AMERICA IS HARD TO SEE:
Life Jacket Theatre Co, Underbelly @ Edinburgh Festival, August 2019
"The performances, too, are fascinating and engaging – Harry Waller's Chad is particularily multi-dimensional, posessing a kind of likeable guilessness that makes the eventual reveal of the extent of his crimes even harder to understand."
"The entire cast portray each of their many, many characters with total style and grace. Harry Waller stands out as the perennially withdrawn Chad."
"This is not an easy watch, but the acting is superb with Harry Waller and Amy Gaither Hayes giving stand out performances."
"The cast give exceptional performances, often picking up multiple roles, taking the words and linguistic nuances of the people they portray and bringing them to life in front of us. Amy Gaither-Hayes demonstrates real pain as Pastor Patti, while Harry Waller gives it his all as Chad."
"There's Chad (a touchingly fragile Harry Waller), a talented music teacher who got too close to a favourite pupil."
New World Stages, Off-Broadway, 2018-19
“Harry Waller… gives tongue-in-cheek commentary on the magic school’s goings on … [his] expressions, body language, timely delivery and interaction with the cast and audience are spot on and highly add to the show’s overall humor.”
Jennifer Mustoe, Front Row Reviews
“I also really enjoyed the narrator, a sly Harry Waller, who is especially fun in the final plot twist moments of the play.”
JK’s Theatre Scene
The Shakespeare Forum @ El Barrio Artspace, NYC, June 2018
"LEAR features color- and gender-blind casting: Frankie DiCiaccio as Cordelia and Harry Waller as Regan are particularly wonderful, and Rami Margron is beautifully expressive as Edgar. As the play progresses, it becomes clear that this cast could pull off literally anything.
Sharing the part of Lear across the ensemble has the potential to be risky: if even one actor isn't up to the part - and it's a challenging, monumental part - that failing could undermine the whole play. The wonder is, in this production at least, that simply never happens. While each cast member has a decidedly different spin on Lear, each is effective. As a result, we're not stuck with one actor's interpretation. We have the freedom to choose the one we find most convincing."
Erin Kahn, StageBuddy.com
MUCH ADO ABOUT NOTHING:
Royal Shakespeare Theatre, 2014 & Theatre Royal Haymarket (West End)
"Harry Waller was in fine voice as Balthasar, his singing a true highlight."
"The setting for this production is the immediate aftermath of the Great War and the music from the live band acts as an extra character, with Harry Waller as Balthasar serving as our resident Noel Coward at the piano. His beautiful voice along with the sentimental love songs, the latest dance crazes, and the mix of classical and popular music of the era, leaves you feeling like you’ve had a hot toddy or a warm embrace – and are ready to face Christmas."
"Nigel Hess, composer for both shows, adds drama with his underscoring, but his most notable work is his compositions, whose style supports Luscombe's concept and highlights the comedy of Shakespeare's lyrics. Peter McGovern sings beautifully and Harry Waller's turns at the piano situate the piece historically and add a touch of class."
"They are more than ably supported by the rest of the cast, with Harry Waller (as Balthasar) impressing with a sprinkling of musical magic."
"If one of the strength of this pair of productions is the close understanding between director and designer, another is without doubt the music from Nigel Hess. There is a beautiful setting of Sigh No More, one of the songs in Shakespeare which has been most often set by musicians. Although there is a suitably sombre tone at first, the elegiac mood of the earlier play eventually gives way to a more frivolous tone as the inter-war years approach, with Harry Waller’s Balthasar singing from the piano like Coward at a party."
“That shifts the emphasis onto George, a bisexual man who can't help contrasting his carefree and hedonistic Berlin cabaret days (before the Nazis seized power) with wartime England with its black-market and racist undertow and the ever-present threat posed by his illegal homosexuality. [Harry] Waller gives a rounded portrait of a man struggling to cope with many kinds of loss and his two big numbers – "Meine Liebe Berlin" and "I'll Sing for No One but Myself" – crystallise his dilemmas.”
“The casting is very strong. Harry Waller is outstanding as George, the refugee who longs to bring a little bit of his [1930s] Berlin over here to Blighty, torn between his singer and his lover.”
“Harry Waller was equally as assured in his performance. Ecstatically happy to hopelessly hurt. Cheeky, confident, at times torn, and with some of the best one liners in the show delivered with great timing.”
THE HISTORY BOYS:
Bath Theatre Royal & UK Tour
"All these characters, staff and boys, could stir schoolday memories in the audience. For me, it was Scripps (Harry Waller), the earnest, myopic boy with the awkward arms, who plays the piano, addresses the audience and later 'writes it all down'…"
“The History Boys is a great play for young actors and the production’s texture is enriched by Harry Waller’s God-burdened Scripps and Christopher Keegan’s ever perky Timms."
THE WAY OF THE WORLD:
“The mostly young cast emphasise the newness and vitality of this production, with standout roles for Samuel Barnett as Witwoud and Richard Goulding as Sir Wilfull. All of the cast members give exuberant performances, and even those with minor roles such as Kirsty Woodward (as Mincing and Betty) and Harry Waller (as John and Servant) capture the stage and receive their fair share of laughs – and this is a very funny production.”
“[Lyndsey] Turner orchestrates some memorable set-pieces: a karaoke session opens the second half, and there’s a show-stopping, if rather surreal, moment where Lady Gaga’s ‘The Edge Of Glory’ is performed by Deborah Findlay and Harry Waller.”
Jermyn Street & Arts Theatre
“I really do want to say that I thought Harry Waller was wonderful as Ray - full of tics and characterisations, which absolutely fit with the stock characters of the period. He also does a lovely turn later on as a cabaret singer crooner.”
“Saturday Night” folds a gentle morality tale into a piece in which are visibly sown the seeds of such Sondheim classics-to-come as “Company” and “Follies,” the performers by and large are beyond reproach... “Saturday Night” finishes Saturday night, but the futures of its fresh-faced ensemble have clearly just begun."
New York Times