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MILES PHILLIPS' SHOW AT MAMA ROSE'S DAZZLED!

"It's refreshing to watch a cabaret show with a tall, handsome, leading man who knows how to sing, but still doesn't take himself too seriously. Thankfully, Miles Phillips did just that in his lovely and entertaining show The Unrest Inside Me which just concluded an encore engagement at Mama Rose's. How it wasn't nominated for a MAC Award this year is inexplicable to me but perhaps Phillips doesn't have the time to play the popularity game so intrinsic to MAC voters. No matter; he'll just have to content himself with the knowledge that he doesn't need a statue to confirm his musical excellence which begins with a firm technique that includes superb phrasing and a burnished top register that rings with authority . . . As if that weren't enough, his taste is superb in picking repertoire that's interesting, unusual and unappreciated. Not just anybody can sing 'I Wish It So' by Marc Blitzstein or Michele Legrand's treacherous 'On My Way to You' with the ease Phillips can, always backed by the supple playing of Jason Wynn. Not to mention he's charming, funny and has the chutzpah to sing 'The Road to Morocco' with Wynn as an encore. Ya gotta love a guy like that. Pick up Phillips' terrific CD 'might as well be. . .' from his debut show at cdstreet.com "
David Hurst / Showbusiness Weekly

"Miles Phillips stirred up some enthusiasm among the cabarati – or is it cabarenti? – during his Mama Rose's turn the last few weeks, and the reason is plain. The good-looking blond fellow, who's as sure of himself as George W. Bush at a Republican Party fundraiser, sings in a robust baritone. He also may have impressed the patrons with his 'Unrest Inside Me' theme, a consideration of the conflict between following one's art and one's love that's much juicier on stage than it sounds in print . . . Phillips set out the potential for career versus romance in his second medley, Lionel Bart's 'Where Is Love?' and the Oscar Hammerstein II – Jerome Kern 'Life Upon the Wicked Stage,' and then stuck to it with a generous amount of invention. For R. Dworsky's 'Goin' to the Dance With You,' about a walk on the amorous side, he twirled with a ringsider. He got to the depths of his dilemma in 'I Wish It So,' the Marc Blitzstein song (from 'Juno,' Blitzstein's Broadway musical based on 'Juno and the Paycock') that includes the phrase Phillips took for the act's title . . . Phillips provided an easygoing act with intriguing undercurrents of harder going."
David Finkle / Backstage

"The quality level of shows in cabaret clubs around the city has been unusually high during the last month . . . the most ambitious of them comes courtesy of Miles Phillips. Called The Unrest Inside Me, it's an unusual mix of nonchalant attitude and intense, intelligent turns. The absorbing show centers on the trials and tribulations of a performer's life; among its highlights is 'Art and Love,' written by Phillips himself. The song displays yet another weapon in this entertainer's arsenal of talents, inclusive of charm, wit, and a lovely voice."
Barbara & Scott Siegel / TheaterMania.com

"One of cabaret's best singers . . . Glorious voice . . . well selected songs, emotionally landed each moment . . . I really enjoyed the whole emotional trip . . . loads of fun!! This talented lad's been gone far too long from New York's cabaret stages . . . welcome back, Miles, you've been missed!"
Michael Nelsen / MN Online