mon 08/08/2022

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

Another Year

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The Kids Are All Right

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When We Are Married, Garrick Theatre

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Onassis, Novello Theatre

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The Company Man, Orange Tree Theatre

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Or You Could Kiss Me, National Theatre

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A Number, Menier Chocolate Factory

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The Big Fellah, Lyric Hammersmith

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Krapp's Last Tape, Duchess Theatre

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Passion, Donmar Warehouse

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Cyrus

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The Thunderbolt, Orange Tree Theatre

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Dinner for Schmucks

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theartsdesk MOT: Wicked, Apollo Victoria Theatre

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The Maid (La Nana)

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Scott Pilgrim vs The World

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Pages

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theartsdesk at the Bayreuth Festival Ring 2022 - a jumbled m...

It is mid-way through the new Ring cycle, and we are taking lunch outside the old town hall on the high street in Bayreuth. Discussion at...

Utopia, Limited, National Gilbert & Sullivan Opera Compa...

Joseph Heller grew tired of being told that he’d never written anything as good as Catch 22. ‘Who has?’, he'd retort. In the same...

Album: Boris - Heavy Rocks

Boris are an eclectic Japanese band, with over 20 albums to their name. Following their creative instincts and often recording live with no...

Edinburgh Fringe 2022 reviews: Les Dawson: Flying High / Bor...
Les Dawson: Flying High, Assembly George Square ★★★

...

Music Reissues Weekly: The Movers - Vol. 1 1970-1976

After a burst of gun-shot drumming, “Hot Coffee” instantly hits its groove. Simple but insistent guitar, a rubbery bass line and electric organ...

Nightclubbing: The Birth of Punk Rock in NYC review - cheap...

Bankruptcy, rubble, rape and murder: Manhattan in the Seventies could be grim, as multiple New York punk memoirs make clear. The trade-off was the...

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How old is Emile de Becque? Perhaps because my first Emile was the 1958 film version’s Rossano Brazzi, my vision of the lonely French...

Edinburgh Fringe 2022 reviews: Tiff Stevenson / Seann Walsh...
 
Tiff Stevenson, Pleasance Courtyard ★★★★
...
The Tempest, Shakespeare's Globe review - occasional ga...

Alexei Sayle, in his angry young man phase, once said that you can always tell when you’re watching a Shakespeare comedy, because ...