Matt Wolf

Matt Wolf is a critic with The Telegraph (UK). This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (18)
Betrayal
Midtown W
The New York Times

for a previous production "A Pinter Marathon Saves the Best for Last." Full Review

The Telegraph (UK)

"This new staging signals the Broadway debut of English director Josie Rourke and marks the first 'Liaisons' in my experience to come anywhere near the power of the original. Its newfound elan is thanks to a sizzling cast led by the sublime Janet McTeer and a bolder take on the piece from Rourke...Rourke allows a period piece to tap into gender wars that are being waged even now while ensuring that this 'Liaisons' feels newly dangerous, indeed." Full Review

The Crucible
Midtown W
The Telegraph (UK)

"This is a topical take on 'The Crucible'...The onetime doyen of the Off Broadway avant-garde seems intent on honouring the spirit of a playwright whose greatness can occasionally come at a ponderous price. There’s no hint of ponderousness here, though, where the air is charged with the chill winds of chaos...No amount of directorial tweaks or innovations would matter without a cast able to transform an often worthy play into one that is properly wounding." Full Review

Therese Raquin
Midtown W
The Telegraph (UK)

"Knightley’s commitment to this latest part is never in doubt…She communicates the sullen intensity of a woman not easily given over to cheer...A body count that begins to rival that of Hamlet but without much in the way of nuanced introspection…The eventual guilt surrounding the couple’s malfeasance is accompanied by enough sound effects to posit the director Evan Cabnet’s production as Broadway’s unexpected answer to 'The Woman in Black.'" Full Review

Antigone (BAM)
Brooklyn
The New York Times

for a previous production "There’s scant cheer — not to mention engagement — to be found in the production of 'Antigone'...A stripped-back, abstract set in the minimalist style, but without the energy required to fire up the current staging’s savage debate between the personal and the political...Mr. van Hove’s attempt to be timeless actually speaks to no time at all. You emerge not dazed and enlightened but glad to get out." Full Review

The Arts Desk

for a previous production "Stephen Sondheim's ever-elastic masterpiece is downsized to largely dazzling effect in its latest iteration...The environment here is the principal occasion rather more than the two leading performances…Would one want every 'Sweeney Todd' done this way? No, since part of this musical's achievement in full flight has everything to do with its surging wall of sound. But on its own terms, at once revisionist and remarkable, the occasion is indispensable." Full Review

Fish in the Dark
Midtown W
The Telegraph (UK)

"Disappointing...Others may wonder whether so scattershot a piece of writing would have got this far without its physically rangy, bespectacled star attached...For every line that sticks, numerous others don’t, and the director Anna D Shapiro here seems comparatively adrift." Full Review

The New York Times

for a previous production "Benedict Andrews’s ferocious new production of Tennessee Williams’s immortal play is the first I’ve seen to make plain that this honey-voiced aggressor can give as good as she gets...The heightened advance interest in this production speaks first of all to a name-heavy cast headed by Gillian Anderson and Ben Foster, in what strikes me as one of the most even-handed appraisals of 'Streetcar' I have ridden over the years. And among the best-acted, too. That’s not to say this is the most moving." Full Review

American Psycho
Midtown W
The Arts Desk

for a previous production "The irony here is that a musical staring directly into the abyss should emerge as murderously entertaining. And affecting, too. I had feared in advance that the show might devolve into a blank celebration of late-Eighties blankness as per the book but not at all. By turns devastating and quick-witted, scintillating yet unexpectedly moving, the piece raises all sorts of hopes for Goold's embyronic Almeida tenure." Full Review

Girls & Boys
West Village
The New York Times

for a previous production "Mulligan’s unnamed character is dryly funny on any number of topics...Kelly dresses up his narrative in ways that detract from its power, like some overzealous puppeteer...If the play overreaches for effect, there’s no trace of the sensational in Mulligan’s performance, which is accompanied by a playfulness and quick-wittedness that bypass the gathering thesis-mongering of the final passages." Full Review

Cyprus Avenue
East Village
The New York Times

for a previous production "As genuinely shocking a play as I’ve come across...Don’t worry if you’re not up on the language of Fenians and Loyalists...in which Ireland’s take-no-prisoners writing is steeped...The playwright folds bitterly dark humor into the gatheringly forbidding mix...There is nothing remotely funny, though, about the concluding passages of a play unafraid to posit terrorism itself as a form of psychosis...The abiding chill cast by the play even now is hard to shake." Full Review

The New York Times

for a previous production "'Cruelty,' purrs Janet McTeer, the scintillating epicenter of an unbalanced revival of 'Les Liaisons Dangereuses'...Imposing of stature and sinuous of speech, McTeer lends a flickering allure to Rourke’s production...The play demands equal sparring partners, and there has yet to be a stage 'Liaisons' whose leads have been as beautifully matched as Alan Rickman and Lindsay Duncan...Still, McTeer exerts such a force field that a long evening acquires its own fevered pulse." Full Review

The New York Times

for a previous production "Though the production might appear at the outset to be conventional, don’t be misled. Mike Britton’s richly brocaded costumes may be period-sumptuous, but this ever-problematic play forsakes sartorial pageantry to land with a telling sting in its tail. Suffice it to say that Mr. Munby and his largely expert company understand the difficulty in classifying as comic a play that is so dominated by the vilification of the Jewish moneylender Shylock." Full Review

Radiant Vermin
Midtown E
The New York Times

for a previous production "David Mercatali’s adroit production also feels like a theatrical game, albeit a hugely pointed one...Mr. Ridley casts a sidelong glance at contemporary mores with a satiric finesse worthy of his vaunted former countryman Jonathan Swift...Mr. Ridley has a field day setting the apparent sunniness of his young lovers against their escalating misdeeds in a play that questions whether we are our brother’s keeper or his destroyer." Full Review

The Audience
Midtown W
The Telegraph (UK)

"Visually, the director Stephen Daldry’s production remains a marvel...But it’s Mirren’s shrewd yet affectionate portrayal of a monarch-made-flesh that looks poised to take the town, perhaps resulting in this actress’s first-ever Tony Award. 'One by one, your prime ministers will fall under your spell,' the play’s Winston Churchill tells Her Majesty. Expect Broadway playgoers to join the queue." Full Review

Henry IV
Brooklyn
The New York Times

for a previous production "Once the play starts, the cavils for the most part fall away. There’s an exhilaration that comes with watching a gifted cast of women tear into the male preserve of these texts. It’s telling that director Phyllida Lloyd has in both instances chosen plays with notably few female parts so that the gender reassignment is doubly repaid." Full Review

The Arts Desk

for a previous production "We have a breathless, interval-free 'View' performed with virtually no props, its cast circumnavigating the stage barefoot...The plot has a simplicity worthy of the Greek tragedy that this staging explicitly evokes...One could argue that so ramped-up an arena aesthetic turns the play into one long extended climax, and there are times when proceedings do get a bit shouty." Full Review

Matilda
Midtown W
The Telegraph (UK)

"In some ways, the original innocence of the piece has been lost. There’s a harder-edged quality to the New York staging: the general tenor is louder and more exaggerated...but the tremendous heart and intelligence of the piece remains undimmed." Full Review