Glorious

Eddie Izzard steps onto the Hammersmith Apollo stage in a shimmering magenta suit and heels, treating stand-up like an impromptu history lecture that has completely derailed. The act attempts to track the timeline of the universe starting with the Old Testament, but the momentum relies entirely on free-associative tangents. A standout sequence casts James Mason as the voice of God, who finds himself haggling with Noah over whether an ark offers a better photo opportunity than a speedboat. Other detours involve the logistics of classical mythology, the inherent threat of evil giraffes, and the precise mechanics of operating a shower.

Filmed in London in 1997, Glorious captures Izzard just before international stardom peaked with the Broadway run of Dress to Kill. The 99-minute set cemented the comic’s signature approach to performance—presenting surreal historical absurdities with the casual confidence of a self-described executive transvestite. Despite the grand mythological scope, the show frequently pivots to mundane frustrations like stubborn computer printers or French campsite toilets.