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Topic: Philip in The Stage AGAIN! (Read 672 times)

carolann
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Philip in The Stage AGAIN!
« Thread Started on Jan 25, 2007, 10:41am »

What a nice surprise to see Philip featured once again in The Stage's SHOWPEOPLE. The article centres around the upcoming FOLLIES concert - and the last item is very tantalising!

Future plans?

"I won't say anything until they're official, except that they are at a complete right angle to what I've been doing."

« Last Edit: Jan 25, 2007, 3:35pm by carolann »

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carolann
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Re: Philip in The Stage AGAIN!
« Reply #1 on Jan 25, 2007, 3:34pm »

Here is the interview

Doing Evita, how are you finding time to rehearse for Follies?

Basically, I’m teaching myself the part in my spare time. We start rehearsals two weeks before the show. I’m also taking my holiday so I can go at it day and night the week before. There’s a lot of pressure with it being just for one night. Everybody has their favourite Sondheim and all the fans and experts come out. So we’ve got to get it right and make it fun.

Tell me about your role.

I’m now at the right age to play Ben. I love the darker aspects and the complexity. Some of the songs I sing seem to me to be at the core of the piece. I think it will work very well. By its nature it lends itself to people coming on and doing their concert piece. I’m looking forward to working again with Maria Friedman who plays Sally.

Your career has been so diverse.

It’s been a complete mixed bag and I don’t really have a preference. If you do one thing for too long it breeds bad habits. I try to keep moving. Too many musicals and your acting can suffer. Doing Shakespeare and classical theatre helps my musical acting. Film acting also helps musicals.

How do you maintain the magic of Evita over a long period?

Michael Grandage put together a great cast, which helps. Evita has evolved a lot. Eight weeks is never long enough to rehearse a musical and it takes a while to run them in. My role has certainly changed. I now play Peron with much more of an edge. You learn the rhythms of the show and become more relaxed.

How important was Les Mis to your career?

When we made the Symphonic Recording, it had only been done in three cities – London, New York and Sydney, and hadn’t quite become the leviathan it did. I’d always wanted to come here, after working with Trevor Nunn. It was my ambition to work with the RSC but Les Mis brought me here.

Future plans?

I won’t say anything until they’re official, except that they are at a complete right angle to what I’ve been doing.

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