ACTING AND MUSICAL THEATRE
Philip has an interest in the “connections” between performance mediums; looking at why actors are great both on screen & theatre, including those multi-skilled from musical theatre. He understands the link & explores fundamentals of cross training principal, & why its powerful for professionals.
At the core of Philip Quast’s teaching is a holistic approach to acting including work to help restore the confidence of actors who have been bullied and have had traumatic experiences in the work place. Working from various source material, Philip gives the actor practical strategies to help boost speed of thought; increase their confidence with memory; as well as finding ways to balance technique with instinct. Philip also has a reputation for finding ways to help the actor understand and break habitual behaviour in order to free themselves. He believes that all actors, once given permission and the tools to “slow down”, can improve beyond measure.
As an Australian actor, Philip believes it’s essential to listen and learn from our masters.
Throughout his career Philip has divided his time between London and Australia. Productions in which he has played leading roles include The White Devil, Loves Labour’s Lost, (British and Tokyo Tour) The Secret Garden (cast recording), Macbeth, Troilus & Cressida for the Royal Shakespeare Company, and the critically acclaimed Waiting for Godot for the Sydney Theatre Company. His Film and television credits include Hacksaw Ridge, Janet King; Truth, The Devil’s Double, Clubland, Caterpilla
1994 – MO Awards – Male Musical Theatrical Performer & “Kevin Jacobsen” Theatrical Performer
1993 – Sydney Theatre Critics Award – Best Actor (Into the Woods)
1988 – Sydney Theatre Critics Award: Best Actor of the Year (Les Misérables)
2011 – Nomination, Sydney Theatre Awards – Best Performance in a Supporting Role in a Musical (Mary Poppins)
2005 – Nomination, Sydney Theatre Awards – Best Actor in a Lead Role (The Cherry Orchard)
2005 – Nomination, Mo Awards – Best Male Actor in a Play (Democracy)