fri 29/03/2024

Matt Wolf

Matt Wolf's picture
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

Theatre Lockdown Special 13: Early Lloyd Webber, vintage Rattigan, and a Dame or two in conversation

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Back Roads review - nice cheekbones, not much else

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Theatre Lockdown Special 12: An American rarity, a British savoury, and fresh Apples

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Theatre Lockdown Special 11: Shakespeare-as-rave, a starlit Old Vic, and, yes, those singing nuns

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Theatre Lockdown Special 10: Epic plays from the National Theatre and Broadway alongside voices raised in protest

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Theatre Lockdown Special 9: Alan Bennett revisited, and so is Oz

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Banana Split review - likable if essentially timid romcom

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Theatre Lockdown Special 8: A film star plays tough, and several familiar titles are examined anew

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Theatre Lockdown Special 7: Party politics and a Broadway titan or two

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Theatre Lockdown Special 6: A prolific playwright, a timeless play, and speeches galore

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Theatre Lockdown Special 5: A solo show for the ages, Ibsen refreshed, and yet more frolicsome cats

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Theatre Lockdown Special 4: Little-known Lloyd Webber, prize-winning Shakespeare, and starry David Mamet

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Can You Keep A Secret? review - a bumpy ride

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Theatre Lockdown Special 3: Mary Shelley twice over, Europe writ large, and one day more for a mega-musical

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Theatre Lockdown Special 2: Birthdays aplenty, songs of hope, a starry quiz - and more

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Cuck review - tediously nihilistic

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MJ the Musical, Prince Edward Theatre review - glitzy jukebo...

In a secret chamber somewhere, the producers of ...

The Dream of a Ridiculous Man, Marylebone Theatre review - f...

Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Annie Jacobsen: Nuclear War: A Scenario review - on the inco...

‘[A]n unimaginably beautiful day’: this was how Kikue Shiota described the morning of the 6th of August, 1945, in Hiroshima. The day was soon to...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...