sun 03/03/2024

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

Wicked Little Letters review - sweary, starry film is mostly strange

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An Enemy of the People, Duke of York's Theatre - performative and predictable

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The Hills of California, Harold Pinter Theatre - ladies' night for Jez Butterworth

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Dear Octopus, National Theatre - period rarity is a real pleasure

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Plaza Suite, Savoy Theatre review - real-life married couple brings panache and pain to period comedy

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The Color Purple review - sensational second time round for Alice Walker's novel on screen

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Best of 2023: Theatre

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Pacific Overtures, Menier Chocolate Factory review - lesser-known Sondheim scores afresh

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A Christmas Carol, The Old Vic review - older, wiser, and yet more moving

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The Witches, National Theatre review - fun and lively but where's the heart?

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Backstairs Billy, Duke of York's Theatre review - starry and gently subversive, too

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Crazy For You, Gillian Lynne Theatre review - high-kicking heaven

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Dear England, National Theatre review - filtering the national narrative through sport

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Aspects of Love, Lyric Theatre review - not much has actually changed

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Beau is Afraid review - life's ordeals in lengthy detail

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The Motive and the Cue, National Theatre review - theatrical titans face off

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The Creation, Alder, Clayton, Mofidian, LPO, Gardner, RFH re...

Light and grace must flood the concert hall in Haydn’s The Creation, after a striking-for-its time evocation of Chaos, and periwigged...

Dune: Part 2 review - sombre space opera

Dennis Villeneuve’s Dune sequel is a sombre science-fiction spectacle that insists on the scale of cinema: erupting sandworms are Cecil B...

Faust, LSO, Rattle, Barbican review - violence and wit in Sh...

The LSO’s apéritif hour “Half-Six Fixes” have an informality that usually works and sometimes doesn’t. But the first of this two-night...

Music Reissues Weekly: Mark Eric - A Midsummer’s Day Dream

In June 1969, The Beach Boys released “Break Away” as a single. A month earlier, they had announced they were leaving Capitol Records, who they...

St Matthew Passion, Irish Baroque Orchestra, Whelan, St Patr...

After last year’s small-scale, big-impact Messiah in the Wigmore Hall, superlatives are again in order for the IBO’s performance of the...

Lisa Frankenstein review - a bitchy trawl through the high-s...

Diablo Cody’s biggest screenwriting hit was 2007’s Juno, a larky but tender story of teenage pregnancy. She’s gone back to high school...

First Person: violinist Tom Greed on breaking down barriers...

For musicians, the period from early 2020 to mid-2021 was one of great reflection, with so many questions to puzzle over. Could we satisfy the...

Album: Squarepusher - Dostrotime

Over the years, Tom “Squarepusher” Jenkinson has covered a lot of ground over three decades, from dank cellar ambience to refined baroque...

Standing at the Sky's Edge, Gillian Lynne Theatre revie...

Can there be anyone from Sheffield who has not seen ...