thu 21/10/2021

Matt Wolf

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Bio
Matt is London theatre critic of The International New York Times (formerly The International Herald Tribune) and London correspondent for the broadway.com website; he spent 21 years as London arts and theatre critic for the Associated Press and over 13 years as Variety's UK drama critic. He has been on the judging panel of the Evening Standard Theatre Awards since 2009.

Articles By Matt Wolf

White Noise, Bridge Theatre review - provocative if not always plausible

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Camp Siegfried, Old Vic review - the banality of evil, brilliantly served up

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Carousel, Regent's Park Open Air Theatre review - brave rewrite doesn't land

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Anything Goes, Barbican review - an explosion of joy

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Limbo review - quiet but voluble

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Bagdad Café, Old Vic review - sweet but scattershot

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Off the Rails review - go for the scenery, not the script

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French Exit review - Michelle Pfeiffer faces mortality

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J'Ouvert, Harold Pinter Theatre review - formless yet fabulous

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Under Milk Wood, National Theatre review - Michael Sheen at his most magnetic

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In the Heights review - to life, Lin-Manuel Miranda-style

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Anne Boleyn, Channel 5 review - whispery and weepy

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Surge review - jittery and joyless

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Trying, Apple TV+ review - the road to parenthood takes a fresh path

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Rare Beasts review - Billie Piper as triple threat

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The Pursuit of Love, BBC One review - extravagantly entertaining

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latest in today

Album: Elton John, The Lockdown Sessions - review

I always thought those celebrity duets albums, recorded across the miles – or sometimes with someone who had long since passed to the great arena...

Grenfell: Value Engineering, The Tabernacle review - bruisin...

Grenfell: Value Engineering isn’t actually a play. It’s an edited version of the testimony heard by the Grenfell Tower Inquiry,...

L'Heure Exquise, Linbury Theatre review - an exquisite...

Ballet dancers, even the greatest, don’t expect longevity. There are no Maggie Smiths or Helen Mirrens in the ballet world – there just aren’t the...

Dune review - awesome display of sci-fi world-building

I’d venture that Denis Villeneuve’s adaptation of Frank Herbert’s 1965...

Colin Currie Group, RFH review - Reich premiere explores fre...

Single-composer programmes can be a bit dicey and there was a bit of trepidation approaching this one as Steve Reich is not a composer of massive...

Dave Chappelle: The Closer, Netflix review - race and class...

Say what you like about Dave Chappelle, but if nothing else he's an equal-opportunities offender, as his latest Netflix special, The Closer...

Rufus Wainwright, London Palladium review - superb musicians...

Rufus Wainwright believes opera to be “the greatest art form that has...

Die ägyptische Helena, Fulham Opera review - mythological me...

So Helen of Troy arrives at a church in Fulham via Poseidon’s island palace and a pavilion at the foot of the Atlas Mountains. She’s trickier than...

Love and Other Acts of Violence, Donmar Warehouse review - s...

This is simultaneously a love story and an archaeology of hate, a...

Rice, Orange Tree Theatre review - whip-smart, but unsure wh...

“Careful, there’s a hole in the floor.” The warning’s an unusual one, passed along conscientiously by the stewards at the door of the tiny...