Standing at over six feet tall, Brian Tyree Henry possesses an inviting persona that is as immense as his height. His reassured presence enables him to keep a quiet and unassuming presence, even in high-profile places like the restaurant at New York’s Four Seasons hotel where he, as he informs me, is a frequent guest. The actor, admired for his performance as the rapper Paper Boi in the much-lauded drama ‘Atlanta’, communicates effortlessly with the staff. His humble interactions make them feel at ease, even with a celebrity amongst them.
Henry is presently involved in the promotion of his latest series on Apple TV+, ‘Dope Thief’. This gripping drama is directed by Ridley Scott and penned by Peter Craig. In this series, Henry plays Ray Driscoll, a former convict who has had his fair share of struggles. Along with his friend and one-time prison mate, Manny Carvalho (character enacted by Wagner Moura), Ray impersonates a DEA official to rob minor drug traders in Philadelphia.
The series, which is an adaptation of a book by Dennis Tafoya, portrays Ray’s gradual entanglement in the convoluted landscape of crime, deceit, and the constant struggle to stay afloat. Against this backdrop of chaos and secrecy, Henry’s character flourishes.
Donned in a lengthy black shirt and adorned with a collection of golden chains – one of them carrying an Africa-shaped pendant – Henry interacts in a potently profound baritone, reminiscent of lingering incense aroma. While savoring a plate of fries, he reflects on the moment his manager presented him the ‘Dope Thief’ script.
Henry felt an instant connection with Ray’s character and admired the bond shared by Ray and his comrade, Manny. Given the scarcity of series presenting male relationships, Brian noted the potential to usher in a fresh perspective through this role.
Despite his roles in several productions, he is often identified best for his portrayal of Paper Boi, also known as Alfred. His performance was most noted for the exceptional depth of empathy and charisma he imparted in the character.
A memorable journey took him back to his childhood home in North Carolina, accompanied by his two sisters. He recalls, ‘The house that felt enormous to me as a child now seemed small. It was a compact house, undisturbed by change.’ Brian’s perception of his father and their bond took a dramatic turn when he found his residence maintained as a memorial for him.
Henry realized the prominence of this aspect in shaping his early career. He used to ponder, ‘Do my parents have any anecdotes about my initial steps? Does anyone recall when I did that?’ As he lacked such childhood narratives, he was constantly seeking to understand his position in life and his eventual purpose. For a considerable time, he grappled with his need for validation rather than trusting in his self-worth.
In conversation with The New York Times, Moura acknowledged the profound emotional resonance in Henry’s performances. This quality is striking, even among a creative fraternity full of individuals deeply in touch with their emotions.
In ‘Dope Thief’, despite Ray’s persistent inner rage towards his father, his bond with his adoptive mother Theresa, elegantly portrayed by Kate Mulgrew, serves as a vital narrative arc propelling the story forward.
Henry’s portrayal of a convincingly British assassin named Lemon in ‘Bullet Train’ was another considerable addition to his diverse range of characters. His character’s ‘twin’ brother Tangerine, enacted by Aaron Taylor-Johnson, adds an interesting layer to the narrative. Henry shares a hearty laugh, recounting how director David Leitch encouraged the cast to experiment with their characters.
Towards the ultimate part of our interaction, Henry reflects on his favorite playwright, Tony Kushner. He vividly remembers his first encounter with Kushner’s celebrated work on the HIV/AIDS epidemic, ‘Angels in America’, and its profound impact on him.