David Phipps-Davis

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The Importance of Being Earnest, Tabard Theatre 2019

"Phipps-Davis’ eloquent production... is a delicious dish of delectable theatre... a production of great charm... a show not to be missed... super-silly but captivating production." - Susan Stanley-Carroll, www.chiswickw4.com


Le Comte Ory, Dorset Opera Festival 2017

"Dorset Opera delivered the composer's adieu to comic opera with unforgettable panache... Phipps-Davis duly aimed his staging straight at the funny-bone... the visual humour was broad and bracing, and Phipps-Davis then surpassed himself in Act 2's saucy and briskly choreographed threesome scene... The strongly directed chorus... added many sharp-eyed details." - Peter Reed, Opera magazine

"Phipps-Davis’ production is refreshingly unpretentious... Phipps-Davis’ greatest achievements was his skilful management of a large cast and the great humour he drew from them. Timing was precise, expressions were arch and the handling of the Act 2 trio, with a hilarious co-ordinated threesome, not to the mention the appearance of a large (stuffed) sheep, was supremely funny... what really struck me was the quality of physical performance, with lifelike interaction between the singers... This was a production at which Rossini himself would have chuckled." - 4 stars. Dominic Lowe, www.bachtrack.com

"Dorset Opera... has never performed a Rossini opera until now... and many will say that the current David Phipps-Davis production has been worth the wait... it is huge fun... the witty surtitles and a truly hilarious bed scene in the second half sent the audience smiling into the night, after a joyous romp that challenged the DO L’Elisir D’Amore of 2015 for sheer fun." - GPW, www.theftr.co.uk


Macbeth, Dorset Opera Festival 2016

"Phipps-Davis’ production at the Dorset Opera Festival was in the traditional mould, and what a fun production it was... with a real sense of coherence: staging, casting, orchestra and chorus all gelled together to produce a thoroughly enjoyable evening of music." - 4 stars. Dominic Lowe, www.bachtrack.com

"Among many intelligent and insightful ideas of the director, I particularly liked the inclusion of Macduff’s family in the big banqueting scene... Seeing them as a family, and his evident love of them, hugely intensifies the horror of the massacre to come... The chorus was wonderfully used in the banqueting scene... The effect of the king’s ‘fits’ is intensified when seen on the faces of a large and increasingly frightened gathering. This was a powerfully sung and acted Macbeth." - FC, www.theftr.co.uk


L'elisir d'amore, Dorset Opera Festival 2015

"As the audience flooded out of the Coade Hall at Bryanston School on Saturday afternoon, a universal smile of happiness on their faces, it was clear that the 2015 production of Doni­zetti’s L’Elisir d’Amore was a triumph. It was one of those productions where everything gelled, a delight for the ears and the eyes and a confirmation that comic opera need never be a sellout... this was an afternoon at the opera to the cherished. Director David Phipps-Davis had the inspiration of moving the setting from its original Italy to Dorset in wartime, with American soldiers charming the local girls and showing up the Dad’s Army Home Guard... With strong characterisations by members of the Dorset Opera chorus, and direction which made clever use of the whole circular stage and the auditorium too, the production was evidently as enjoyable for the company as for the audience." - GPW, www.theftr.co.uk


An Ideal Husband, Tabard Theatre 2014

"In this smashing new production of Oscar Wilde’s witty political and social satire, the action has been shifted to the 21st century... It works very well... A strong cast coupled with Phipps Davis' tight direction carry it off magnificently. It’s great stuff and a rare opportunity to see a new slant on a classic..." - Penny Flood, www.chiswickw4.com


Who Will Carry the Word?, Brockley Jack Theatre 2011

"This is pared-back, visceral theatre... This play has to take the cast and the audience to the very edge of what it is possible to endure, and over it. That it succeeds so much is a tribute to all concerned, but especially David Phipps-Davis. What he has had to do is to strip the performers of all emotional props, all the little tricks and mannerisms which actors rely on, to give an unforced directness... a work of great courage and commitment, generous ensemble playing and lacerating emotions. This is a big, important play which both grips and cleanses." - 4 stars. Peter Scott-Presland, www.remotegoat.co.uk


The Way of the World, Barons Court Theatre 2010

"David Phipps-Davis's confident direction leaves set and props to the bare minimum, gimmicks and tricks out completely and gives the actors the freedom to simply tell us the story… a thoroughly enjoyable and intelligent production." 4-stars. Susan Moisan - www.remotegoat.co.uk


Silence! - the musical, Barons Court Theatre 2009

"an intellectual hoot and gripping through its sleek direction and execution by the actors… a great show, with a fabulous cast." 5 stars. Leon Campbell - www.yelp.co.uk


Romeo and Juliet, Barons Court Theatre 2009

"Romeo and Juliet has been updated, and re-imagined, and yes, it's a good thing… The performances and direction are strong. And the vision is original. I have respect for a company who is so brave with such a well known and well loved play… This production manages to bring an inspired new slant to a well worn classic without feeling like it's forced a strange or unlikely structure onto it… If you want to see an inspired and brave interpretation of a classic, I recommend you come and see this." 4 stars. James Bretton - www.remotegoat.co.uk

License & Passport

Skills

Secondary Job Title	Writer
Job Titles	Writer, Director, 1st AD (Assistant Director), Casting Director, Talent Manager, Teacher
Years in industry	6+ years
Organisations / Memberships	Equity (UK)