time Hamlet reaches his inevitable conclusion, you are no longer thinking about how many characters one actor is playing. You are simply watching Hamlet.
There are moments when the sheer density of Shakespeare’s plot threatens to overwhelm, and the enunciation of the dialogue gets lost in the speed of delivery, but these are minor quibbles in an otherwise engrossing production.
For anyone who has ever claimed Shakespeare is difficult, inaccessible or boring, Eddie Izzard provides a persuasive argument to the contrary. Stripped back to its essentials, The Tragedy of Hamlet proves that a great story, expertly told, is still one of theatre’s most powerful experiences.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
The Tragedy of Hamlet runs for 2 hours and 20 minutes (with a 20-minute interval) and plays at the Playhouse, Sydney Opera House through 21 June 2026. Tickets are available through the Sydney Opera House.
Disclosure: The Plus Ones were guests of Sydney Opera House
Image credit: Daniel Boud
