Meet the Actor–Scott Hoffman, Henry Carr

Your name and who you play in the show.

Scott Hoffman, Henry Carr.

 In what ways are you like your character?

Like Henry Carr, I also work for the government (though I work for the Connecticut Department of Transportation, and not the British Government in Zurich, in 1917) and have a passion for acting on the side.  I share his love of using, what could be described as, ostentatious language, and can certainly be as long-winded as he is (though I hopefully have a far better recollection for facts and past events than he does).

 In what ways are you NOT like your character?

I am definitely not as sartorially focused as Henry, a button down shirt and nice pair of jeans fit me just fine on most days.  I also hope I have nowhere near the pomposity of Henry (though it is awfully fun to play).  Finally, I take a much broader view of what art can be than Henry Carr.  While I would probably agree with him that sticking a croissant up one’s nose isn’t actually a masterpiece, there’s certainly a place for pushing boundaries, giving a deeper purpose to art than just making something beautiful, and finding a way to express oneself in a manner that previously had never been done.

 How many shows have you done with HITW? What were they?

Travesties is my 18th show at HITW, mostly acting (favorite roles include Stephano in “The Tempest”, Harding in “One Flew Over the Cuckoo’s Nest”, and Judge Hathorne in “The Crucible”), but I have also had the opportunity to give directing, producing, stage manager, light and sound operators the ol’ college try.  HITW has been, and I’m pretty confident it will always be, an excellent place to try one’s hand at all the necessary parts of putting on a show.

What’s the message of Travesties?

First off, it’s always important to consider the source of history – never know what personal prejudices might be entering into the description.  Secondly, though art may not have an immediate impact on the course of history the way political, social, or economic revolutions might; art does have an ability to articulate a time and place that more often than not says more than and lasts far beyond those acts or treatises.  I forget the third message.

 What is your favorite part of performing or teching?

Getting a chance to create a new character, and taking that journey with some immensely talented and wonderful folk!

 What’s the most exciting part of being in this production for you?

In addition to the huge thrill it has been to get a chance to bring Stoppard’s glorious language to life, the most exciting part is always working with my fellow actors, the director, and the rest of the creative team to create those small moments (a shared glance or slight pregnant pause) that allow us to put our own stamp on the show. As much fun as I’ve had in shaping the challenge that is Carr’s monologues, it is the collaboration in the group scenes that brings me the most joy!

 Favorite color?


 Favorite food?


 Favorite cartoon?

I’ve always found a Yosemite Sam or the couple of opera-based Bugs Bunny/Elmer Fudd cartoons good for a few belly laughs.

 Do you have any theater superstitions or traditions?
No superstitions, but I do need to go through the “What a to do to die today” tongue twister (often in character) that I’ve been doing since High School before every performance.  Gotta stick with what works!