fri 24/05/2024

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

Home, I'm Darling, National Theatre review - Katherine Parkinson in career-best form

Read more...

Spamilton, Menier Chocolate Factory review - fun if overstuffed

Read more...

Pity, Royal Court review - whacked-out and wearing

Read more...

Mamma Mia! Here We Go Again review - sweet, silly, and, best of all, Cher

Read more...

The Lehman Trilogy, National Theatre review - an acting tour de force

Read more...

The Lieutenant of Inishmore, Noel Coward Theatre review - Aidan Turner makes a magnetic West End debut

Read more...

The Bookshop review - lost in translation

Read more...

The Prime of Miss Jean Brodie, Donmar Warehouse review - Lia Williams makes an iconic role her own

Read more...

Machinal, Almeida Theatre review - descending into darkness

Read more...

Julie, National Theatre review - vacuous and unilluminating

Read more...

The Rink, Southwark Playhouse - lesser-known musical lands afresh

Read more...

The Two Noble Kinsmen, Shakespeare's Globe review - a breezy bromance served up slight

Read more...

Translations, National Theatre review - an Irish classic returns with cascading force

Read more...

The Grönholm Method, Menier Chocolate Factory - sleek and short but in no way deep

Read more...

Chess, London Coliseum review - powerfully sung but still problematic

Read more...

Nothing Like a Dame review - actresses undimmed by time

Read more...

Pages

latest in today

The Beach Boys, Disney+ review - heroes and villains and goo...

It was – let’s see – 63 years ago today that Brian Wilson taught the band to play. Fabled for their resplendent harmonies and ecstatic hymning of...

Album: Twenty One Pilots - Clancy

If there is one positive of the past decade, it must be the growing openness with mental health and wellbeing. Whether in the films we watch or...

Richard III, Shakespeare's Globe review - Michelle Terr...

There’s a fierce, dark energy to the Globe’s new Richard III that I don’t recall at that venue for a fair while. The drilled cast dances...

Kolesnikov, Wigmore Hall review - celestial navigation throu...

Like his baggy white suit, pitched somewhere between Liberace and Colonel Sanders, Pavel Kolesnikov’s playing was spotless at the...

Between Riverside and Crazy, Hampstead Theatre review - race...

It’s often said that contemporary American playwrights are too polite, too afraid of giving offence. But this accusation can’t be levelled at...

Album: Isobel Campbell - Bow to Love

Isobel Campbell has maintained a consistent career on the fringes of popular music for three decades. She's made a home in the area where...

'I think of her as a proto-punk': documentarist Sv...

Anita Pallenberg was a vital presence in the Stones’ most vital years. Her bright eyes and hungry mouth betrayed a ferocious appetite for pleasure...

Passing Strange, Young Vic review - exuberant pocket musical...

From New York’s Public Theater, the venue that nurtured Hamilton, comes another estimable pocket...

theartsdesk Q&A: Eddie Marsan and the American Revolutio...

He’s not the kind of actor who has paparazzi following him...

Album: Samana - Samana

The final track of Samana’s third album is titled “The Preselis,” after the west Welsh mountain range – the place antiquarians suggested as the...