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Dangerous Corner (director)
Emeott's direction keeps the actors all on the same page, in terms of the style of presentation for the play,
allowing for the optimal cohesiveness of plot and character development. And the performances are among
the most winning elements of the production. I usually find fake British accents insufferable, but the entire
cast handles the dialect with ease and without pretension. (...) There is, of course, a lot to recommend
here, so I urge you to see Dangerous Corner for a ripping good time. — Larry Kunofsky, nytheatre.com
Thanks to the wonderful revival it's being given by Boomerang Theatre Company this September, it is edg-
of-your-seat-thrilling theatre. Direction by Philip Emeott (whose work I have enjoyed before, both as an
actor and director) kept things moving and brought out all the subtext wonderfully.
— Duncan Pflaster, broadwayworld.com
A Butterfly on the Antenna (actor) - Havel Festival 2007
"Butterfly on the Antenna is an excellent parable that seems still relevant today as an absurd kitchen sink
intellectual comedy, especially because director Henry Akona has a fresh perspective on this formerly
politically-charged text. Moreover, actors Dawn Jamieson, Philip Emeott, and the wonderful Liz Wisan bring
lots of energy and personality to the characters, infusing the production with rhythm and power."
— Saviana Stanescu, nytheatre.com
The Last Spoken Word (director) - New York Fringe Festival, 2006
"Both actors are committed and compelling under Philip Emeott's brisk direction. Ann Warren's sound
design includes an out-of-control water pipe that contributes an effective running joke to the proceedings.
The uncredited set is terrific." — Martin Denton, nytheatre.com
King Lear (director)
"Under the economic and astute direction of Philip Emeott, the actors... execute their roles with daring,
skill and truthfulness." — Fred McKinnon, onoffoff.com
All-In-One: The Mystery at Twicknam Vicarage (director)
"Directed by Philip Emeott; he and the cast (and audience) clearly had as much fun with this as the
author did." — Louis Lopardi, artzine.org
All-In-One: Well-Laid Desert (actor)
"We know these people intimately, thanks in large part to this intelligent and talented trio’s ability to
delineate their characters within an uncanny five seconds. Philip Emeott, a powerfully focused actor, played
Jim." — Louis Lopardi, artzine.org
Measure for Measure (actor)
"Philip Emeott steals every scene he’s in as the very mercenary, very tacky bawd (pimp) Pompey and then
turns up later as sedate Friar Peter." — Liz Kimberlin, nytheatre.com
"The male comedy trio (Philip Emeott as Pompey, Brad Fryman as Elbow, and Jarel Davidow as Lucio)...
were unabashed and uninhibited. They stole each of their scenes, turning the production into a near-
triumph of comedic timing and broad physical hyperbole. " — Jenny Sandman, oobr.com
Burning the Old Man (actor)
2005 Nominee for Outstanding Actor in a Featured Role, NY Innovative Theatre Awards
nyitawards.org
Goodman and Emeott were hilarious as the kooky, in-touch-with-themselves hippies. Both showed
charming comic talent that turned into deep meaning by the end." — Seth Bisen-Hersh, oobr.com
"'Love is evil spelled backwards and wrong.' So says Earth, an introspective New Age hippie who is one of
the unlikely characters stuck for the night in a remote Nevada motel in Kelly McAllister's magnificent new
play Burning the Old Man. He also says that most things in life "take short" (as opposed to long); he's a
guy who is searching for words to live by... As Candy and Earth, Christine Goodman and Philip Emeott are
spectacularly good, revealing the essential earnestness and intelligence of this pair of hilariously dippy
eccentrics." — Martin Denton, nytheatre.com
A Midsummer Night's Dream (director)
"Director Philip Emeott chose to set the Boomerang's production in the 1950s. There's no readily
discernible connection between 1950s pop culture and the comic antics of ancient Grecian faeries, but the
time jump did make for a bit of fun. The mischievous faeries, for example, were portrayed as a gang of
greasers with Oberon somewhere between John Travolta (circa Grease) and James Dean. The Athenians
were, of course, reminiscent of S.E. Hinton's Socs. The '50s period costumes (well-designed by Carolyn
Pallister) were augmented with strap-on butterfly wings for the faeries, which gave the greaser theme a
touch of light-hearted goofiness." — Charles Battersby, oobr.com
"Under the specific and precise direction of Philip Emeott, the company does not simply use the area that is
marked as the stage. The entire park becomes their canvas. As one scene finishes, another is starting...
This Midsummer is set in 1950s New York, which allows for a clever twist in the fairy sub-plot. The studly
Oberon is backed up by his T-Bird-esque posse, while Titania flits around with the airy world's answer to
the Pink Ladies... Puck is adored by the female fairies like a member of the Beatles, and even the oft-
forgotten Philostrate grabs our attention in the shape of an old-fashioned secretary.
You will have many opportunities to see the Bard's works performed all over the parks of New York City
this summer. Just make sure you do not miss this one. " — Rebecca Halpin, offoffonline.com
Road to Nirvana (actor)
"He showed his versatility in his scene with Nirvana (Adria Woomer), running a gamut of emotions in a
matter of minutes. " — Jenny Sandman, oobr.com
3 Themes Every Child Should Know: Amortus, Ed R and His Sack of Beans, and the Fish That Went Up
a Mountain and Spilled Milk in His Pajamas (actor)
"When suddenly arrives an aquatic deity, yearning for the things he cannot have. His makeup is impressive
and his acting adds some illumination to the play." — Jared Robinson, nytheatre.com
Henry IV, Part One (actor)
"Dowglas (wonderfully performed by Phillip Emeott with a straight-faced “Groundskeeper Willy” accent)."
— Charles Battersby, oobr.com
Love's Labor's Lost (actor)
Philip Emeott impressed with his hilariously lewd Costard. There were some genuine, laugh-out-loud
staging bits (any scene involving Emeott and Zes)." — Doug DeVita, oobr.com
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