About

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Miles Phillips is a multiple award-winning actor, director, nightclub vocalist and recording artist with appearances in theaters, clubs and concert halls from Honolulu to London. He has countless leading New York and regional theatre roles, numerous film and television appearances, many voice-overs and jingles, a popular solo album and a score of original and studio cast recordings to his credit.

An award-winning actor, Miles effortlessly jumps from classical theatre to musical theatre to concert halls to the finest nightclubs. He recently starred with some of Broadway's brightest in The Broadway Musicals of 1930 at Town Hall. Recent critically acclaimed theatre performances include Arthur in Camelot, Banco in the New York premiere of Ionesco's Macbett, Jameson in Dirty Rotten Scoundrels, Bassanio in both The Merchant Of Venice and the world premiere of its award winning new sequel The Doctor Of Rome, Cliff in Cabaret, Captain von Trapp in The Sound Of Music and Garry in Noises Off.

Phillips' acclaimed directorial ventures range from film to regional companies to New York theatre and cabaret, including serving as Artistic Director for Musical Theatre Renegades and The Hot Spot Theatre Company. Phillips received his graduate training with The American Conservatory Theatre and his MFA from The National Theatre Conservatory.

As a nightclub vocalist, Miles has been honored with multiple MAC Awards and twice honored in the category of Outstanding Cabaret Male Vocalist at the New York Nightlife Awards. His leading man charm, glorious voice and passionate artistry have established him as one of New York's most celebrated male vocalists.

And in the recording studio, Miles enjoys recording a variety of voice-overs and commercial jingles. His music discography is extensive, ranging from his acclaimed solo album "might as well be..." to over two dozen original and studio cast recordings, including celebrated performances as Robert in Company, Georges in La Cage Aux Folles, Officer Lockstock in Urinetown, Lumiere in Beauty And The Beast, Javert in Les Miserables, The Wizard in Wicked, Applegate in Damn Yankees, Nick Arnstein in Funny Girl, Albert in Bye Bye Birdie, Herbie in Gypsy, Amos in Chicago and, most recently, a thrilling turn as Tevye in a marvelous new Klezmer recording of Fiddler On The Roof!

 

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Miles' skills as a director and acting coach keep him in demand. With Auditions in full swing in Hawaii and on the mainland, Miles is busy coaching actors as they prepare to audition for theatre productions and acting programs across the country.

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Miles coaches in groups, one on one, and remotely, via video chat. For information about his availability and services, please send a message via the contact page.

 

 

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Probably the fever talking but something tells me that family reunion didn’t go exactly as we’ve been told… #LukeIAmYourDaddy #WhatsUpWithThisWeirdLightSaber? #YouCanLeaveYourHatOn #StarWarsDay2023 #MayTheFourthBeWithYouAndAlthoWithYou ✨🛸✨🌒✨🔦✨
Well fuck… 🤨🧪🦠 I’ve been SO GOOD and dodged this bugger for 3 years. Doubled Vaxed and Triple (Quadruple?) Boosted. So, praying for an easy go of it. I’ll take some good vibes if you have any to spare… #ItAintOver #LetsBeCarefulOutThere
OK, I really enjoyed Season One of Schmigadoon, but Season Two: Schmicago is so insanely good! I thought episode 3 was untoppable, but this week we got three fabulously different and absolutely perfect numbers “Talk to Daddy” a delectable mixture of “Rhythm of Life” & “Rich Man’s Frug” from Sweet Charity performed by Keegan-Michael Key & Cecily Strong and the Godspell/Hair/JSSS hippie tribe doing their best Fosse/Twyla, plus a truly beautiful “Love Song” style duet by Dove Cameron (I’m really constantly impressed with her talent) and the always swoonworthy Aaron Tveit as facsimiles of Sally Bowles and Berger/Pippin/Jesus, and THEN — Kristin Chenoweth and Alan Cumming as versions of Miss Hannigan/Mrs Lovett and Sweeney Todd stumbling upon a solution to both their respective problems (too many adorable orphans and not enough meat) in a brilliant/horrifying/hilarious/perfect/delicious/and SO wrong mélange of “A Little Priest” “Hard Knock Life” “Never Fully Dressed” and “Food Glorious Food” topped off with just a hint of “Turkey Lurkey Time” in “Good Enough to Eat!” You know that thing where you’re laughing/crying/coughing so hard and uncontrollably that you start to black out? Yeah it’s THAT great! 😂🤣🤪😂🥹🤣😵‍💫😵 And then there are the “What iconic mid-20th Century musical leading lady costume will Cecily Strong be casually/inexplicably referencing as she walks into a scene?” Easter Eggs. This week there were a couple, but the literal tip of the hat to Streisand in On A Clear Day was insane! 🌼 #GodThatsGood! #HurryItsLovelyInSchmicago https://youtu.be/Hd4B0nIuaTc
That thing when you suddenly notice the tangerine walls all around you… 🧡💖🧡 #FlashBamAlakazam #LanaiLife #LuckyWeLiveHawaii
Happy Easter! Come Sing About Love! — I’ve briefly mentioned this subject previously, I think in reminiscing about doing Godspell. But in light of all the hate and hateful legislation being heaped on LGBTQ+ citizens in the last year or so (all wrapped up in righteous religious superiority)… A friend shared an article from the Guardian today, which I’ll link for the curious. But here’s the gist. This exchange happened as Christ hung dying on the cross: "When Jesus saw his mother and the disciple whom he loved standing near, he said to his mother, 'Woman behold your son!' Then he said to the disciple. 'Behold your mother!' And from that hour the disciple took her to his own home. That disciple was John whom Jesus, the gospels affirm, loved in a special way. All the other disciples had fled in fear. Three women but only one man had the courage to go with Jesus to his execution. That man clearly had a unique place in the affection of Jesus. In all classic depictions of the Last Supper, a favourite subject of Christian art, John is next to Jesus, very often his head resting on Jesus's breast. Dying, Jesus asks John to look after his mother and asks his mother to accept John as her son. John takes Mary home. John becomes unmistakably part of Jesus's family.” When I did Godspell back in the 80s, I based my apostle on John for that very reason. Nobody knew but me (I may have told the actor playing Jesus, but I’m an advocate for actors having secrets, so possibly not…). I actually put my head on Jesus’ shoulder at a certain point in the choreography of my solo “We Beseech Thee.” It was framed in “cute” but I knew what I was referencing. Back in those days we did things in code, sort of like drawing a fish in the dirt... ✝️ #ComeSingAboutLove #WeBeseechTheeHearUs https://www.theguardian.com/commentisfree/belief/2012/apr/20/was-jesus-gay-probably?fbclid=IwAR2hHXsmYndascyaTWmOke83Pxf53g9Z9jQb1jTchOebf_sS5PwjDDbK5r8&mibextid=Zxz2cZ
 

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