wed 11/12/2024

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

Coming Clean, Trafalgar Studios review - Kevin Elyot play has lost the pathos if not the plot

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Pinters Five and Six, Harold Pinter Theatre review - superlatively acted esoterica

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Life Itself review - epically vapid

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Best of 2018: Theatre

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Sweat, Donmar Warehouse review - America at once fractured and fractious

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The Tell-Tale Heart, National Theatre review - bloody good fun as well as bloody

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The Double Dealer, Orange Tree Theatre review - high spirits and low morals

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True West, Vaudeville Theatre review - sizzling take on seminal Sam Shepard

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Pinters Three and Four, Harold Pinter Theatre review - double bill boasts double acts to treasure

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Still No Idea, Royal Court review - spiky, funny, and politically pointed

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The Wild Duck, Almeida Theatre review - meta, merciless and altogether brilliant

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Wise Children, Old Vic review - Emma Rice in fun if not quite top-flight form

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Measure for Measure, Donmar Warehouse review - Shakespeare twice-over packs a partial sting

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The Height of the Storm, Wyndham's Theatre review - Eileen Atkins raises the elliptical to art

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Twelfth Night, Young Vic review - Kwame Kwei-Armah makes a big-hearted return home

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A Star is Born review - Bradley Cooper and Lady Gaga make a compellingly combustible duo

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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

The Producers, Menier Chocolate Factory review - liberating...

There is something deliciously perfect about the timing of The Producers’ arrival at the Menier Chocolate Factory. In these...

La rondine, LSO, Pappano, Barbican review - sumptuous orches...

There are no battlement leaps or murderous vows, no pistols or daggers, not so much as a slight cough disturbs the serene plot of La rondine...

A Midsummer Night's Dream, RSC, Barbican review - visua...

Hermia is a headbutting punk with a tartan fetish, Oberon looks like Adam Ant and Lysander appears to have stumbled out of a Madness video. Yet...

L’étoile, RNCM, Manchester review - lavish and cheerful absu...

Emmanuel Chabrier’s L’étoile is not exactly a French farce, but it comes from a post-Offenbach era (1877 saw its premiere) when cheerful...

Album: Ben Folds - Sleigher

The Christmas album is an American phenomenon that doesn’t...

Black Doves, Netflix review - Keira Knightley and Ben Whisha...

It’s rare to spot Keira Knightley in a TV series, and it’s no doubt a sign of changing times that she’s starring in this six-part spies-and-guns...

Vampire Weekend, OVO Hydro, Glasgow review - a mixture of br...

When Vampire Weekend arrived onstage they numbered only three and were bunched together at the front with a large curtain draped behind them,...

The Commander review - the good Italian

Patriotic Italian films set during the Fascist war effort are...

Ballet Shoes, Olivier Theatre review - reimagined classic wi...

Those with treasured battered copies of Noel Streatfield’s 1936 story of three young adopted sisters in pre-war London may have...