"August is affable, energetic, witty and also fallible. In other words, he is human and this is what is at the heart of this production; giving a face and a voice to this very real and current tragedy of our times."
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“Henry brings a striking compression to his script, impeccable timing to his punchlines and a physicality that is fantastically nuanced.”
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This is an astounding debut from Henry and is performed exceptionally well. He manages to carefully craft a character that is impossible not to love, and therefore the emotional moments of the play are felt much more strongly. Henry is electric, he gives a stellar performance, and August in England is a vital story which needs to be told.
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“It's a story that needs to be told and its impact understood much more widely...Whilst Henry's words may at times lack subtlety and may not always reach the emotional depths necessary, the testimonies from the real victims speak volumes, even if it does come as another jolting change of pace.”
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“This isn’t a ground-breaking play and sometimes the comic patter threatens to overwhelm the story. But it’s passionate, well-crafted, and directed with economy and pace...in a production that showcases Henry’s innate rapport with an audience.”
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" ‘August in England’ is both a seriously impressive writing debut, and a considerable creative statement of intent from a household-name comedian who could have easily packed out a West End barn with an hour of affable reminisces."
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“Henry being Henry, the piece starts by softening us up with a genial barrage of jokes, music and one-liners...Henry could afford to cut the running time by ten minutes or so — but his charisma and commitment still sweep you along.”
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“Despite the relatable charm of Henry’s entertaining character sketch, the play is at its most powerfully moving when he takes a step back to foreground these often-ignored voices.”
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