Robin Phillips’ career tracks three paths: Performer; Writer; Producer. PERFORMER: singer, actress, narrator. WRITER: journalist, graphic artist; playwright, screenwriter. PRODUCER: plays, films, cabaret.
Member, National Press Club; Founding Member, National Speakers Association, D.C. Chapter (1983); Corporate Member, Women in Film and Video; Narrator/Living-Breathing-Subtitle for Opera Camerata in Washington, DC since 2013.
Her professional career began with a decade-long journey across Europe, studying with the greats at the Royal Academy of Dramatic Arts and the Webber Douglas Academy in London, being coached by the finest voice masters in Bavaria, mastering fluent French and German along the way, performing continuously both as a singer and actress in the U.S. and in Europe.
Of course, the fact that she was raised the daughter of a prominent American Diplomat in Europe, and was educated in Embassy schools, ensured she had the experience and confidence to direct her own career. A “Citizen of the World,” Robin has lived, worked and studied for almost twelve years in Washington, DC, Bonn, Wiesbaden, Munich, London, Sydney, Ville Franche-Sur-Mer, Nice, Brussels, and Monte Carlo.
Returning to the U.S., she performed with the Wooly Mammoth Theatre Company, the Lazy Susan Dinner Theatre, etc. And worked in Public Relations in the Association market. She was a founding member of the DC Chapter of The National Speakers Association. She became a journalist covering society and fashion for “Washington Life,” “Quarante, The Magazine for the Woman who Has Arrived,” “Washington Entertainment,” where she was also Editorial Director. She produced acting and commercial classes for the Panache modeling agency. She appeared as onscreen talent for Convention Network, Julian Bond, anchor.
After not getting cast in one theatrical role, undaunted, Robin began producing and starring in her own Way Off Broadway shows -- “Love Makes The World Bank Go Round!” and “Selling: You’ve Gotta Have Heart!”
She produced “An Evening in Vienna,” at the Mayflower Hotel before President Reagan’s entire Cabinet. Le Neon, the French American Theater Company, tapped Robin to play three roles: a French, a Spanish and a German cabaret singer in their World Premiere of “Jules & Jim.”
Robin ran off with the rave reviews: “Robin Phillips is the reason to go see this play.” Sitting backstage she knew she could write a better play. This is when her shows evolved from ‘industrial theatre’ to full blown stage plays.
She researched, wrote and produced her first stage play, a musical review of the greatest French artistes of the 20th century: “Les Papillons de Nuit: The Music Halls of Paris, 1900-1960.” It was a smash hit, sold-out, success. The next critically-acclaimed play she wrote, produced and starred in, was “Agatha SINGS!”
RAVE REVIEWS FROM SOME OF THE PLAYS WRITTEN, PRODUCED AND STARRED IN BY ROBIN PHILLIPS:
“Researched and scripted by Robin Phillips, who also plays the role of Christie “Agatha SINGS!” is a theatrical and musical tour de force…In her portrayal of four stages in Agatha Christie’s life, her acting is even more impressive than her singing.”
--Joseph McLellan, The Washington Post
“There is no other show in town remotely like “Agatha SINGS,” a rich array of drama, comedy, mystery and music...It communicates its fascinating story with power and elegance...(Christie) considered singing her true vocation. This gives Phillips an opportunity to season the show with some 30 vocal numbers, keyed to the plot and including opera, lieder, folk music in several languages and popular songs from two thirds of the 20th century…(a) musical and theatrical tour de force.”
--Joseph McLellan, The Washington Post
“Phillips possesses a crystal-clear voice and a facile ability with various languages and dialects. The overall effect is marvelously engaging...The expression ‘tour de force ’accurately describes Phillips ’mastery of various musical styles but it does not adequately capture the intimate nature of the exploration of her subject...it is a one-of-a-kind evening of theater.”
--Michael Toscano, The Washington Post