“Beatrice is no slave — in fact, she has one named Makeda (the quick-as-a-whippet, gloriously dynamic Harriett D. Foy) — but she is a placée… What ultimately carries the show are its performances, especially those of Gravátt, who’s truly a force to be reckoned with, and Foy, whose fierce intelligence and boundless energy — sometimes meticulously controlled and sometimes let rip — bring heat and focus to every scene she’s in.”

~ on The House That Will Not Stand at New York Theater Workshop ~

“In between Thomas’ appearances, there are the bold performances of Gravatt and Foy. Gravatt embodies the commanding matriarch from hell, but like the worst of mothers she never fails to make perfect sense. And as the slave who has served her well, Foy manages to be alternately noble, venal, supersmart and demented, and occasionally she’s all those things at once. It’s a performance not to be missed.”

~ on The House That Will Not Stand at New York Theater Workshop ~

“Makeda, rumor has it, is skilled in the sinister arts of voodoo. But what she’s channeling here is a spirit of pure divinity. And as Ms. Foy rides the bucking rhythms of Makeda’s journey through the past, present and future of African-Americans, she achieves an exaltation that lifts her and the audience into the empyrean… There is also, just so you know, a real ghost, that of Lazare Albans, Beartrice’s late lover, whom she may or may not have murdered the day before. He inhabits the body of the remarkable Ms. Foy’s Makeda, and he is a vibrant, insufferably sneering and oppressive specter.”

~ on The House That Will Not Stand at New York Theater Workshop ~

“Gardley’s brilliant, imposing protagonist, the matriarch Beartrice (Lynda Gravátt), is a free woman of color who, under the French practice called plaçage, lived as a white man’s common-law spouse, commanding an elegant house and enjoying the compulsory labor of the enslaved Makeda (a stunning performance by Harriett D. Foy).”

~ on The House That Will Not Stand at New York Theater Workshop ~

“Harriett D. Foy is phenominal as principal character Rosie in Mamma Mia! now on Broadway”

~  on Mamma Mia! – Broadway ~

“But the encounter stirs something. Oscar begins to see the ghosts of his wife, Viola (Harriett D. Foy); his daughter, Darlene (La Tonya Borsay), and Marcus, when he was a squirmy boy of 10. Reflection breeds insight. Ms. Foy is voluptuous and sensual as the ghost of the young Viola, but she can never top her entrance as another character: the self-possessed child Tanisha Taylor, jumping rope and singing about her parents’ strange behavior at church.”

~ on Dance of the Holy Ghosts by Marcus Gardley – Yale Rep ~

“And in their headwear, striped, veiled or brightly colored, with broad, jauntily angled or even removable brims, adorned by white roses or peacock feathers (”I look for a hat with the right amount of stuff on it”), they look just gorgeous. Their voices share an earthy power. Ms. Foy (someone should write a show for her) has an especially unusual vocal tone, a kind of melodic lowing that gives her voice the fetching swagger to match her stage presence.”

~ on Crowns by Regina Taylor ~

“The show would not be anywhere nearly so successful, however, were it not for Harriett D. Foy, who plays Big Sweet, the combative, strong-hearted woman who is the unofficial mayor and sheriff of the sawmill camp. She is Lonnie’s woman, and she is willing to use any method of intimidation to ensure that stays the case (though Lonnie has his doubts); she defends everything that belongs to her with the same vehemence. Indeed, the play opens with her knocking the tar out of the good-for-nothing Nunkie (Rudy Roberson), who evidently swindled Lonnie out of six dollars. Ms. Foy’s stocky build and unusual, richly textured singing voice give Big Sweet a swagger that can both impersonate manliness and effect a salty femininity. Hers is a large, earthy, bold and highly engaging performance in a terrific woman’s role.”

~ on Polk County at Arena Stage ~