AWARDS | NOMINATIONS | PRESS

PRESS

ARENA’S ‘WALK IN THE WOODS’ | The Washington Post “In Strozier's subtle performance, though, the character is fully aware he's a bore and that's his redeeming grace. Without falsifying the role, the actor has located all the buried impulses of a prig who'd really just as soon shed his priggishness, if he knew how. You can see the great personal effort it takes for him to let down, but that effort is endearing.”

THEATRE |TWELFTH NIGHT | The Washington Post “Henry Strozier comes into his own as Malvolio in Douglas C. Wager's production of "Twelfth Night," which opened last night at Arena Stage. As the resident malcontent in Shakespeare's comedy of love, the prudish, purse-lipped Strozier is like a vivid Dickensian caricature, both hilarious and grotesque. He's the toad in the imaginary garden of this romantic reverie of a play.”

‘SEAGULL’ SWEET SORROW | The Washington Post “As Dr. Dorn, really the only sensible person in the play, Henry Strozier mixes confident, slightly superior cynicism with a deep, almost tender, kindness; he has an extraordinary moment toward the end where he takes a dead man's glasses from a desk and briefly presses them to his chest … This is a harsh, rich, spirited production -- that rarest of all theater events, a great production of a great play.”

GRATEFUL DEAD | Washington City Paper But the evening’s most striking accomplishment is that it manages to be ferociously funny without sacrificing the malignancy of the characters… That first chuckle, for instance, comes in an exchange that establishes the evening’s caustic comic rhythms. Alice (Tana Hicken) has been needling Edgar (Henry Strozier) about not lighting the cigar he claims is his only pleasure in life. “Pleasure?” he snaps, too intent on scoring an easy point to realize he’s being set up. “What’s that?

… For those who’ve wondered what all the fuss was about, “Dance of Death” is a genuine thrill—a lesson in the sort of energy a first-rate visionary can bring to an acting company as established as Arena’s, and a benchmark D.C. production for the ’90s. The evening won’t be to everyone’s taste—if you’re the child of divorce, it’ll doubtless revive nightmares—but there’s no question it’s a stunner.

VISIT TO A FICTIONAL LAND UNMASKS BIGOTRY’S FEARSOME FACE | The New York Times Written in 1961 and rarely seen in New York, ''Andorra'' has now been revived by the estimable Off Broadway company Theater for a New Audience. And its calculatedly unspectacular but cogent and gripping production at the Lucille Lortel Theater makes you wonder most of all why the play is not presented with regularity. This is genuine dramatic literature, a first-rank play… as a presumptuous, resentful and bloviating doctor, Henry Strozier has a number of riveting moments, his self-justifying stupidity rendered with astonishing fierceness and credibility.

OCEAN SPRAY FARMERS: ARE THEY REAL? | Parade “Q: Are the men in the Ocean Spray commercials real farmers? A: No; Henry Strozier ... and Justin Hagan ... are actors who were cast over hundreds of others. The ads, which have been on the air since 2005, are shot in a working cranberry bog in Carver, Mass.”

“TALKING TO STRANGERS,” AT LIGHT INDUSTRY | The New Yorker “The drive for purity extends through all domains—intimate, intellectual, artistic, and, for that matter, religious—as the quest for experience comes into conflict with the yearning for the realization of a higher, even transcendently great, ideal… The next seven sequences feature varieties of drama: … in a church, where Jesse goes to have a philosophical discussion with the priest (Henry Strozier)”…

EMPIRE, AND THE PRIDE BEFORE A FALL | The New York Times Ellen McLaughlin serves and uses ''The Persians'' with true power and grace. She is well served by the lean, stark production of the National Actors Theater at Pace's Michael Schimmel Center for the Arts in Lower Manhattan… Most of the time, the chorus members (good actors, all) speak individually; they could be senators or city councilmen. Their words merge and overlap at critical moments, though, intensified by percussion and cello. (The music and sound design are by Michael Roth.) The beautiful antiphony -- the voice of the group alternating with the voice of the soloist -- remains.Empire, and the Pride Before a Fall

THE YOUNG AND THE FUZZY | New York Post “Actor Henry Strozier narrates “Too Cute!” in the dulcet tones of the amused grandfather. “He’s a beautiful storyteller,” says Lucas. “There are some narrators that you give words to and they read them, and there are others who interpret them. Henry is one of those. He came to my mind as soon as we saw the first footage and he’s worked out well ever since.”

'I AM A MAN’ IS A CHARACTER STUDY CLOTHED IN THE UNION LABEL | The Baltimore Sun One of the best things about this script -- and the mostly strong performances by Arena's cast -- is that it doesn't present clear-cut heroes and villains. We see shreds of decency in Memphis' wrong-headed mayor (Henry Strozier), and we see the flaws in Jones -- such as an eye for women and a tendency toward self-aggrandizement.

SHAVIAN WIT AND STYLE AT THE ARENA STAGE | The Christian Science Monitor Henry Strozier was droll as Tanner's worldly cockney chauffeur, Henry Straker, and Richard Bauer appropriately dastardly as both the devil and the brigand Mendoza. Among the rest of an excellent cast were …