wed 29/06/2022

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

San Francisco Ballet, Liang/Marston/Pita, Sadler's Wells - elemental, ethereal and kitschy, too

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The Starry Messenger, Wyndham's Theatre review - Matthew Broderick gets all cosmic

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User Not Found, The CoffeeWorks Project review - solo play set in a café offers food for thought

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Orpheus Descending, Menier Chocolate Factory review - Tennessee Williams scorcher needs more firepower

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The Last Temptation of Boris Johnson, Park Theatre review - unwieldy at times but undeniably funny, too

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Rosmersholm, Duke of York's Theatre review - little-known Ibsen lands with force

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Red Joan review - Judi Dench can't lift lumbering espionage drama

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At Eternity's Gate review - Willem Dafoe excels in hyperactive biopic

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Blood Knot, Orange Tree Theatre review - defining apartheid-era drama delivers afresh

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Downstate, National Theatre review - controversial but also clear-eyed and compassionate

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The Bay at Nice, Menier Chocolate Factory review - David Hare talkfest takes intermittent wing

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Admissions, Trafalgar Studios review - topical and whiplash-smart

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Waitress, Adelphi Theatre review - sweet if sometimes silly musical arrives from Broadway

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Oscars 2019: Olivia Colman crowned queen of Hollywood

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Old Boys review - short but not especially sweet

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Jesus Hopped the 'A' Train, Young Vic review - shards of power amidst much that is overwrought

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The Fellowship, Hampstead Theatre review - strong clashes, t...

I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted events which celebrated the contribution of the...

Moon, 66 Questions review - captivating daughter-father dram...

It takes some confidence for a first-time feature director to interrupt her essentially realistic...

Stanislav Aseyev: In Isolation - Dispatches from Occupied Do...

Stanislav Aseyev is a Ukrainian writer who came in from the...

We (Nous) review - a low-key look at life in the suburbs of...

Director Alice Diop read an article by Pierre Bergounioux in which he described how he began writing to draw attention to his overlooked neck of...

theartsdesk in Zurich - forging a brilliant new Ring

Could this be the summer Bayreuth finally sees a new Ring production that comes anywhere near its last great epic success, Harry Kupfer’s, which...

theartsdesk Q&A: bass-baritone Christopher Purves on com...

He’s the most haunting, at times terrifying Wozzeck I’ve seen, in Richard Jones's Welsh National Opera baked-bean-factory production, and the...

Album: Paolo Nutini - Last Night in the Bittersweet

The last time that Paolo Nutini was on the public stage, he was knocking out fine blue-eyed soul and having substantial hits like “Scream (Funk my...

The Rolling Stones, BST Hyde Park review - let it rock!

A few spots of rain greeted the arrival of the...

Mad House, Ambassadors Theatre review - David Harbour is mag...

For sheer extremes of family dysfunction Theresa Rebeck’s Mad House must be aiming to set new records in American drama. The latest in a...

Eric Ravilious: Drawn to War review - a lovingly crafted doc...

There’s a sharp observation, delivered in Alan Bennett’s soft tones, that sums up the reputation of the painter Eric Ravilious: “Because his...