Thaddeus Phillips is a theater director, performer, set designer, and 2002 Pew Fellow whose creations often juxtapose the everyday with the extraordinary. An imaginative storyteller, Phillips says he views theater as a "liquid art form" and "the stage as a transformational space." His work has been presented in the US and abroad at numerous venues and festivals, including the BAM Next Wave Festival, New York Theatre Workshop, the Perth International Arts Festival, and the Edinburgh Festival Fringe. Center-funded work by Phillips includes Red-Eye to Havre de Grace, an action-opera based on Edgar Allan Poe's final days, which was hailed as "among the most original musical theater works I've seen in years" by The New York Times critic Charles Isherwood. In Microworld(s), a solo piece about a Serbian immigrant, audience members powered the lights by bicycling in the lobby. A recipient of a 2016 Doris Duke Performing Artist Award, Phillips earned his BA from Colorado College in Colorado Springs and attended Charles University Theater Academy in Prague. In 2016, Phillips received Center support to devise A Billion Nights On Earth, a visual theater work for children and adults that will blend performance art, pop-up storybook design techniques, and a cinematic score.
Independent artist Thaddeus Phillips created, developed, and performed Microworld(s), a two-part world premiere solo work about a Serbian immigrant. In part one of this piece, the famed Nakagin Capsule Tower is about to be imploded. Resident of Capsule #33, Milo Dukanovic, and his rubber ducky, Fumio, refuse to leave. Set inside a replica of a Japanese capsule living pod, the play depicts their last day in the Tower, where Dukanovic ponders the innovations of Nikola Tesla, micro-architecture, recycled classical texts, and the possibilities of the future. In part two, Dukanovic travels across the Pacific to Brazil, where he dreams of starting a shadow-puppet theater on the back of a bicycle. The audience provided energy to run the lights for the show by riding a stationary bike that charged a battery in the lobby.
Microworlds(s), retitled Capsule 33, was subsequently performed at TheatreWorks in Colorado Springs and at the Barrow Street Theatre in New York City, where power for the sound came from smashed iPhones. The Denver Post described the piece as "smart theater for a new generation of theatergoers, a model of efficiency and theatrical ingenuity."