Two By Friel

The Irish Repertory Theatre

"All four actors are excellent in roles that demand wit and emotional range.”

The New Yorker

"All four actors do strong work… there is serious and quiet pleasure to be had in that tiny room: Some tempests are best seen in teapots.”

TimeOut (Recommended)

Gorey: The Secret Lives of Edward Gorey

The Sheen Center

"The offbeat illustrator proves a rich subject for a play [...] The three constantly interact with each other, a lovely way to suggest Gorey's inner questioning."

The New York Times (Critics' Pick)

"The playwright and director Travis Russ has devised a brilliant solution for dramatizing this contradictory and solitary man: three actors, all of them excellent and in perfect tune with one another, play the artist simultaneously at three different ages."

The New Yorker

"The Secret Lives of Edward Gorey (handsomely produced by Life Jacket Theatre Company) is a visit to an old friend who always amuses and sometimes surprises."

TimeOut (Four Stars)


Compass Rose Theater

"Gillen delivers lines flawlessly, adding unsuspected meaning to the fabled 'to be or not to be' soliloquy."

The Baltimore Sun

"Hamlet (Phil Gillen) is a joy to watch [...] He delivers the famous soliloquies brilliantly."

DC Metro Theater Arts

"Phil Gillen is marvelous in the titular role. There are moments of sheer brilliance in his soliloquies and several more inspiring ones felt during moments shared with Horatio."


"Gillen is a first-rate actor. We get, from Gillen’s pained and dewy-eyed delivery, not only Hamlet’s world-sickness but also his impotence, and his feeling of self-disgust over that impotence. "

DC Theatre Scene

Gorey: The Secret Lives of Edward Gorey

HERE Arts Center

"Andrew Dawson, Phil Gillen, and Aiden Sank are like a tall glass of lemonade on a sweltering day. Not only are they amazing performers on their own, but in these circumstances they are vital and their talents add so much to the experience."

Theatre is Easy

"The youthful and intense Mr. Gillen as “Gorey #3,” wearing chinos, blue blazer and a red tie, hauntingly conveys the anguish and volatility of a struggling sexually and socially uneasy WASP’s life journey.  With his voice periodically cracking and his animated presence he is quite moving."


New York International Fringe Festival

"Phil Gillen rules. Gillen is a natural with a charming ease about him. Devo is slightly geeky yet heroic. Gillen was just that."

Theater in the Now

A Happy End

Abingdon Theatre Company (Off-Broadway)

"An excellent team of actors"

The Huffington Post

"It becomes impossible not to sympathize with their son Hans, played brilliantly by Phil Gillen."

James Armstrong, Playwright

"Gillen makes Hans' story real and believable."

Times Square Chronicles

Drunk Shakespeare

Quinn's Pub (NYC Theater District)

Broadway Box Interview


Underling Productions

"This Hamlet, played nearly pitch perfect by Phil Gillen, is not the moodiest Prince of Denmark, but he sure is the most sarcastic and excitable. His acid-tongued wit bounces boisterously off the walls and onto the other characters. His scenes of mania are brutal, fascinating, and very calculating. He is authentically a young man grieving his father’s death, and the performance hits those emotional notes."

Punk Rock

Zeitgeist Stage Company

"As William, Gillen is charming and utterly believable, even when his imagination starts to spin out of control."

The Boston Globe

"Gillen is at ease in the many variations of William's persona, from bright-eyed to longing, from defensive to aggressive, from fearful to commanding, and does a great job of foreshadowing behavior changes without tipping his hand."

Talk Radio

Harvard University

"Gillen does a truly impressive job revealing Champlain’s bitterly disjointed moods. At times, he bellows and storms around the studio, electrifying the air with a seemingly limitless surge of caustic disgust aimed at his friends, his listeners, and himself [...] It is in the still moments that Gillen shines most brightly: his voice alone boils with rage and fear while his body stays frozen and tense behind his desk."

The Harvard Crimson