A NOTE FROM THE DIRECTOR
Eddie Izzard has a way of talking to an audience when she does her stand up shows that is reminiscent of her early years of street performance. Shakespeare’s theatre was essentially street theatre. No darkness separated the audience from the cast. The plays took place in daylight. If a member of the audience got up to leave, the actors would see that very clearly. And they would act on it. Quite literally. It was essential to keep the audience in the theatre until the play was over. This fabulous, fundamental connection to the audience kept the experience present. When Eddie and I first discussed doing a Shakespeare play together, this was what I thought would be the key ingredient. Talking to the house. Acknowledging the audience as the purpose of the evening, making theatre together. It is a shared experience. The next challenge, if you are going to play all the parts, is to determine the characterization through the language as much as possible. If the words are congruently understood, then it is hard to mistake Hamlet for Claudius or Gertrude for Ophelia. Shakespeare’s theatre did not use directors. Concept is a fairly modern conceit. The clues for the actors are all in the text. “Words, words, words” as our protagonist says.
– Selina Cadell
A NOTE FROM THE ACTOR
In January 1970, aged 7, I had an epiphany moment whilst watching “The Boy with a Cart’ by Christopher Fry. One boy was getting a tremendous reaction from the audience for his performance and I decided right there I had to become an actor. My start to acting was slow but flash forward fifty years and we arrive at Hamlet. My approach to Shakespeare has not been the usual one. The traditional path would have been discovering Shakespeare through English Literature lesson and then on to drama school and a recognised progression through traditional theatre. I have come to the live performance of verse and prose through a route that is more like the one an actor might have made in the late 1500s, having been a street performer for four years and then performing in small rooms and finally theatres. Shakespeare’s soliloquies were designed to be performed in the open air with actors talking directly to audiences they could see. That is how I began and through it I have developed a gut instinct to performing to audiences. In our production of Hamlet we hope to do honour to this almost 500 year old heritage of storytelling and the visceral connection between performer and audience.
- Eddie Izzard
A NOTE FROM THE ADAPTER
The brief was to take one of Britain’s greatest plays, reduce its full-text running time from four hours to two, and tailor it for a solo performance. One for the purists? Hardly. Ironically, going out on a limb gave me a sense of freedom. If our Hamlet might not appeal to traditionalists, why not reach out to those who appreciate Shakespeare’s reputation, but don’t watch his plays because they’re rather long and can be difficult to understand?
Cards on the table: I need to be very engaged in a play to concentrate for more than two hours and I struggle to process Early Modern English delivered at speed in a style that is often declamatory rather than naturalistic. Yet I found, once I’d got to grips with the rhythm of blank verse, and translated those words whose original meaning is now lost to us, that the beauty and power of Shakespeare’s text quickly revealed themselves.
By cutting and splicing the text I was able to preserve the shape of the play in shortened form, and by replacing obscure words with modern equivalents I have endeavoured to deliver a script that is both authentically Shakespearean and intelligible to a modern audience with no prior knowledge of the play. I hope you enjoy it.
Creative bios
EDDIE IZZARD’s London stage credits include The Cryptogram, Edward II, 900 Oneonta, Joe Egg, and Charles Dickens’ Great Expectations. Her Broadway credits are A Day in the Death of Joe Egg (Tony Award nomination) and Race. Off Broadway: Charles Dickens’ Great Expectations. Eddie’s film credits include Stephen Frears’ Victoria & Abdul opposite Dame Judi Dench, Valkyrie, Ocean’s Twelve, Ocean’s Thirteen, Julie Taymor’s Across the Universe, Mystery Men, Shadow of the Vampire, The Cat’s Meow, Six Minutes to Midnight and the recent Doctor Jekyll in which Eddie plays Dr. Nina Jekyll and Rachel Hyde. TV audiences also saw her as Dr. Abel Gideon in Bryan Fuller’s series, Hannibal. Izzard starred in and executive produced FX’s critically acclaimed series, The Riches. Other notable TV films include Castles in the Sky, Treasure Island, and the Emmy winning Lost Christmas. Izzard made her West End stage debut in 1993 in the solo show Live at the Ambassadors, receiving an Olivier Award nomination for Outstanding Achievement. That was followed by a succession of critically acclaimed shows: Unrepeatable, Definite Article, Glorious, Dress to Kill, Circle, Sexie, Stripped, Force Majeure, and Wunderbar. Eddie is the recipient of two Emmy Awards (for Dressed to Kill) and an Emmy Award nomination for the documentary, Believe: The Eddie Izzard Story. Her autobiography Believe Me, entered the top ten in the New York Times and Sunday Times bestseller lists. She performs her comedy shows in four languages and since 2009 has run 131 marathons to raise money for Sport Relief and her “Make Humanity Great Again” fund.
SELINA CADELL (Director) is a director, actress, and coach. Theatre directing includes Charles Dickens’ Great Expectations (New York and London), Love for Love (RSC), The Life I Lead (West End), The Double Dealer (Orange Tree London), The Rivals (Arcola London), The Way of the World (Wilton’s London), The Rake’s Progress (Wilton’s London). Films include The Turn of the Screw (Best Opera Film 2021 Critics Circle Award). Acting/Theatre includes Top Girls (NYC) /Obie Award, Stanley (NYC), Madness of King George (NYC), Twelfth Night, Cherry Orchard (NYC), A Monster Calls (London). TV includes Midsomer Murders, Queens of Mystery, Poirot, and Doc Martin (Mrs. Tishell). Selina runs an opera company with Eliza Thompson, OperaGlass Works. Their new film of La Traviata will be out later this year.
MARK IZZARD (Adapter). Hamlet marks his and Eddie’s second collaboration, following Charles Dickens’ Great Expectations. Prior to this, Mark’s involvement with his sibling’s career has been limited to a brief stint as sound technician (cassette-recorder) in Eddie’s first ever comedy show at the Edinburgh Fringe in 1981 and a series of European tours (2014-18) when Eddie performed stand-up comedy in French, German, and Spanish. Mark’s role was to simplify and adapt the translated routines into a language which Eddie could reproduce on stage, a task made possible by Mark speaking all three languages. In the process both siblings discovered that they worked well together, their shared sense of humor offsetting the more ‘difficult’ moments of the creative process. Mark is a long-term resident of London, England and lives with his partner, two daughters and a Welsh terrier called Watson.
DIDI HOPKINS (Movement Director) trained as actor/director, and is one of the foremost practitioners of the theatrical tradition of La Commedia dell’Arte. She was commedia consultant on the National Theatre’s Broadway success, One Man, Two Guvnors, and has worked with director Selina Cadell for many years as movement director - on Love for Love (Royal Shakespeare Company), The Double Dealer, The Rivals, Turn of the Screw and La Traviata, and on Great Expectations (NY and West End London, 2023). She co-founded Beryl and the Perils who were the ‘hottest thing apart from the weather’ (Village Voice), performed at WOW festival, Central Park, TNC, the Mudd Club and WestBeth. The National Theatre created five films about her work in Commedia.
TOM PIPER (Scenic Designer/Costume Stylist) was Associate Designer at the RSC for 10 years and has designed over 50 productions for the company. Theatre work includes Medea (EIF/NTS); Girl on an Altar, White Teeth (Kiln); Faith (RSC/ Coventry City of Culture); Nora: A Doll’s House (Young Vic); The Tempest, Hamnet, Box of Delights (RSC) The Histories (RSC Olivier Award for Best Costume Design); As You Like It (RSC at Armoury NY); Cyrano de Bergerac (NTS); Carmen La Cubana (Le Chatelet, Paris); Red Velvet Tricycle Theatre/St. Ann’s Warehouse NY); Orfeo (Royal Opera House); Tamburlaine The Great (TFNA, NY); The Great Wave (RNT). Turn of the Screw (Wiltons/OperaGlassworks film); Richard III, Tempest, As You Like It;( The Bridge Project at BAM), Eddie Izzard in Charles Dickens’ Great Expectations. Design credits: The poppy installation Blood Swept Lands and Seas of Red at the Tower of London and he received an MBE for services to Theatre and First World War commemorations. Exhibition credits: Alice Curiouser and Curiouser, Winnie-the-Pooh, Curtain Up (V&A, Lincoln Center NY); Shakespeare Staging the World (British Museum).
TYLER ELICH, LIGHTSWITCH (Lighting Designer). Passionate about crafting immersive experiences, Tyler earned a BFA in theatrical lighting design from Ithaca College in 2002. With over 20 years in the field, Tyler’s diverse journey spans rock concerts, television broadcasts, corporate events, and global conventions. As a partner at Lightswitch, Tyler finds inspiration in collaboration with a talented global team of designers. Tyler is super excited to be collaborating with Eddie again after four worldwide comedy tours and the successful New York and London runs of Charles Dickens’ Great Expectations.
LIBBY da COSTA (Costume Stylist) is a London-based costume designer who trained at the prestigious London College of Fashion and Wimbledon College of Art. Libby has worked for a diverse range of clients, creating unique and powerful designs for television, film, commercials, and theatre. Libby often works with Eddie Izzard on her projects including Great Expectations, Eddie’s recent REMIX tour, the feature film Doctor Jekyll (in which Eddie plays Nina Jekyll and Rachel Hyde) and the feature film Midas Man, (the Brian Epstein biopic which Eddie plays the Beatles’ first manager Allan Williams). Whatever the project, Libby combines her passion, insight and years of industry experience to realize any vision with imagination and flair. Libby has been seduced by the fast-paced, creative lifestyle involved in this line of work and is never afraid of a challenge. She is a storyteller and fantasist and through her costumes the characters are born. From contemporary through to period, Libby has worked with costumes that date back to as early as 1560.
ELIZA THOMPSON (Music Composition) works in various aspects of music for film, TV, and theatre. Film Music Supervisor credits include: The Madness of King George, The Crucible, Dangerous Liaisons, Shadowlands, The Woodlanders, Groundhog Day. Music Consultant/Score Producer film credits include: Othello, The Importance of Being Earnest, An Ideal Husband, Fade to Black, Dorian Gray, St Trinian's 1 and 2. As a composer, Eliza has composed and arranged the music for Selina Cadell’s productions of The Way of the World, The Rivals, Love for Love, The Double Dealer, The Life I Lead and Eddie Izzard’s Great Expectations. She is co-founder of OperaGlass Works, a directing and producing chamber opera.
SARAH JOHNSON (International Tour Manager) has worked across various disciplines in live events spanning 40+ countries. Sarah gained a Psychology BSc (Hons) degree from the University of London and studied stage management and lighting (Bristol University). She is a firm believer in a team first approach to working. Tour managing artists including Simon Amstell and Lewis Black, Sarah has been Eddie Izzard’s tour manager for 15 years and is also her International Promoter for MPW and project manager on her ultramarathon challenges. Past work includes technical production manager for Leicester Square Theatre London and Artists including Bo Burnham and Trevor Noah at The Edinburgh Festival as well as advisor to the London 2012 Olympic Torch Relay Planning Committee. Current projects include promoting a European Tour of Return of the Icelandic for Ari Eldjárn and producing new work with Eddie, Mark Izzard and other creatives. Sarah is delighted to have worked on Hamlet from its inception to its premier at The Greenwich House Theatre.
ANTHONY FORCIELLI (Associate Lighting Designer and Programmer) is a lighting designer for theatre, dance, opera, concert and events. Anthony is interested in theatre as an opportunity; a forefront for ethical reform. While every piece is unique, his work is often rooted in essentialism, and explores the intersection of movement and shadow. Anthony’s work has been seen across the United States including Chicago Shakes, Quintessence Theater Group, Windy City Playhouse, Milagro Theatre, The Wagon Wheel Theatre, Allentown Shakespeare in the Park, The Celtic Classic and The Bienen School of Music. Anthony holds a BFA and MFA from DePaul’s Theatre School Conservatory and Northwestern University respectively, and was the 2019 Gilbert Hemsley Lighting Internship recipient. Anthony’s work has been featured in the pages of ‘PLSN’ & ‘Lighting and Sound America’.
For samples of his work please visit designedAF.com
PRODUCERS:
WESTBETH ENTERTAINMENT (Producer) Arnold Engelman, Founder/President. WBE has consistently delivered critically acclaimed, financially successful, groundbreaking productions for over 40 years. Beginning as The Westbeth Theatre Center and morphing into WestBeth Entertainment, developing and introducing artists and talent to North American audiences is a big part of WestBeth’s history. From Billy Connolly to Eddie Izzard, The Jim Henson Company to John Leguizamo and Trevor Noah to Hannah Gadsby, 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, The Chicago Theatre and Radio City Musical Hall. WestBeth’s most recent productions include Tommy Tiernan’s tomfoolery North American tour, Eddie Izzard’s The Remix Live North American tour, Aunty Donna’s The Magical Dead Cat Tour across the US and Canada, Off-Broadway production of Eddie Izzard performing Charles Dickens’ Great Expectations followed by a 9 week limited run in London’s prestigious Garrick Theatre to critical acclaim, Professor Brian Cox's Horizon' tour of North America, Eddie Izzard’s Wunderbar US and Canadian tours, and Brian Henson’s Puppet Up! Uncensored for multiple runs in Los Angeles.
MICK PERRIN WORLDWIDE (Producer). Mick Perrin is a UK based producer/ promoter/agent with a company he began over 20 years ago. Mick spent his youth playing in various punk bands around the UK and was the original STOMP production/tour manager. An extensive career in tour management turned to promotion, with the first ever UK arena tour with Eddie Izzard’s Sexie Tour. Mick Perrin Worldwide currently tours over 50 artistes across 45 nations and is a major producer of comedy talent at the Edinburgh Fringe Festival, first introducing the likes of Bo Burnham, Trevor Noah, Simon Amstell, and Brett Goldstein. Awards include an Emmy (Eddie Izzard’s Dress to Kill) Olivier Award for La Clique, Olivier Award for La Soiree, and a Chortle Award for Off-Stage Contribution. He was last represented in New York with Charles Dickens’ Great Expectations, which was followed by a critically acclaimed eight-week engagement at London’s prestigious Garrick Theatre. www.mickperrin.com
JOHN GORE (Producer) has won 20 Tonys, two Oliviers and two Emmys. The John Gore Organization family of companies includes Broadway Across America, Broadway.com, The Broadway Channel, BroadwayBox.com, and Group Sales Box Office presenting such hits as Wicked, Hamilton and Disney’s The Lion King. As a film and TV producer his work includes the film Believe: The Eddie Izzard Story directed by Sarah Townsend and a nationally syndicated Broadway entertainment news program. He directed the only stage adaptations of Batman and Star Trek and produced the record-breaking Thunderbirds FAB, which at the age of 26 made him the youngest ever successful West End producer. In 2023 he became the owner of Hammer Films whose current release stars Suzy/Eddie Izzard as Doctor Jekyll. A committed philanthropist, John provides support to more than 60 organizations. He partnered with the stars of the Avengers, raising $500,000 for Hurricane Maria Relief, and his company recently sponsored the building of the Rita Moreno Arts Building in West Hollywood and made possible free tuition for all acting students at Juilliard in perpetuity by funding their first year.
