It really makes his exaggerated expressions come out. The only problem I see with Eddie Izzard is that people would be turned off by him because he's a transvestite. His summary of the rise and fall of the German empire makes the WWI and II seem more ridiculous than they were before. As he says in "Glorious," he's not into the big laugh death jokes. He pokes fun at Germany during the World Wars, but in a tasteful manner. But I think the gun helps.") I have "Glorious," and "Dressed to Kill" should be arriving special order any day. "The NRA says guns don't kill people, people do. I've actually quoted him in school papers (his views on guns in America are hilarious, but disturbingly true. He is most-often quoted in my family, especially his flag bit. Hilarious doesn't begin to describe this. Despite that fact that some of his humour goes straight over the heads of the American audience it is still great but when did the US ever appreciate surreal UK humour on a massive scale (except in retrospect)? Some of his material is a little stale, but he injects everything with crazy ideas and energy so that even when he goes off track a bit (dealing with the heckler) he still manages to be hilarious! Overall I hope Izzard never totally goes after his film career and that he'll be on the standup circuit for many, many years to come. However his material is as good as ever and seems no different from his early shows fame has certainly not gone to his head. In some ways the fame shows he enters the stage flamboyantly from a purple rose in a huge dress. However his Dressed to Kill show proved that he hadn't lost his edge even if the material for this show was wheeled out over a US and UK tour, he still managed to make it fresh as if it was all coming to him there and then. Along the way he even has to deal with a heckler! By 1998 Izzard had started to try and get into films and had had a huge amount of exposure and had been piled high with awards for his comedy. He covers everything from the greta escape, the British empire, being a transvestite to Star Wars and puberty. Eddie Izzard delivers over 70 minutes of scatological material to a sold out crowd. Recorded at the Stage Door Theatre in San Franciso one night in 1998. I went to Italy over the summer, and all I could think about while I was there was how "Italians are always on scooters going 'CIAO.'" 10 out of 10. His style is incredibly refreshing, and it is nice to hear jokes about things like history and puberty when most comedians stick to current events. While many stand-up comedians mesh together in my brain, Eddie Izzard stands out as one of the best. During the first couple of minutes, you can tell that the audience isn't quite sure what to think, but he quickly wins them over with his incredible humor and wit. The next time it was on, I made sure to tape it so I could watch it over and over again, and it has remained one of my favorite things to watch. I didn't change the channel until he was finished, it was so incredibly hilarious. Naturally, I did a double-take and decided I'd watch for a little while. The VHS was recorded during a performance in San Francisco, California, United States. One of them, his meditation on how the singer Engelbert Humperdinck came by that name, is a laugh riot.īut it’s his unexplained shift into French that may be this show’s highlight.So I'm at home, flipping channels one night, and I come across this man wearing heels and makeup, standing in front of a colored background on HBO. Dress to Kill is the title of a performance by Eddie Izzard, and is a continuation of the British comedians surrealist, ideas-based comedy. And he seems delighted with himself as he impersonates Italians on their Vespas, or Sean Connery and James Mason out of context.Ī few of Izzard’s routines are already classics. He, himself, breaks up during his “Star Wars” spoof. Sometimes, Izzard can’t contain his own laughter. “Before there was Stonehenge,” Izzard says, “There was Woodhenge and Strawhenge.” (He refers to Jesus doing “the big-arms thing.”) And his interpretation of Christian hymns and the building of Stonehenge are marvelous digressions into silliness. His riff on Leonardo’s “The Last Supper,” for instance, is a hoot. Turning the sacred into something funny is an Izzard specialty. The topics are not inherently humorous, but what Izzard does with them - as he gesticulates in a particular way, adopts a variety of British brogues and winks at his audience - assures that bursts of laughter will fill the air. Izzard then goes into what is, in effect, one long monologue, in which he touches on World War II, colonialism, the Church of England, the Heimlich maneuver, and J.F.K.’s famous “Ich bin ein Berliner” speech. The jokes about makeup and childhood confusion are funny regardless. Or an action one, as he sometimes dubs himself. But Izzard is an “executive transvestite,” you see.
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