2010       Franz Lehár, THE MERRY WIDOW, Stadttheater Giessen

  conductor: Herbert Gietzen
staging: Henry Arnold
sets: Lukas Noll
costumes: Gabriele Kortmann

cast: Gesa Hoppe, Thomas de Vries/ Matthias Ludwig, Carla Maffioletti / Odilia Vandercruysse, Alexander Herzog / Andreas Scheidegger, Stephan Bootz u. a.

  Director Henry Arnold had announced a big party, and in fact there is two and a half hours of joyful exuberance. (Giessener Anzeiger)


  The ensemble adopted the easy-going atmosphere, some singers revealed their rarely to be seen acting talent. Director Henry Arnold shortened the dialogues without substantially changing them… The pontevedrinic legation turned out to be, from their looks as from their behaviour, a bunch of gipsies; outsiders of the society, in contrast to the decadent French.

               Henry Arnold, MANN - O - MONEY, Stadttheater Giessen

  staging: Henry Arnold
settings: Thomas Döll
arrangements: Severin Geissler

cast: Roland Furch, Severin Geissler, Jan Hoffmann, Martin Ludwig

  "Black money boxes and black sheep – an unforgettable premiere. The 'Schmachtigallen' and their musical thriller on a trip to fortune: Once again responsible for script and staging is Henry Arnold, who created after the previous success of "Daddies" another outstanding theatre event on a highly up-to-date subject."
(Giessener Anzeiger)


In his second work for the 'Schmachtigallen' the financial crisis is Henry Arnold's motivation to deal with the big money dream: Something went wrong, and so they meet: Four guys who got knocked out, each in his way. The geniuses start developing a plan to outwit the big crises. But:

  "The 'Schmachtigallen' sound melancholically mourning … when the plans blow. The game is over, 'the winner takes it all'. The end is joy and overwhelming applause."
(Giessener Allgemeine)

2009       Alexander Zemlinsky, KING KANDAULES, Pfalztheater Kaiserslautern

  conductor: Uwe Sandner
staging: Henry Arnold
sets: Thomas Dörfler
costumes: Kathrin Hauer
cast: Douglas Nasrawi, Valérie Suty, Thomas de Vries u. a.

  "Henry Arnold is telling the story in a stringent, plausible, clear and technically well done manner, accurate in directing the characters… There is – in both senses – lots of projection here in Kaiserslautern, with unconventional aesthetics, sometimes reminding of early Bunuel."
Dieter Lintz, Opernwelt (03/09)

"The reason for the king's constant search of approval is seen in a mislead approach of life. The queen's revenge becomes Kandaules' Liebestod. Henry Arnold's convincing staging has a well thought and properly worked out concept. In the very beginning the murder takes place, thus transforming the plot into the dying king's memory flashback."
K.-F. Schulter, Opernglas (03/09)

  "Director Henry Arnold has a film history. (…) No wonder that he uses a lot of film sequences in his catching and well thought staging. He is projecting the scenes, such as a desperately vagabonding king, on a giant veil of cloth in the back of the stage. An impressive evening in Kaiserslautern…"
Jochen Hubmacher, SWR 2.

  ""… Henry Arnold's staging is telling the old myth respectfully and without unnecessary extras. The relationships are intricate. Even at the end, while Gyges is killing Kandaules, the main characters are tangled, fighting for the other's affection. They love each other, they kill each other:" Hans-Günter Fischer, Mannheimer Morgen

2008       Henry Arnold, DADDIES, Stadttheater Gießen

  staging: Henry Arnold
settings: Lukas Noll
arrangements: Severin Geissler
cast: Roland Furch, Severin Geissler,
Jan Hoffmann, Martin Ludwig und den "Swingphonics"

  "One of them is searching his daughter's favourite chain with a torch, another one is bugged by a parents' school meeting, a third one is jogging sweet home's frustrations out of his body, and the fourth is out of his mind because of his wife's labour pains. They all meet by chance in a park at night. Henry Arnold makes his 'daddies' philosophise on a bench. And whenever they put on their glamorous entertainer jacktets – there is showtime." Marion Schwarzmann, Giessener Allgemeine


  "Enthusiastic applause acclaimed the quartet, the band and the staging team. The play (script and staging: Henry Arnold) goes beyond a row of musical acts, the plot has its thread. Witty dialogues, punch lines and gestures on the point."
Tanja Löchel, Wetzlarer Neue Zeitung

               Igor Strawinsky, THE SOLDIER'S TALE,Stadttheater Gießen


conductor: Herbert Gietzen
staging: Henry Arnold
settings: Kathrin Hauer

cast: Philipp Sebastian, Roman Kurtz, Isaak Dentler u.a.

  "As an impressive piece of art The Soldier's Tale, originally written for a simple wooden stage, revealed its total expressiveness. Combining spoken words, music, film, mime and computer animation director Henry Arnold creates an evening of clear beauty and intensiveness."
Gießener Anzeiger

"Director Henry Arnold is using the complexity of the play, taking advantage of the diversity, realizing the fractures and adding film sequences."
Gießener Allgemeine


2006       Bedrich Smetana, THE BARTERED BRIDE, Stadttheater Gießen


Conductor: Carlos Spierer
Directed by: Henry Arnold
Stage design: Matthias Möbius
Costumes: Gabriele Kortmann

with: Gesa Hoppe, Guido Hackhausen, Klaus Wallprecht, David Fankhauser, Sebastian Geyer, Chris Ritter u. a.

  "Long applause celebrated the premiere of Smetanas masterpiece, that shows off in an unconventional manner. Besides that director H. A. succeeds in achieving many serious and thoughtful moments."
Giessener Anzeiger

"It is an altogether beautiful production, that allows the audience to feel free."
Hessicher Rundfunk, Mikado

"When the characters find to themselves in today's neoliberal society,that puts economic success on top .... then director H. A. stays close to the original, creating together with his singers deeply touching views inside."
Oberhessische Presse

2005       Tennessee Williams, A STREETCAR NAMED DESIRE, Kunsthaus Tacheles Berlin

  Produced & directed: Henry Arnold
Settings & costumes: Kathrin Hauer

with Elisabeth Degen, Oliver Bootz (2006), Gernot Schmidt (2005), Ellen Schiess, Robert Hummel, Light'ning Spark u. a

  The play is seen out of Blanche's point of view. She dropped out of life, out of being. The social attitudes she seems to be holding on to don't mean anything to her. Mourning, loss, age, death. The play is haunted by mortality. Frictions of conception. Moments of lucidity and intelligence are followed by diffusion, inarticulateness. Thoughts and fears evoke frames, anticipate parts of scenes. The tragedy is not only personal, and only partly social - it is the question of life, desire and death.


""Director Henry Arnold is putting the focus on the controversy of different approaches to life. With all due respect he manages to confront the play to our presence, allowing it to be subtle." "

(Berliner Morgenpost)

               Umberto Eco, THE NAME OF THE ROSE, Schlossfestspiele Regensburg

  with W. Baasner, N. Benda, R. Dieitrich, R. Lampe, P. Weiß, F. Westner, D. Clamer u. a.

  In summer 2005 Arnold put on stage a reviewed version of Eco's masterpiece novel.

" ... Thus the about two and a half thousand visitors witnessed a true highlight in the art of speech. The castle provides an ideal natural setting. And director Arnold is using it in an impressive way."


               Jacques Offenbach, THE TALES OF HOFFMANN Staatsoper Stettin

  Directed by: Henry Arnold
Settings: Ella Späte

with D. Walker, S. Geb, B. Kandler, R. Schneider, M di Sapia, A. Wozniak u. a.


The idea of the play according to Arnold's point of view is the relationship between art and society. The crucial issue is the position of the artist in general, and his longing for autonomy and borderless liberty.. All the women he loves are artists, and they all represent a different reaction of art to the demands of society.

  "Director Henry Arnold is positioning the characters between a very lively realism and dreamlike and surrealistic gestures."
(Münchner Merkur)

               Eric-Emmanuel Schmitt, PETITS CRIME CONJUGEAUX Stadttheater Gießen


Directed by: Henry Arnold
Settings: Friedrich Eggert

with Stefanie Knauer, Roman Kurtz
  "From the first to the last of the altogether 90 minutes a touching psycho-thriller...."
(Giessener Anzeiger)

"No time for a break or even take a breath, the play lives out of the intense performance of the two actors, cleverly led by Arnold's direction."
(Wetzlarer Neue Zeitung)

2003       Umberto Eco, THE NAME OF THE ROSE, Festspiele Schwäbisch-Hall


Directed by: Henry Arnold
Settings: Ella Späte

with: Otto Beckmann, Rolf Dietrich, Friedhelm Ptok, Julia Straube u. a.

In summer 2003 Henry Arnold put on stage an adaption of Umberto Eco‘s great novel The Name of the Rose.
  Henry Arnold‘s thoughtful and profound staging was acknowledged with long applause.
Christa Glück, Kölner Stadtanzeiger


At the end everything is put into question. Even the existence of God... But anyway the approach of Arnold and his team is coragious: Like in the book the play is strongest where medieval Christian philosophy confronts the ideas of rationalism.
Holger Ströbel, Haller Tagblatt

2002       Friedrich Schiller, THE PARASITE, Festspiele Schwäbisch-Hall

  Directed by: Henry Arnold
Settings: Ella Späte

with Carsten Klemm, Alexander Hetterle, Peer Göring, Monika Hildebrandt u. a.

  Play by Friedrich Schiller, after the French comedy "Médiocre et rampant" by Louis Picard

The play bursted with stonishing ideas and gave the audience some pure pleasure.
Ulrike Marski, Haller Tageblatt

               Albert Lortzing, THE CZAAR AND THE CARPENTER Staatstheater Darmstadt

  Conductor: Franz Brochhagen
Directed by: Henry Arnold
Settings: Reinhard von der Thannen


The opera for Arnold is a reason to question this form of art in general: "Nothing of what goes on in an opera is selfunderstood. Opera has nothing to do with reality, it is generally distant and unknown."
  "The crucial point is how Henry Arnold opens the plot. The introduction of Herr Zeisig and his two assistants is an excellent idea. His ironic comments play with the spectators' preconceptions, his entrance after the final of the first act goes against the tradition of a happy conclusion. A risk, but brillant."
Michael Neuner, Hessischer Rundfunk

2001       Terrence McNally, MASTERCLASS,
                Festspiele Schwäbisch-Hall

  A play about Maria Callas who after her career came to an end teaches three young singers at New York Julliard school.

  Ralf Snurawa, Rundschau: "This interpretation surely adds a highlight to this year's festival..."

2000       LULU/TOSCA/MARLENE, ein Musiktheater blauer saal, Zürich

  Zum Stück: Lulu. Tosca. Marlene erzählt mit Musik von Berberian, Boito, Hollaender, Schubert und anderen eine Geschichte über Frauenbilder und (männliches) Wahrnehemen, über das Spiel mit Rollen und den Rollentausch.

Susanne Kübler, Züricher Tagesanzeiger: "Die Konzeption des Stücks stammt von der Sängerin (Simona Ryser) und dem Regisseur Henry Arnold, der auch als "Regisseur" auftritt...
Viel Musik, viele Texte, viele Bilder haben die beiden in diese 70 Minuten gepackt. Eine runde, fleischfarbene, multifunktionale Umkleidekabine steht mitten im Raum, die ständig wechselnden Folien auf drei Hellraumprojektoren zeigen Duden-Ausschnitte, das Bild vom Tod eines Stierkämpfers oder weibliche Accessoires. Da wir auf allen Ebenen überblendet und gespiegelt, gebrochen und kontrastiert...

Christian Berzins, Aarauer Nachrichten: "In einem collageartigen Bilderbogen durchwandert eine Frau Stationen ihres Gefühlslebens bzw. Stationen, in die sie ein Mann, ein Regisseur, versetzen will. Drei Musiker begleiten im Hintergrund diskret, die aber teilweise auch aktiv ins flatterhafte Geschehen, das nie ganz Handlung, aber auch nie ganz haltlos wird, eingreifen. Eine schöne Nachtwandlung an der Hand Lulus - oder Toscas, Marlenes, vielleicht Lucias..."

               Arthur Schnitzler, LEUTNANT GUSTL Bauturmtheater Köln

  H.A. zur Inszenierung: "Leutnant Gustl ist ein Prosatext... Arthur Schnitzler nimmt uns mit auf seine Reise durch die Innenwelt dieses Menschen, der eine Erschütterung erfährt und der zu der Überzeugung gelangt, er müsse sich umbringen...

Auf der Bühne ist alles anders. Da steht ein Mensch. Gedanken werden Laute. Ein Schauspieler ver-körpert den Aberwitz, den wir Denken nennen. Die Innenwelt entäußert sich.

Wir müssen sie zurückerobern, die Innenwelt. Den Gedanken zu neuem Flug verhelfen. Leutnant Gustl - ein Traumspiel.

Renate Bach, Kölner Stadtanzeiger: "Die Bühne von Anja Fromm mutet an wie ein Sezierraum, und im Theater im Bauturm wird tatsächlich das Skalpell an des jungen Mannes Seele gelegt. Henry Arnold inszeniert diesen inneren Monolog recht kühl und zurückhaltend, als solle hier ein Exempel statuiert werden."

Thomas Linden, Kölner Nachrichten: "Die Inszenierung sucht nach Bildern für die innere Enge und die paranoide Dynamik der Figur. Eindrucksvoll wird das Dilemma dieser labilen Psyche immer dann, wenn Schweigen eintritt."

1999       Lutz Hübner, DAS HERZ EINES BOXERS, Festspiele Schwäbisch-Hall


Sonja Jaser, Schwäbische Post: "Wieder einmal sind im Theaterkeller eine stimmige Inszenierung und herausragende schauspielerische Leistungen gelungen..."
  Bettina Hoffmann, Haller Tageblatt: "Intensives Spiel vor karger Kulisse. Ausgezeichnete Inszenierung/ Mitreißendes Kammerspiel mit Klaus Ziller und Sebastian Wirnitzer.
Keine opulente Kulisse lenkt ab, der Raum ist karg, die Grenzen eng. Die Schauspieler wirken allein durch ihre Persönlichkeit und Ausstrahlung. (Sie) verliehen ihren beiden Figuren soviel Lebendigkeit und Würde, dass das Publikum immer wieder Szenenapplaus spendete..."

               Theaterdock Berlin