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Tue. Jan 25th, 2022
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If you want to know about Phillipa Soo’s real phone number and also look for Phillipa Soo’s email and fanmail address then, you are at the correct place! We are going to give you the contact information of Yungblud like her phone number, email address, and Fanmail address details.

Phillipa Soo Contact Details:

REAL NAME: Phillipa Soo
NICKNAME: Phillipa Soo
DOB: May 31, 1990
BIRTHPLACE: Libertyville, Illinois, United States
NATIONALITY: American
BIRTH SIGN: Gemini
PROFESSION: Actress
FATHER: NA
MOTHER: NA
SIBLINGS: NA
SPOUSE / HUSBAND: NA
CHILDREN: NA
INSTAGRAM: https://www.instagram.com/phillipasoo
TWITTER: https://twitter.com/phillipasoo
FACEBOOK: NA
YOUTUBE CHANNEL: NA


Phillipa Soo Bio

Phillipa Soo was born on May 31, 1990, in the town of Libertyville, Illinois, in the United States of America. Her father worked as a doctor, and her mother was a passionate art collector and aficionado. While her father was of Chinese descent, she was of European-American descent and was born and raised in the southern Illinois town of Springfield. Soo has been encouraged to pursue a career in acting since a young age. Her grandmother was a concert pianist, and she wished for Soo to have a similar background in music. Soo began by learning to play the piano but soon became interested in singing.

However, despite her musical prowess, she did not disregard her education, as her family believed that it was a crucial part of growing up. Soo attended Libertyville High School from 2004 to 2008, after which she enrolled in the acting department at the Juilliard School in New York City. In 2012, she received her bachelor’s degree from the institution. Phillipa Soo announced her engagement to actor Steven Pasquale in February 2016. On September 24, 2017, the two finally exchanged vows in front of family and friends.

They have been in a committed relationship for a long time and are head over heels in love. As of right now, the couple does not have any children. “Eliza” in the Broadway musical “Hamilton” catapulted Phillipa Soo to fame as an exceptionally skilled actress from the United States of America. In addition to Soo’s skill on and off camera, she also possesses a strong sense of aesthetic competency, which has helped her land acting assignments in various mediums – be it theatre, cinema, or television. Soo grew up in a family that valued the arts and was encouraged to pursue interests in music and theatre from an early age.


Soo soon landed the role of Natasha in the Off-Broadway production of ‘The Great Comet,’ after further honing her acting skills at The Juilliard School. She hasn’t looked back since. In terms of her professional trajectory, her portrayal of Elizabeth Schuyler Hamilton in the musical “Hamilton” has been her most remarkable performance to date, garnering her acclaim from both the critics and the general public. Even better, she and her fellow cast members were given the opportunity to perform at The White House.

She has proven over the years that she had tremendous talent, and her body of work bears witness to this! Phillipa Soo received her major break in the theatre not long after graduating from The Juilliard School, when she was cast as Natasha Rostova in Dave Malloy’s ‘Natasha, Pierre, and the Great Comet of 1812’ by the Ars Nova Production, which was her first professional role. The play was based on the novel ‘War and Peace by Leo Tolstoy.

Soo’s outstanding performance as Natasha in ‘Great Comet’ drew the attention of director Thomas Kail, who invited her to participate in a reading of the musical ‘Hamilton’ for the role of ‘Eliza.’ Soo was cast in the role of ‘Eliza’ (Elizabeth Schuyler Hamilton). ‘Hamilton’ went on to become the biggest hit of the decade, catapulting the careers of every actor engaged in the production to new heights. Soo portrayed Eliza during Hamilton’s Off-Broadway and Broadway runs, which took place between 2015 and 2016.

The depth she brought to her character earned her countless plaudits and appreciation, including a nomination for a Tony Award for Best Performance by an Actress in a Leading Role in a Musical for her work in the production. ‘Hamilton’ was Soo’s final show, which took place on July 9, 2016, but not before he had assisted her in realizing all of her aims and ambitions, as well as giving her fame and adulation. Soo and her cast members also performed at The White House in 2016, which was a first for Soo.

From December 2016 to January 2017, Soo may be seen in the title role of ‘Amélie,’ a pre-Broadway production at the Ahmanson Theatre in Los Angeles. After preview performances at the Walter Kerr Theatre in New York City on March 9, 2017, the musical made its Broadway debut at the Walter Kerr Theatre on April 3, 2017. It’s worth noting that Soo was cast in the role of ‘Amelie’ in the workshop version of the upcoming musical.

The final show was performed on May 21, 2017, and it was the last in the series. Following her appearances as both ‘Eliza’ and ‘Amelie,’ Soo finished her acting career with the character of Rebecca in ‘The Parisian Woman.’ The Hudson Theatre in New York City hosted preview performances of the musical beginning on November 7, 2017. This year’s festival was officially held from November 30, 2017, to March 11, 2018. In addition to her stage performances, Soo has appeared in television shows and feature films.

In 2013, she was cast in the recurring role of Lexi on the NBC television series ‘Smash.’ She has since continued to work in the industry. She appeared in five episodes of the show until it was abruptly canceled due to its immature nature. Her short film ‘Keep the Change’ was released the same year she made her cinematic debut. Her other television appearances include the character of Nia in the 2014 television pilot ‘Dangerous Liaisons,’ in which she played a supporting role. Her scenes, on the other hand, were not included in the final version. Soo provided the voices of several characters in the Disney film ‘Moana’, which was released in 2016.

In response to her performance in Great Comet, director Thomas Kail, as well as composer and writer Lin-Manuel Miranda, invited her to participate in a reading of the musical Hamilton in early 2014, in which she read as the principal female role, “Eliza” (Elizabeth Schuyler Hamilton). Soo was with the musical from its Off-Broadway debut through its Broadway debut and beyond. Along with Laura Benanti, Carmen Cusack, Jessie Mueller, and winner Cynthia Erivo, she was nominated for a Tony Award in 2016 for Best Performance by an Actress in a Leading Role in a Musical.

On July 9, 2016, Soo performed in her final performance of Hamilton, and the role of Eliza was taken over by Lexi Lawson in the next production. During the pre-Broadway run of Amélie at the Ahmanson Theatre in Los Angeles from December 2016 to January 2017, Soo starred in the title role as well as supporting roles. In the following months, Amélie began preview performances on Broadway at the Walter Kerr Theatre on March 9, 2017, with the formal opening scheduled for April 3. The exhibition came to a close on May 21, 2017. Soo also starred on Broadway in The Parisian Woman, an original play by Beau Willimon, in which she played Rebecca.

The Hudson Theatre’s preview performances began on November 7, 2017, and the play officially launched on November 30, 2017, for a limited engagement that will run until March 11, 2018. Because of her portrayal as Elizabeth Schuyler Hamilton in the Broadway production, Soo founded the Eliza Project in cooperation with Graham Windham, the first private orphanage in New York City, which is featured in the final song of the show, “The Eliza Project.” Soo intends to use the program to deliver acting, dance, and rap workshops to students at the Graham School of Arts and Sciences.


It is the main aim of “The Eliza Project” to “employ the arts as a form of expression, as an outlet for personal experience, and to invigorate the creative spirit,” as stated by Soo. Phillipa Soo has a distinctive voice that immediately draws your attention. It aided her in earning a Tony nomination for her performance as Eliza in Hamilton, as well as the Lucille Lortel Award for best lead actress in a musical, which she received in 2015. Now, the 31-year-old is taking her amazing voice away from the Broadway stage and putting it to use to assist a first-time author. Soo provides the narration for Lily Chu’s The Stand-In, an Audible Original.

Written in the present day, the audiobook follows the story of Gracie, an unassuming young Chinese-Canadian who is mistaken for a famous Chinese actress who has come to Toronto to star in a play. As a result, the actress employs Gracie to serve as her personal assistant, sending her to red-carpet events and press launches in her place on her behalf. “It was taken during the lockdown, so everything was remote,” Soo explains to me from her home in Brooklyn. And I basically turned my closet into a recording studio.

Then there I was, standing next to my wedding shoes and my bridal dress… and the winter coats!” With a lightness of touch and contemporary relevance, The Stand-In is a story that will resonate with millennial audiences. According to Soo, “I was immediately attracted in by [Gracie’s] wit and sense of humor.” “She touched pretty close to home in terms of her own personal experience,” said the author of the book. Soo, like Gracie, is descended from Chinese ancestors. Perhaps it’s past time for Soo to invest in a personal stand-in of her own.

The majority of the public is familiar with Phillipa Soo’s voice, having heard it bring Eliza Hamilton to life on the Hamilton soundtrack in her inimitable style. Audible Original The Stand-In, a romance book by Lily Chu, is the latest project for Soo, who is putting her vocal abilities to the te In the original Hamilton, Soo, and Lin-Manuel Miranda were on the same stage.

The endeavor also brought with it a slew of new obstacles that had to be overcome. “I wanted to be able to convey this extremely amusing anecdote in the most straightforward manner possible.” In addition to The Stand-In, Soo will appear opposite Michael Keaton, Peter Sarsgaard, and Will Poulter in Danny Strong’s Dopesick, a Hulu series that will premiere next month and explore the dark reality of America’s opioid epidemic.

Furthermore, she will co-star with Elisabeth Moss in the upcoming Apple TV+ series Shining Girls, which is expected to launch in 2022. The time-travel thriller, which is based on Lauren Beukes’ best-selling novel of the same name from 2013, is yet another departure from Soo’s prior efforts.

When sparks fly between Gracie and the leading man, everything appears to be going swimmingly. EW is able to provide an exclusive extract from the book as well as the cover art for the first time. As part of our conversation, we asked Soo about her experiences recording this during the epidemic, what drew her to the subject, and what moments in her own life she wished she had a stand-in for. Continue reading after the cover. Vocal voice work has always been a particular favorite of mine. One of the most rewarding things of coming into a recording studio and being able to complete a project such as an audiobook is that you get to put a lot of the technical components of the job into practice, while still enjoying the fun and creative aspects of the job as well. It is entirely my responsibility.

I get to play every single one of the characters. My task is to attempt to create a voice for this very specific individual, who also happens to be the narrator of the story. I was completely captivated by the story and its underlying notion. I was quickly taken into the humor, and I had a strong connection to the main character, Gracie, for a variety of reasons. I truly enjoyed it. As a result, having read the book before recording it, I was ecstatic to have the opportunity to explore the language and give it my own unique voice. My experience was significantly different because it took place during the epidemic, which was also a factor.

It was just myself and a microphone in the booth, actually. I had the director and the audio engineer on the phone or listening to them through my headphones, and I just started reading. It was the first time I’d actually spoken it out loud. Some of the material had been practiced on my own, but for the most part, it was just a matter of getting it out there and getting it down. A recording of a musical, on the other hand, is something that you’ve rehearsed and practiced, as well as something that you’ve performed live, and you’re receiving it on a recording. In comparison, working on an album took a couple of days, while this took at least a week to complete.

What steps did you take to prepare? Did you approach it in a similar way to the scansion of Shakespearean text or the way you would treat a musical score? It consists of a combination of technical factors, such as making certain that I am pronouncing names correctly. I actually speak some Chinese in this specific story, despite the fact that I, Phillippa Soo, do not speak any Chinese in my own life. Having the advice of the director, as well as the instruction of some of my own family members who do speak the language, was extremely beneficial since I was able to listen to samples and try to wrap my head around what I was hearing in my own tongue.

Then there’s the challenge of simply attempting to enter the minds of all of these characters on another level. Because I’m not just speaking the role of Gracie, but I’m also voicing the voices of all of the other characters in the show. That entails keeping track of how distinct each character is from the others, as well as what it is about my voice that is making this character sound different from the others, and so on. You may really explore and have fun once you’ve completed all of the necessary tasks and have become immersed in the storey and the audio experience that is accompanying it. It all began with a great deal of daydreaming.

Before I recorded it, I finished reading the entire book. Taking the time to consider who these people are, what their wants and desires are, and how that might influence their voice or the way they express things is a significant part of my work… Particularly given that this is an audio experience, it was extremely important to me that the choices I made for each character – the way they sounded, the way they delivered their lines – were based on something about their character, who they were, or what they were attempting to obtain from the other person at the time.


In particular, I had a lot of fun distinguishing all of the characters, especially those that were only slightly different from one another, and had to end up talking to one another at crucial points in the story. This one has a handful of accents that I added. Playing Gracie, who also happens to be the narrator of the story, was my favorite role to play. I believe I was the one who got to know her the best. It was because I was not just inside her story, but also inside her thinking and how she was experiencing this story that I felt so strongly. Getting to know her via that, and being completely captivated by how hilarious, clever, and interesting she is, has been a real pleasure. In the event that she was a real person, I would absolutely want to spend time with her.

The story has some similarities to your own in that it is about a bi-racial Chinese actress and her doppelganger, which is similar to your own situation. Is that what drew you to it in the first place? Did you notice any parallels between the stories and your own life? So much of my emotional response came from the fact that I was given the opportunity to portray this very distinct bi-racial character who was also Chinese and white. Gracie’s story resonated with me because there’s something about being bi-racial and feeling like you’re a part of two worlds, while yet being in your own world and not feeling like you’re a part of either that I could relate to deeply.

That phrase and how you identify yourself when you are living in two different worlds are both tough concepts to grasp and comprehend. Beyond that, she’s just a modern woman trying to figure out her place in the world. However, even if I am the second generation and Gracie is the first generation, I believe that there is something to be said for feeling disconnected from one’s ancestors because it is different from what you have experienced. When it comes to discovering where you came from and how it all transpired, there’s a certain amount of digging that must be done, and it’s important to appreciate it, explore it, and be thrilled about delving even more into your own past.

What were your initial impressions on what the story has to say about the intersection of being an immigrant’s child and the perils of celebrity? I thought it was a fantastic portrayal of the subject matter. In regards to the immigrant experience, there are numerous aspects to consider. There isn’t a single solution for everyone. There are many common shared experiences, but there are also many varied experiences within those common shared experiences. This is especially true when dealing with anything like a language barrier and communicating in Chinese.

The fact that Gracie is able to converse in and understand Chinese to a certain level does not suggest that she is proficient in the language, and the concept that this makes her less Chinese is something I have personally heard and experienced. It is possible to gain a newfound respect for one’s upbringing and genealogy, as well as for one’s own personal experience and how it differs from where one came form or what their ancestors came from, as well as for one’s own unique perspective, by the end of the route A difference is all that exists in this scenario; there is no lower or higher value. In this particular instance, it is merely a matter of personal preference.

While reading the book, I found Gracie’s own struggle to figure out who she is and where she belongs to be really compelling because she was going through the same thing. She may not complete all of the tasks on her to-do list or have all of the answers to all of her questions, but she does embark on a journey that will provide vital insight into her own personal identity and well-being while she is on the road. On the surface, it appears to be composed of two different parts. Due to the fact that it is only me in the recording studio, I have more freedom to experiment and figure things out while I am there. This allows me to accurately convey a romantic moment in a storey when I’m in the booth.

On set, communication between you and your acting partner must be continuous in order for you to function effectively as a team. You, on the other hand, are alone, driven to record a love scene in your closet during a pandemic, and because you lack a plot, you are forced to rely on your imagination to find a romantic partner. At the end of the day, though, isn’t that what makes good narrative so compelling to begin with? While only one of us can be present at a time, I want to create an experience that is equally as exhilarating, intimate, beautiful, and romantic, and a lot of that has to do with imagination and allowing yourself to be involved in the experience as the listener. OMG, what a complete and utter disaster. Someone who would accompany me to the DMV on my behalf in the unusual event that I required the assistance of another would be the person who would step in for me.

Something like that is not something I’m very enthused about doing. If I could have someone accompany me to the DMV and take care of all of the paperwork, wouldn’t that be wonderful? My driver’s licence is about to expire, and I need to renew it. The fact that I don’t have to stand in for someone else on a daily basis, aside from tiny matters like that, is something I’m quite grateful for! There are some tasks that I complete on a regular basis that I wish I could simply assign to someone who looked precisely like me in order to save time. For the time being, there are no plans, but I am looking forward to returning to the field of software development and collaborating with others as well as creating new things in the future. I was in the middle of a couple projects when the virus began to spread around the planet.

In terms of getting back into a rehearsal room and looking people in the eyes while sharing snacks with them, I’m really looking forward to it. In the end, it will be a very joyful, fantastic, and emotional experience for everyone involved. We’ve gained a great deal of knowledge over the previous year. As we slowly return, we’ll be asking ourselves some tough questions about what type of theatre we want to create and what kind of theatre we want to see, as well as how it will be different now that we’ve learned so much more.

Because it’s almost certain that nothing will be the same. I’m definitely looking forward to seeing what comes of it and advocating for all of the innovative and interesting work that is being done. That takes risks, that asks difficult questions, that brings people joy, that makes them feel, and that brings people together are all examples of art. Everyone should be able to have those beautiful aesthetic experiences again, and they should remember why things like the arts, such as attending a play, reading, or listening to a novel are so important: they help us refine our toolkit for how to be a more compassionate individual.

Phillipa Soo phone Number, Email ID, Website 
Phone Number(310) 273-6700
House address (residence address)United Talent Agency
9336 Civic Center Drive
Beverly Hills, CA 90210-3604
USA
Official Websitehttps://www.eltonjohn.com/
Snapchat IdNA
Whatsapp No.NA
SpotifyNA
TicTok IdNA
Email AddressNA
Office addressNA
Office NumberNA
Instagram https://www.instagram.com/phillipasoo
Facebook NA
Twitter https://twitter.com/phillipasoo



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Phone number: (310) 273-6700
Email id: NA


Phillipa Soo Fan mail address:

Phillipa Soo
United Talent Agency
9336 Civic Center Drive
Beverly Hills, CA 90210-3604
USA

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