"But the play finally comes to life with the arrival of Zack (Peter Collier), an arrogant and irreverent young artist whose Know-it-all attitude is affirmed by the fact he is pursued by New York’s hottest agents. Collier’s exchanges with Pendleton are hilarious and work on many levels....For my money, the two-and-a-half hour, six-person play is worth sitting through if only to see this excellent scene between Collier and Pendleton"
                               Ken Kaissar, Theatre Is Easy (Consider the Lilies)

 "Peter Collier and Kara Young as Carter and Dominique were explosive. An unlikely duo to be in control, Collier and Young took command. They were a dynamo."
Michael Block, Theater in the Now (Chokehold)

"Collier, on the whole, is a moving Harry of England (as the French call him), worthy of the loyal subjects with “lean-lank cheeks and war-torn coats” who fight for him when all seems lost."
Lore Croghan, Brooklyn Daily Eagle (Henry V)

"...and Dani’s new, much younger lover Gary (a very effective and funny Peter Collier)."
Jon Sobel, blogcritics (City Girls and Desperadoes)

"Collier’s revolving door of various characters (in addition to Fortinbras) allow him to showcase his ability to believably inhabit disparate characters in short order."
Sergei Burbank, NY Theater Now (I, Horatio)

"Peter Collier, as the misunderstood and volatile son, gives a viscerally commanding performance, especially in Act III"
Navida Stein, StageBuddy (The Skin of Our Teeth)

"The highlights in the bunch included Peter Collier's Farquad-esque Fortinbras [who] adopted some strong mannerisms that emphasized the absurdity of the character."
Michael Block, Theater in the Now (I, Horatio)

"The less mature but highly charged Peter Collier at 26 is the same age as Henry in this moment of English history and plays the kingly role with increasing assurance, dispensing his lethal condemnation of the trio of traitors unmasked in the first act, thundering his answer to the Dauphin’s mocking gift of tennis balls, rallying his men urgently at Harfleur – “once more unto the breach dear friends! – and finally, climactically at Agincourt with the famous St Crispin’s Day speech – “gentlemen in England now a-bed, Shall think themselves accursed they were not here!” – with flair and without bombast, a difficult trick given the anachronistic flavor of battle fervor in these contemporary times."
Anthony Liversidge, Talk In New York (Henry V)



"All three of these fine young actors deliver expert, nuanced performances"
Martin Denton, Indie Theater Now (A Thousand Deaths)

"It's an unexpected delight to know that all the band members are actors cast as musicians. An outstanding group of talents who seem to have been playing together for years."
Anna Orlova Flores, New York Theater Review (Richard III)