Eleven years after his breakthrough in the U.S., Izzard insists that neither his success on Broadway (a Tony nomination for his turn in Peter Nichols' "Joe Egg"), on television (his Emmy-winning HBO special "Dress to Kill," the FX series "The Riches") and films (the "Ocean's Eleven" sequels, the "Narnia" films) nor his current preference to dress in boy mode has altered his view of comedy. "I don't feel I've changed," he says, "I might have gotten better at doing it, better at feeling stupid juxtapositions."
Izzard is insistent, though, that the history he juxtaposes has to be well in the past. Though Izzard certainly follows recent history like Tony Blair, Obama, Palin, Bush -- the day we spoke, he couldn't believe Pat Robertson's comments on Haiti -- he says he steers away from inserting recent history and politics into his act.
"It doesn't record well. A year later people say, 'Who's this?' Anything that's going to date is like, 'I don't want it,' " he says. "I try to focus on history that stays when the sieve comes. Only some bits stay. Hannibal crossing the mountains with elephants for some reason stayed."
At the Garden, Izzard did break this rule once or twice. But his biggest laughs came from Moses, dinosaurs getting pulled over for speeding and vomiting as a five-act grand opera.