Michael Philippi
1951 – 2009
Goodman Theatre celebrates the life of Michael Philippi on Monday, December 14.
It is with profound sadness that we must let you know of the sudden death of my dear friend and long-time collaborator, Lighting and Set Designer Michael Philippi, who was working with the Goodman on our current production of High Holidays.
If you sat among the audiences of Desire Under the Elms, King Lear or Death of a Salesman—to name just a few in his decades of stand-out productions in Chicago and on Broadway—the magic of Michael’s light touched your life. He was a gifted artist who responded with an extraordinary, innate understanding of and appreciation for every play he was designing. The remarkable talent and skill Michael exhibited through his designs was unparalleled. He was one of the Goodman’s most important, and frequently unsung, collaborators over the past 20 years.
His death is a tremendous loss for us all.
Robert Falls
Michael and his work
If you wish to send thoughts or condolences, please email condolences@goodmantheatre.org. Posts in memory of Michael will be placed on this page for the community.
We were shocked and saddened to hear yesterday’s news about Michael. It was hard for all of us to believe that the wonderful, vital man we knew who had been standing in our midst less than a week ago was gone. A testament to his artistry, his design in our production of Lucinda Coxon’s HAPPY NOW? is currently running here at The Rep. We will watch it and enact it each night with the thought that Michael is still with us for a little while longer as he illuminates our stage night after night.
Dawn Helsing Wolters
Milwaukee Repertory Theater
I was just in tech two weeks ago with Michael in Milwaukee where we designed Happy Now. Besides doing his usual superb job he was great fun to be with. Michael Bodeen and I got to spend a good couple of late nights with Michael drinking his beloved hoppy beer (a local IPA) and talking about our play, the theater and art in general and growing up in Wisconsin. I know he was troubled by his father in law falling ill and we spoke a lot about family. I didn't know Michael very well but I know he lived with great passion and a good salty sense of humor. He will be much missed.
Neil Patel
Michael was not only a wonderful lighting designer, he was a talented set designer as well. I recall working with him on several productions at Chicago Shakespeare Theatre where he did some exciting sets, and we worked together at the Goodman Theatre on The Goat for which he created a stunning apartment. I will miss him so much as a collaborator and theatre buddy. He was always so well-grounded and kind. He spoke so lovingly of his family and always had photos and news about his daughter. He was such a proud father! May the memories of this wonderful man help all us through this immeasurable loss.
Nan Cibula-Jenkins
I had the great fortune to work on 15 productions with Michael at The Repertory Theatre of Saint Louis.
I additionally had the privilege of seeing a great deal of his work at The Goodman and other theatres – including his stunning lighting for Death of A Salesman.
Having spent a lot of time in dark rooms with Michael I learned that not only was he a brilliant designer but a brilliant collaborator as well. He cared about every molecule of a production and always went back to the text. He cared so much about "the work" he did so in the big and small sense of "the work."
Beyond all of that he was kind and gentle and polite and chivalrous and all very sincerely.
He was a gentleman of the theatre and I learned from him all of what that means.
Thank you, Michael and Godspeed.
Edward M. Coffield
The Repertory Theatre of Saint Louis
When I started working in theatre way back when, at Wisdom Bridge and Remains, I had no training. My background was a liberal arts education and performing and writing songs professionally for a rock band for eleven years. Oblivious to the many things I didn't know about theatre I still somehow had the sense to listen (and learned to listen carefully) to one of the kindest and most committed men I have had the pleasure of knowing, Michael Philippi. He was a great teacher, a gifted designer, always a blast to collaborate with and he became a dear friend. We had a lot of adventures together and I will miss him. His death has hit me hard. I know how much he loved his wife, Miriam and their daughter Megan and my heart goes out to them.
Rob Milburn
Michael touched so many lives with his artistry and warmth. He will be deeply missed.
Samantha K. Wyer
Arizona Theatre Company
Goodbye, Michael. I will miss you.
Amy O. Woodbury
A shock to the nervous system--that was how the news hit me. Totally shocking and so very very sad.
Michael was a brilliant artist and colleague. And a friend.
His work was always fascinating and insightful.
We were honored to have Michael design 15 shows for us. His last design was for an impressive production of The Miracle Worker this past February. And sadly, Susan Gregg, who directed that production, passed away this summer. So for many of us, the news of Michael's passing was a real body blow.
I have treasured my many conversations with Michael—in the dark room, in the light of day, seeing each other in London as we were lighting Salesman over there. We could laugh about being taught by many of the same people at school.
Sad. Sad. He will be missed. A true gentleman who deeply cared about his art and the people around him.
Steve Woolf
Repertory Theatre of St. Louis
Michael loved being a father. At a Jeff Awards many years back, I asked him about his daughter. He reached into his sport coat and pulled out an 8x10 of Megan. And he told me every detail of his amazing girl. Yes, this guy was a poet with light. But he was a poem of a father, a friend, a mentor and a teacher. And those things are the real gifts. You are so loved, friend Michael.
Susan V. Booth
Alliance Theatre
Michael was a great guy, and a Fantastic designer. His work was never showy, but was always elegant, and essential to the success of the show. Many Chicago lighting designers (including myself) had the good fortune of assisting Michael on larger productions (I worked with him here at Goodman, and at Northlight) we hoped one day we would have the chance to design. Even though I only worked with him twice, he always shared his encouragement towards my own design work, and was excited for me as my own career grew and bigger offers came in. His devotion to his family was obvious. While I was assisting him, I remember Michael coming back from a dinner break beaming because he had gotten to speak with his Daughter (she was also the wallpaper on his Laptop) on his cell phone as he lazily strolled along the lake on a beautiful summer day. It was the pick me up he needed on a long day of tech. Although our paths rarely crossed in person, he never hesitated to take the time to catch up via email. I will miss his responses that almost always came in all caps (probably because he had been drafting) I certainly owe him a part of my career as a theatrical lighting designer, and I know many people who would say the same.
Rest in Peace Michael—Thank you for sharing your light and art with us.
Charlie Cooper
Michael was an integral part of why I became a designer. He was not only a great artist, but he had an amazing ability to grace all those around him with artistic respect and encouragement. I was lucky enough to have been able to sit next to him and assist him and to be dazzled by his brilliance and kindness.
Heather Graff
Light & Scenic Designer
Michael Philippi was a wonderful designer and the kindest man I have known.
After the Broadway opening of Desire Under the Elms Michael, Miriam and Megan joined us for a late night dinner. We chatted about family, theatre and life, it was such a delight listening to him and seeing him as a loving and beloved husband and father.
In hope that Michael is at a good place, I send my love to his family.
Ana Kuzmanic
The pleasure of working with Michael as a stage manager, well before my time at Goodman Theatre, came with Connecticut Repertory’s Nutmeg Summer Series. The local university bar – with a pool table, became a late-night respite during tech. What a great companion was Michael, on and off headset.
I also vividly remember standing in the Goodman’s Albert Theatre when Michael excitedly pulled out his new hand-held computer (long before the iPhone). “Look, it has Word and Excel. I can carry my documents with me…” But it was the electronic image of his daughter, caressed in his hand, which lit up his face more than any stage instrument could ever do.
Your gentle, loving soul shall be missed.
Les Kniskern
Thank you Michael. Such a wonderful talent, you will certainly be missed.
Shanesia Davis
I worked with Michael Philippi when I was a very young technical director at the New American Theatre in Rockford, Il.
As all of you know, American theatre has lost a unique creative spirit, and lost him much too soon.
My condolences to his wife and daughter as well.
Sincerely,
Michael Sullivan
Lighting Designer
I will always remember the moment of 'wow' when Michael unveiled his ideas for Nobody's Perfect—sleek, conceptual, intelligent, and fun. It was like a mirror into the man. He will be greatly missed.
Doug Cooney
Michael wrote me a few hours before his passing. He was looking forward to starting work on The Solid Gold Cadillac Monday evening. The email described his concern for his father in law and the lead in the play he was working on—both of whom were ill.
Of course, while the email dealt with stressful issues, his tone was measured and thoughtful. Those were qualities that endeared him greatly to all of us.
I am thinking back on the beautiful work he did with us, on, among other shows, The Baltimore Waltz, The Syringa Tree, Black Milk, Blackbird and most recently, the stunning Moonlight.
His muscular approach and high sensitivity were a wonderful combination in design.
Won’t he just come through the doors on Monday to start work as planned?
Serge Seiden
The Studio Theatre
Michael's passing is to me like the loss of a beloved son. He was my bright eyed and bushy-tailed student at the University of Wisconsin in Madison and my assistant for three years at the Great Lakes Theatre Festival. At that time, he was preparing for what was to become a brilliant career in the American theatre. As time went by, he became my trusted and valued collaborator on many productions and I am forever grateful to the Repertory Theatre of St. Louis for giving me the opportunity to work with Michael last Spring on their triumphant production of THE MIRACLE WORKER, one of the last for which he designed beautiful lighting. His loss is inexplicable; I am bereft.
John Ezell
What a joy Michael was. He made me feel welcome in Chicago and at home in the theater. I smiled every time he came through the door and felt blessed to be in his friendly, benevolent hands.
Neel Keller
Michael’s work in our communities—as in so many communities around the world—was treasured and loved. He was not only a true artist, but a great collaborator. A gentle man and a gentleman who loved to come visit us here in the desert. I would often find him standing outside on the theatre balcony on his breaks, basking in the warmth and studying the vast western skies at sunset. "Now that’s some lighting!" he would joke. Michael was that rare designer who was always looking to reveal the deepest and most profound aspects of any play he worked on. He didn’t only light a play, always worked tirelessly to illuminate the ideas that lay at its heart. We will miss him.
David Ira Goldstein
Arizona Theatre Company
The Studio Theatre wants to express their deepest sympathy to Michael’s family, colleagues and friends. Michael had just finished designed the stunning lights for our production of Harold Pinter’s Moonlight. We were to begin rehearsal with him on Monday for The Solid Gold Cadillac. Michael has worked with The Studio Theatre in Washington DC since 1996, having designed both lights and sets for such productions as Blackbird, Rosencrantz and Guildenstern Are Dead, Black Milk, The Syringa Tree, The Baltimore Waltz, Lobby Hero and subUrbia. His many friends and colleagues here are shocked and saddened. We know how much Michael loved his friends and family. His loss is both a deep artistic and personal one to our community.
Joy Zinoman and the Staff of The Studio Theatre
Washington DC
I will always treasure the memories of getting to know Michael when Richard and I moved to Chicago to work at Wisdom Bridge in the late '80s. Whether the play was Ten November or Yankee Dawg You Die, he had a quiet way of going straight to the heart of it and finding just the right gesture to bring the play to life. And gently but firmly keeping everybody focused on what really mattered. I'll always remember drinking beers with him at Frank's, going over notes with him at Alexander's, and watching him focus and refocus the lights on Reckless at Berkeley Rep after the earthquake. Funny, warm, insightful, understated . . . a man of great taste, good humor, and enormous heart. I just loved the guy, and I can't believe he's gone.
Chris Sumption
Michael was one of the best set and lighting designers I ever worked with, not only for his talent and creativity but also for his ability to so magnificently overcome small budgets and less than desirable situations. He was a great friend as well—funny, personable, and so very intelligent. Ironically, only last week I was reminded of Michael by a mutual friend with whom we had worked together outside of Cleveland in 1976. I promised this friend that I would get in touch with Michael and give him his regards, I have been meaning to track Michael down for the last couple of weeks. So forgive me while I conduct Unfinished Business. Wherever you are, Michael, Dick Archer says to say hello. Life is short. Regret is long. His passing should remind us that old friends are the best friends. Michael was a very good friend above all else.
Requiescat in pace, Michael, you will be missed. Now it's heaven's shows you will be lighting up.
Douglas Bryan Bean
It is a profound sorrow to think of this world without Michael in it.
Michael and I worked together on more shows that either of us could count. When we were both young, he helped me to build a theatre company in Rockford, Illinois, and over a dozen seasons he designed lights, designed sets, and even designed a theater space for the New American Theater. We worked together at least 60 times over those many years, and later, our collaborations continued in Milwaukee, in Chicago, in Washington DC, and in Philadelphia. His intuitions, understandings, perceptions of a play were without match. His talent was simply remarkable, reflecting his profound understanding of the very nature of theater. And all of this came with a humility, a selflessness that never left him. There was never a show that we shared that did not bear the imprint of his extraordinary skill, insight, and humanity. My life was blessed by our times together—in rehearsal rooms, at tech tables, among audiences, over meals, over drinks: in our work through the years we knew it all, comic times and pathetic times, just as anyone in the working theater will. But we had a good share of triumphant times, too. And triumph would never have been possible without him. Through it all he was always himself, always Michael: a man of intelligence and grace, true to himself, and true to his faith in art. He was my great friend. For me this gift of his friendship and our times together remains the greatest blessing—though today it is partnered with profound sorrow. My deepest sympathy and condolences to his lovely wife Miriam and dear daughter Megan.
Michael's love for his family was as luminous, and as radiant, as any of his most brilliant designs.
J. R. Sullivan
I am so shocked and saddened to hear of Michael's sudden death. Michael was not only a wonderful designer, but a beautiful human being—kind and caring. I am quite at a loss to find the right words to say to Miriam and Megan at this horrible time—and to my colleagues at the Goodman—who care so deeply for Michael. Michael was a true artist, an amazing collaborator and a good friend. I am so sorry we did not work together more frequently, although the projects we did do together will always live in on in my memory and my heart. I miss him.
Sending love and support,
Marcia Milgrom Dodge
Wow, we are all stunned here at RedBox Workshop! We are saddened by the loss of Michael to the theater community...most of us have worked with Michael off and on over the last twenty-plus years. Michael was always a pleasure to build scenery for and was truly collaborative in his process! Our thoughts are with his family as they journey through this tragedy.
Tony LaBrosse
RedBox Workshop
I had the great fortune of sharing lunch with Michael just the day before he passed. He brought in our lunch so we could work on some ideas for an upcoming new show. As he handed me a soda, he wanted to make sure he remembered correctly that I like "coke with sugar." He chuckled with relief. This moment was vintage Michael—ever thoughtful and kind, generous and funny. We ate our turkey sandwiches on our feet, pouring over a model and catching up in between. As always Michael beamed about daughter Megan. We parted, both excited about the new work to come. Michael was happy.
The projects I got to do with Michael are all among my favorites. He was so open to a challenge and always eager to discover something new. He possessed an uncommon humility and passion for the work he did in the theater. He was always full of compliments that boosted me a great deal. But even more than the plays we made together, it is the many good times spent after hours that I will treasure most—late night walks through Chicago winters, pit stops for a quick pint at Rossi's before last call, colorful stories about Miriam, Megan and the life they'd built on an ever-changing street in Baltimore. You could really tell that Michael loved his family above all else. Godspeed dear Michael. We will miss your light.
Walt Spangler
There was a time in the 90's when I lived on a street that was a small theatre community of sorts. One of my occasional neighbors was Michael Philippi, who would be in residence when working on a show in Chicago, after he had moved to Baltimore. I would always run into him on the way to work—or later on, having a beer over at Rob Milburn's or Michael Bodeen's. He was such a great guy...kind, funny, compassionate...smart. Always had time to say hello and ask how you were. Fifteen years later, the makeup of our street had changed, folks moved away...but when I would run into Michael in a theatre lobby—it seemed as if no time had passed. Same old Michael, the nicest guy in the world. He will be sorely missed.
Paula Muzik
I am still in complete shock to hear of Michael's untimely passing. It was an honor and a pleasure to work with such an amazing and talented designer.
Working at Chicago Shakespeare with him was an absolute delight. Not only was it amazing to watch an artist work, but he was an absolute pleasure to work with. I always enjoyed hearing him talk about his family—he adored his daughter and wife, and it always showed.
Looking over the condolences, I can only see how many lives he touched. He will most certainly be missed.
Audra J. Cline
I was directing Voice of the Prarie at Wisdom Bridge, and Michael did sets and lights, which he did frequently for me. I still think he was every bit as strong at sets as with lights, or that was my experience of him.
One night in previews, the light board with hundreds of cues ate all his work. He grabbed his computer print out ran into the booth and started entering cues by hand! He managed to stay ahead of the play...just...finishing the last cue just moments before the final curtain. He was working like a demon. I was in awe of his technical skill and frankly his programming speed. Few could have done that.
At Court Theatre in Beloit Wisconsin I was directing The Dining Room in 1984 and Michael once again did sets and lights. On opening night, at half hour, he was using the ladies hair dryer to blow dry the stain on the dining room table. He did it all, when others wouldn't, or couldn't or when there were no others, he did it all.
I'm just heart sick and my condolences go out to his wife and child, whom I've never met. I hope they can forgive us for stealing some precious time with him in bringing Michael to our towns to ply his trade.
Here's the thing though...he was headed to tech to work his magic. I wouldn't mind going like that.
Goodnight Michael...
We'll keep the ghost light lit for you.
Beej
Northlight Theatre
I am sorry to hear your loss of your dear friend, Michael Philippi. And even since I don't regularly attend the Albert Theatre, where it sounds like he did his major work. But at least I am glad I will get to see a play that he worked on, which is High Holidays, but it is too bad that this will be his final play that he got to work on at the Goodman Theatre. But this sounds like a friendship that you will want to treasure forever. And that really is something to celebrate. And even if I never got to sat in the audiences of his other work, at least I will get to see this show that is in the Owen Theatre, and it is really too bad that he didn't get the chance to do more shows in the Owen Theatre. But I will be there for his last show at the Goodman Theatre, and I hope that it will be a production that he would have been proud of.
Stephen Verhaeren
Only twice did I have the pleasure of working with Michael. At the Alabama Shakespeare Festival his complex but subtle lighting graced Ain't Misbehavin', and while at the Goodman I was privileged to sit with Michael, Nan Cibula-Jenkins and Robert Falls as they conceived their vision for The Goat.
As a designer his influence was immeasurable. As an artist his grasp was profound.
I offer inadequate but heartfelt prayers to his family.
Terry Cermak
Arts Center of Coastal Carolina
When I first worked in Chicago in the 80's, I heard the name Michael Philippi, and although I didn't get to collaborate or see his work then, it was clear he was a treasured member of the community. I then had the pleasure of working with him twice—first on Winter's Tale at the old Chicago Shakespeare space where he designed the set [and Miriam was the guest board op, I believe], and then on the Remains production of Mad Forest at the Theatre Building. Michael understood the challenges of those spaces and provided wonderful designs which beautifully supported the plays. Since those days, I was always pleased to see his beautiful work [most recently Lear and Desire Under the Elms] and it was a treat when our paths crossed and we could catch up, share stories and laugh. My condolences to Miriam, Megan and their families.
Jim Ingalls
It's been a long time since I had the honor of working as master electrician at Wisdom Bridge, but the memories of watching Michael work his magic came flooding back when I heard of his untimely death. I was a young, struggling designer and was amazed at his artistic vision. He allowed me to work on other productions as an electrician and board op and I was constantly blown away by what he could communicate through his designs. The theatre world has lost one of its greatest artists.
Julie Martino Thames
Michael was a friend, collaborator and above all a human being whose passing leaves a vacuum in me, the art of theatre and the world. He designed many sets and even more lights for productions I directed over the past 20 years. I still remember the first at Wisdom Bridge as a lesson in how many ways a script could be read. On the last we did together two years ago he was still asking me the kind of questions that made every production we did together much more successful. He designed lights and sets but he also served as a center for every production.
I saw him last at a memorial at Rep St. Louis for a mutual friend a month or so ago. We talked about our past together and how very fragile life seemed to be. Little did we know that our life together might end so soon after that conversation? His love for Miriam, his wife, and Megan, his daughter was the fueling force in his life. For those of us who knew Michael he used this force to enrich our lives as well as his own. His art, his friendship, and his life-embracing presence will be missed.
Jim O’Connor
Friend/Director
I first met Michael when he contacted me about being the "Broadway" assistant on Death of a Salesman. What followed was a great experience with a wonderful artist and a terrific person. His work was beautiful—pushing the play along and telling the story with great style, soul and taste. It remains a revelatory experience in my life. We have kept in touch over the years and always tried to get together when we ended up in the same town. Michael had a wonderful generosity of spirit. He always used to say to me when we met "it would be great to see YOUR work". Ten years after we met he finally did—last month in DC. May we all have a much grace as he did. He was a true gentleman and artist of the theatre and I miss him.
Peter West
Lighting Designer
I moved to Chicago in 1987 to work at the Wisdom Bridge Theatre. The first play I directed there was the world premiere of ambitious music-theater piece called Ten November, by Steven Dietz and Eric Peltoniemi. Wisdom Bridge was fortunate to have the services of a resident set/lighting designer and sound designer named Michael Philippi and Rob Milburn, and I was advised that it would be a wise idea if those two gentlemen were to work on the project with me. This turned out to be a considerable understatement.
The play was sparked by a historic storm on Lake Superior, and at first—new job, new space—I had a hard time figuring out how to translate it into visuals. One day, after a long and frustrating discussion, Michael calmly suggested we just go up stairs and sit in the theatre. Gradually Michael led me to see how the space itself might lead us to the metaphor that would give us the setting. His specificity, self-awareness and understanding of the dynamics of the venue were crucial. Once we got rolling, he unleashed a storm of creativity of his own—the set was evocative and useful, the lights brought poetry and passion.
We worked together on a number of projects after that, over a wide variety of material. Sets that were spare and lovely, or wacky and kinetic. Lights that pieced the heart of dramatic action with clarity and truth. Michael could seem wry and self-contained but he had enormous range of intelligence and intuition inside, and he shared them with us through his artistry. As a co-worker, he was thoughtful and precise. His might have been the quietest voice in the room, but it was the most incisive as well.
My heartfelt condolences go to his family, friends and his comrades in the theatre.
Richard E.T. White
Cornish College of the Arts
What sad news. I worked with Michael very early in my career but I still remember his kindness. What a loss of a great talent and man. Condolences to his family.
Gretchen Schaefer
Childsplay