About Us


Artist Profile - Harry Miller

London/Cockney, Standard English/RP

Age Ranges
Thirties, Forties, Fifties

Voice Types
Actors/Actresses, Character/Animation, Natural/Fresh, Quirky/Interesting/Unique, Understated/Low Key, Upbeat/Energy

Harry trained as a teacher of Drama and English at Goldsmiths’ College, University of London and has an additional qualification as a teacher of children with special needs. His acting career began at the Albany Empire, Deptford in 1972, working in pubs, playgrounds, Council Estates, in the streets, schools and at the old Albany Empire in Creek Road, which he also helped to build.

From 1974 until 1986 Harry worked in Theatre in Education companies in Coventry, Bolton and at the Cockpit Theatre in London, creating many original roles in a vast number of programmes for young people of all ages.

From 1987 onwards Harry has divided his time between mainstream theatre and television. Notable roles include First Citizen in Coriolanus at the Young Vic, Boult in Pericles (Olivier award for best revival 1990) for the RSC in Stratford upon Avon, Newcastle and London. West End appearances include Captain Horster in Arthur Miller’s adaptation of Ibsen’s An Enemy of the People at the Playhouse and Louis in A View From the Bridge at the Strand Theatre, also by Arthur Miller.

Television work includes roles in Eastenders, The Bill, Lock Stock - and Two Sips, The Knock, Casualty, London’s Burning, Dangerfield, The Armando Iannucci Shows, Happiness, Family Affairs, Crossroads, Crocodile Shoes and many, many others.

More recently Harry enjoyed a wonderful Repertory season at the Theatre by the Lake in Keswick, appearing as Uncle Harvey in Alan Ayckbournes Season’s Greetings - ‘Harry Miller is fundamental to what success there is, playing the cantankerous uncle whose neo-fascist prejudices are all to readily exposed by domestic disruption.’ Liverpool Echo 6 November 2003. Harry also played Oscar in Simon Block’s dark comedy Not a Game for Boys to great acclaim and packed houses. ‘Harry Miller [gives] the finest of the three performances – a performance of quiet stillness, authority and poignancy.’ The Stage 14 August 2003.