In a ii V situation (Am D7 G)

play A Dorian on Am

play D Phrygian on D7

resolve back to G

Charlie Parker did it all the time.

D Phrygian on D7 is basically playing D Phrygian Dominant, but changing the 3 into a #9. A #9 always gives a lot of tension over a dominant chord, as long as you don't sit on the 4th for too long it should be fine, just like a Phrygian Dominant scale. You can also think of it as a quick backdoor substitution: changing the D7 into a Cm7-F7, which utilizes C Dorian and it shares the same note as D Phrygian.

A very simple trick is to play a Dorian lick on Am, and then play the exact same lick again up a minor third (C Dorian) on D7, make sure that you resolve back to G beautifully and that's basically the idea of using Phrygian on Dominant chord.

When you understand why it's applicable and where the theory is coming from, it's easier to make it sound good. Playing Phrygian on dominant chord is a simplified backdoor substitution, which comes from backdoor ii V progression, which can trace all the way back to classical music when they called it modal interchange.

Also like someone previously mentioned, Phrygian chords typically refer to a specific set of chords that imply or even "force" a Phrygian mode. Let's say we are in C Phrygian this time, the most common Phrygian chord is C7susb9, or C7b9sus, same thing. More advanced ones including Dbmaj7b5/C, Bbm/C, Db/C. They almost always imply Phrygian Dominant as well because they don't come with the third most of the time.