‘A genuine televisual and theatrical event’
The Times (on Flood)
“Something remarkable has happened at Hampstead Theatre. A young, first time playwright called James Phillips has burst on to the scene with a brilliantly assured drama of ideas and passions, one that captures the hysteria of the McCarthyist Cold War era while glancing at the extremist moods of our own times. The fact that he’s also directed his debut with exemplary panache makes one almost green with envy. But talent this exciting demands to be applauded… The Rubenstein Kiss struck me as a marvel: ambitious, complex, intelligent.” Daily Telegraph (on The Rubenstein Kiss)
“The London that exists in the mind of James Phillips.. is a wondrous, languid place made of silky metaphor…. seductive and consistently well-acted production”- New York Times (on City Stories)
“You MUST see this. You have never seen anything like it. It is life changing”- Tony Visconti: Producer of David Bowie (On City Stories)
“James Phillips’s script is a smart piece of work, superimposing elements of mythology on to a near-future dystopian tale of “a world where people have decided that the best way to go forwards is to go backwards”: a provocative vision of how riskily we might reinvoke “British values”” Financial Times (on ‘Camelot’)
“A State of the Nation Parable” – BBC Arts (on Flood)
“by the end I wasn’t just gripped, or absorbed, but humbled”- *Exeunt Magazine (on Flood)
“A visually stunning, and deeply moving, drama about belonging… Its poetic script creates a strange, modern fable – where the sea, a source of riches for the fishing crews, can also dredge up great dangers.” – Will Ramsey, The Stage (on Flood)
“James Phillips’s clash of near-future and Arthurian legend imagines patriotic nostalgia taken to extremes, if your nerves can take it… a taut 28 minutes of intrigue and action.” The Guardian (on The Good Book)
“wonderfully phantasmagorical… exquisitely written and performed”- A Seat on the Aisle (On City Stories)
“A gem of a piece of writing”- BritishTheatre.com (On City Stories)
“With the scintillating score and eloquent prose, City Stories is worth experiencing no matter where you call home” -StageBuddy (On City Stories)
“Positively Enchanting”- New York Theatre Review (On City Stories)
“one of the most touching seduction scenes I’ve ever seen on stage” The Daily Telegraph (On Hidden in the Sand)
“James Phillips’ impressive new play… a playwright to watch” Whatsonstage.com (On Hidden in the Sand)
“Phillips is a skilled playwright . . . Hidden in the Sand ultimately reveals itself to be a thoughtful meditation on forgiveness, reconciliation and moving on.” – The Stage* (On Hidden in the Sand)
The Times (on Flood)
“Something remarkable has happened at Hampstead Theatre. A young, first time playwright called James Phillips has burst on to the scene with a brilliantly assured drama of ideas and passions, one that captures the hysteria of the McCarthyist Cold War era while glancing at the extremist moods of our own times. The fact that he’s also directed his debut with exemplary panache makes one almost green with envy. But talent this exciting demands to be applauded… The Rubenstein Kiss struck me as a marvel: ambitious, complex, intelligent.” Daily Telegraph (on The Rubenstein Kiss)
“The London that exists in the mind of James Phillips.. is a wondrous, languid place made of silky metaphor…. seductive and consistently well-acted production”- New York Times (on City Stories)
“You MUST see this. You have never seen anything like it. It is life changing”- Tony Visconti: Producer of David Bowie (On City Stories)
“James Phillips’s script is a smart piece of work, superimposing elements of mythology on to a near-future dystopian tale of “a world where people have decided that the best way to go forwards is to go backwards”: a provocative vision of how riskily we might reinvoke “British values”” Financial Times (on ‘Camelot’)
“A State of the Nation Parable” – BBC Arts (on Flood)
“by the end I wasn’t just gripped, or absorbed, but humbled”- *Exeunt Magazine (on Flood)
“A visually stunning, and deeply moving, drama about belonging… Its poetic script creates a strange, modern fable – where the sea, a source of riches for the fishing crews, can also dredge up great dangers.” – Will Ramsey, The Stage (on Flood)
“James Phillips’s clash of near-future and Arthurian legend imagines patriotic nostalgia taken to extremes, if your nerves can take it… a taut 28 minutes of intrigue and action.” The Guardian (on The Good Book)
“wonderfully phantasmagorical… exquisitely written and performed”- A Seat on the Aisle (On City Stories)
“A gem of a piece of writing”- BritishTheatre.com (On City Stories)
“With the scintillating score and eloquent prose, City Stories is worth experiencing no matter where you call home” -StageBuddy (On City Stories)
“Positively Enchanting”- New York Theatre Review (On City Stories)
“one of the most touching seduction scenes I’ve ever seen on stage” The Daily Telegraph (On Hidden in the Sand)
“James Phillips’ impressive new play… a playwright to watch” Whatsonstage.com (On Hidden in the Sand)
“Phillips is a skilled playwright . . . Hidden in the Sand ultimately reveals itself to be a thoughtful meditation on forgiveness, reconciliation and moving on.” – The Stage* (On Hidden in the Sand)