Press

“Henry McGinniss is the boyish ‘hero’ Bobby Strong. He sings wonderfully as he leads the revolt with winning aplomb. McGinniss anchors the fine ensemble of ‘poor folks’ who perform the show’s manic numbers, especially in the rousing “Run, Freedom, Run” show-stopper. In Urinetown, the ‘poor folks’ win over the audience.”

Chicago Critic – Tom Williams
http://chicagocritic.com/urinetown-2/

“Babyfaced, charismatic leading man Henry McGinniss (“Bat Boy,” “The Addams Family”) makes a dynamic Bobby Strong. His crystal clear voice somehow manages to soar above the accompaniment and allow Kotis’ droll and lively lyrics rest easy on the ear. He creates a character worthy of the leadership and confidence he exudes.”

Colin Douglas – Chicago Theatre Review
http://www.chicagotheatrereview.com/2017/02/the-privilege-to-pee/

“That said, there are numerous standout performances, beginning with area favorite Henry McGinniss as likeable, vulnerable revolutionary Bobby Strong and ditzy love-interest-turned-rebel-convert Hope Cladwell, played wonderfully by Jeff winner Courtney Mack. Their duet, “Follow Your Heart,” is particularly lovely.”

Barry Reszel – Chicagoland Musical Theatre
http://www.chicagolandmusicaltheatre.com/bohos-urinetown-wonderfully-takes-on-musicals-politics-and-the-concept-of-pay-to-pee/

“Kotis’s book sets up the conflict between idealistic young Bobby Strong (played here by the guilelessly appealing Henry McGinniss) . . . Stephen Schellhardt’s cramped but crafty staging for BoHo Theatre gets a long way on the goofy charms of McGinniss and Mack.”

Kris Vire – Time Out Chicago
https://www.timeout.com/chicago/theater/urinetown

“The non-expository action focuses on Bobby Strong (Henry McGinniss), the idealistic young crusader from the drought-ravaged inner city . . . McGinniss’ Bobby Strong is a hero of the Underdog-meets-Spartacus variety, a hero who compensates for a less-than-razor-sharp-intellect with an abundance of unswerving enthusiasm for his cause. Backed by a full-throttle ensemble, Strong’s “Run, Freedom Run” is a hallelujah showstopper that calls to mind the group ecstasy of an old time tent revival.

Catey Sullivan – Chicago Theatre Beat
http://chicagotheaterbeat.com/2017/03/05/urinetown-review-boho-theatre/

“Stephen Schellhardt’s rollicking revival bursts with combustible kick-ass glee and several splendid performances, like handsome Henry McGinniss, charismatic as all heck, and delightfully dithering Courtney Mack as the unlikely lovers”

Lawrence Bommen – Chicago Theatre Review
http://www.stageandcinema.com/2017/02/13/urinetown-boho/

Henry McGinniss as Bobby Strong and Courtney Mack as idealistic heroine Hope Cladwell both commit wholeheartedly to their characters’ silly mannerisms and sincere belief in the triumph of good over evil, making the duo an enjoyable comedic presence.”

Jessie Bond – Splash Magazines
http://www.lasplash.com/publish/Entertainment/cat_index_chicago_performances/urinetown-review_printer.php

“In the title role, Henry McGinniss is flawless and captures the Bat Boy perfectly. Sporting pointed ears and vampire incisors, the actor’s sharp, savage, untamed movement and frightened, darting eyes create a skittish, animalistic orphan. Add to this a wonderfully trained singing voice (remembered for standout performances as Link Larkin, in Paramount’s “Hairspray,” Lucas Beineke in Mercury’s “The Addams Family,” and many other roles) as well as all the right moves as a dancer, Mr. McGinniss totally inhabits this role.”

Colin Douglas – Chicago Theatre Review
http://www.chicagotheatrereview.com/2016/06/a-satire-of-horror/

“Bat Boy (Henry McGinniss). (In what is unquestionably a career-making performance, McGinniss — a lean, graceful actor outfitted with a wonderful set of prosthetic ears — sings beautifully and brings pathos and charm to every stage of his evolution).”

Hedy Weiss – Chicago Sun Times
http://chicago.suntimes.com/entertainment/more-than-a-touch-of-genius-in-bat-boy-the-musical/

“There are two strong, well-sung performances in the show, and they are in the roles where you would want them: the titular young chiropteran gentleman (Henry McGinniss) and his love interest, Shelley (Tiffany Tatreau, who is on a roll). The pas de deux are funny, honest and, as the show is intended to be, weirdly moving.”

Chris Jones – Chicago Tribune
http://www.chicagotribune.com/entertainment/theater/reviews/ct-bat-boy-the-musical-ent-0615-20160614-column.html

“Batboy the Musical has nothing to do with baseball or Bruce Wayne’s childhood. It has everything to do with a guilty pleasure of a show and a sensational lead performance. Hamilton can wait—see Batboy now. . .

. . .This production does just about everything right, beginning with a dazzling cast featuring incredibly lithe Henry McGinnisss in the title role. With his expressive face and lilting tenor voice, McGinniss is funny or serious by turns and always charming. He also spends time nearly naked in a cage, if that’s your thing!

McGinnisss alone is worth the price of admission.”

Jonathan Abarbanel – Windy City Times
http://www.windycitymediagroup.com/lgbt/THEATER-REVIEW-Batboy-the-Musical/55653.html

“Similarly, Henry McGinniss’ athletic physicality so on display in the opening might initially lead you to think that’s how he landed his part. But then comes his sensitive morphing from feral to someone more like an over-starched British butler, and you see his remarkable range.”

Amy Muncie – Splash Magazine
http://www.lasplash.com/publish/Entertainment/cat_index_chicago_entertainment/griffin-s-bat-boy-review-talent.php

“Henry McGinniss is a screeching delight in the title role, evolving from feral to erudite in the course of a few scenes but unable to tamp down his true nature. With a pair of remarkably steadfast prosthetic ears and a deft physicality, McGinniss wins us over to Bat Boy’s side in no time.”

Kris Vire – Time Out Chicago
https://www.timeout.com/chicago/theater/bat-boy-the-musical

“Henry McGinniss is terrific as the title character. With boy-next-store good looks, McGinniss begins scantly clad and uttering guttural sounds and through the show’s Pygmalion-esque plot, morphs from a guttural animal (make that mammal) to proper English-speaking man-about-town. Albeit one with pointy bat ears, natch.”

Misha Davenport – Boradway World
 http://www.broadwayworld.com/chicago/article/BWW-Review-Griffins-BAT-BOY-THE-MUSICAL-20160615#

“The reliable and charming Henry McGinniss offers another star turning performance as a dancing and singing sensation, the hunky heartthrob, Link Larkin, who is the object of Tracy’s affection. His sultry “It Takes Two,” is velvet smooth and filled with hilarious double entendres.”

Colin Douglas – Chicago Theatre Review
http://www.chicagotheatrereview.com/2016/01/you-cant-stop-the-beat/

“The teenage heartthrob Link Larkin (an engaging and earnest Henry McGinniss) soon gets his head turned by the open and accepting Tracy.”

Scott C. Morgan – Daily Herald
http://www.dailyherald.com/article/20160126/entlife/160129134/

“Henry McGinniss is a wiry, lush-voiced Link.”

Hedy Weiss – Chicago Sun Times
http://chicago.suntimes.com/entertainment/hairspray-a-heartfelt-quest-for-equality-at-paramount-theatre/

“A special shout out goes to Henry McGinniss in the thankless role of Lucas, a square among all the outsized characters around him. McGinniss extracts some genuine feeling from a role that was virtually anonymous in 2009.”

Dan Zeff – Chicagoland Theatre Reviews
http://www.chicagolandtheaterreviews.com/MercuryTheater.html

“As Lucas Beineke, Wednesday’s nerdy young love interest, Henry McGinniss is appealing strong, handsome and an excellent singer. Their “Crazier Than You,” sung with Cory Goodrich and Jason Grimm, as his parents Alice and Mal Beineke, is one more highlight of this score.”

Colin Douglas – Chicago Theatre Review
http://www.chicagotheatrereview.com/2015/02/moving-toward-the-darkness/

“McGinniss, as the bespectacled, gangly, curly haired, nasally voiced son, pulls off a surprising transformation during his bonding with Cameron.”

Jacob Davis – Chicago Critic
http://chicagocritic.com/the-addams-family-2/?fullweb=1

“Henry McGinniss suggests just the right brainy charm as Wednesday’s big love, Lucas.”

Hedy Weiss – Chicago Suntimes
http://entertainment.suntimes.com/stage/addams-family-musical-comic-perfection-mercury/

“Lucas (gingerly played by Henry McGinniss, who grows in stature right before our eyes).”

Alan Brushoff – Around The Town
http://www.aroundthetownchicago.com/theatre-reviews/the-addams-family-the-musical/

“Even the Beinekes of Ohio, blocking devices who are tough to play, are all in capable comic hands with Cory Goodrich, Jason Grimm and Henry McGinniss.”

Chris Jones – Chicago Tribune
http://www.chicagotribune.com/entertainment/theater/reviews/ct-addams-family-review-20150209-column.html

“As Sue’s boyfriend and Carrie’s prom-date, Tommy Ross, Henry McGinniss is stunning and radiant in this equally one-note role. Mr. McGinniss’ inner charm, outward demeanor, and gorgeous vocals are perfectly suited to Tommy and he “shines” throughout the show. Mr. McGinniss is definitely making a great career for himself in the Chicago area. He is the quint-essential young leading man, and I hope to see more of this gifted actor in the future.”

Justin LeClaire – Splash Magazines
http://chicago-splash.com/publish/Entertainment/cat_index_chicago_performances/carrie-the-musical-theatre-review.php

“And then there’s Henry McGinniss, another name to watch and a charming singer, in the role of Tommy, the decent-at-heart young man who squires She Who Moves Stuff Around to her tragic prom.”

Chris Jones – Chicago Tribune
http://my.chicagotribune.com/#section/-1/article/p2p-80432395/

“The show’s score, by Michael Gore (music) and Dean Pitchford (lyrics), contains some beautiful songs, from the anguished mother-daughter anthem “And Eve Was Weak” to the sensitive boy’s self-revelation “Dreamer in Disguise” . . .Rochelle Therrien is first-rate as Sue, the popular girl who suddenly grows up and finds empathy for Carrie along with her poetic boyfriend, Tommy, well-played by Henry McGinniss.”

Carrie: The Musical
Hedy Weiss – Chicago Sun-Times
http://www.suntimes.com/entertainment/stage/27807858-421/revamped-stage-version-of-carrie-in-tune-with-the-times.html#.U5TLpZSwIhO

“Only sweet Sue and her hot and hunky boyfriend Tommy take conditional pity on Carrie. Goaded by guilt, Sue makes the tragic mistake of asking cutie Tommy to invite Carrie to the prom, not her (for Carrie, a dream come true). . .Rochelle Therrien and Henry McGinniss could easily pass for popular as Sue and Tommy.”

Kerstin Broockmann – Chicago Stage Standard
http://chicagostagestandard.com/2014/06/07/carrie-bailiwick-chicago/

“As her infatuated boyfriend and reluctant ally Tommy, Henry McGinniss understands the tension between hormones and good intentions. In a somewhat underwritten part, it is his reactions that bring the character to life. Therrien and McGinnis sweetly deliver their empathetic ballads (“Once You See” and “Dreamer In Disguise”).”

Lawrence Bommer – Chicago Theater Beat
http://chicagotheaterbeat.com/2014/06/02/review-carrie-the-musical-bailiwick-chicago/#review

“Henry McGinninss is emotionally honest and charming as Carrie’s prom date Tommy.”

Colin Douglas – Center Stage Chicago
http://centerstagechicago.com/theatre/shows/15539.html

“The entire ensemble is talented in this make-shift “High School Musical.” They are the cool kids because Director Michael Driscoll casts this perfectly. Samantha Dubina (Chris) is a haughty bitch. Rochelle Therrien (Sue) is an adorable hero. Henry McGinniss (Tommy) is a total doll. They look, sing and act the part of teenagers in love and hate. There is this underlying ‘afterschool special’ vibe right up until the slaughter. Although the bloodbath is expected, I truly found myself hopeful that Johnson and McGinniss might avoid the whole nasty murder scene.”

Katy Walsh – The Fourth Walsh
http://thefourthwalsh.com/2014/06/review-carrie-the-musical-bailiwick-chicago-horror-flick-carries-a-tune/

“McGinniss is an exceptional dancer, shown off early in the show when he easily jumps over his six-foot tall friend in the middle of a song (while singing) causing the audience to gasp in unison, but his acting skills are also incredible, especially notable during his moving scene with Reverend Shaw when the two realize that they are both dealing with similar tragic losses in their lives, Shaw having lost a son and Ren his father.

Erica Stephan and McGinniss work very well together, and they had couples throughout the audience grabbing hands during their rendition of ‘Almost Paradise.’ ”

Angie Field – Carroll County Mirror-Democrat and the Savanna Times-Journal

“As city rat Ren, Henry McGinniss delivers a skilled performance, including some rubbery Breakdance moves.”

Sue Langenberg – TheWriteHag.com

“The dazzling moves of Henry McGinniss, whose sweet and earnest portrayal of lead Ren McCormack vibrates with infectious delight whenever he’s given the chance to strut his stuff. (At one point during the actor’s excellent “I Can’t Stand Still” solo, McGinniss does an ecstatic leapfrog over a castmate, which doesn’t sound all that impressive until you learn that his adult castmate is standing up at the time.)

…Ariel’s good-girl-gone-bad in her every stage moment, and against all odds, her duet with McGinniss on “Almost Paradise” emerges as the best number in the production; the actors’ beautifully hushed vocals, filled with tenderness and warmth, fully transcend the song’s power-ballad phoniness.”

Mike Schulz – River Cities’ Reader

“…we are treated to An exactingly choreographed floor show, performed here by lead dancer Kelsey Andres, backup hoofers Henry McGinniss and Sawyer Smith and what follows, for lovers of musical theatre, is seven minutes of absolute, undiluted rapture.

The “Rich Man’s Frug” opens with a series of sleek, insinuating ’60s moves, the dancers’ undulating bodies (and the long drags and deep exhales on McGinniss’ and Smith’s cigarettes) suggesting the coolest, hippest, most provocative party you’ve never been invited to. As the number grows in fervor and choreographic complexity, though – with arms, legs, wrists, and heads oftentimes moving in stunning unison – what was already an enticing routine morphs into one that’s almost staggeringly alert and alive. The phenomenally accomplished Andres, McGinniss, and Smith will deservedly steal much of your focus, but do your best to find a cast member up there who isn’t performing with exceptional skill and low-key ebullience. I sure couldn’t.”

Mike Schulz – River Cities’ Reader