Reviews​

"A considered performance by Matthew Wade - Wade cleverly gives the impression of a general all too aware of his shortcomings, with the slightest nudge toppling him into chaos. There is no shadow of doubt that he is the outsider in his own country, facing bigotry, prejudice and isolation from all echelons of the ruling class."

Othello (2019), David Guest, The Reviews Hub

"The cast is completely convincing from start to finish – with Wade, Lawton and Gregori being some of the best choices for their characters in recent years – and the rendition of individual instances are borderline genius."

Othello (2019), Michael Higgs, The Upcoming

"Matthew Wade and Carlotta De Gregori make a handsome doomed couple, Wade curdling his love to hate without ever suggesting that he's lost control - his agonising over his murderous intent all the more chilling for its absence of rage."

Othello (2019), Gary Naylor, Broadway World

"The play itself still bristles with tension. It is as compelling as ever, with great central performances. Wade's Othello begins calm, clear and dignified, but torment turns him animalistic."

Othello (2019), Ed Nights, Grizzle Review

"The scenes when inflamed with jealousy were very powerful indeed. His Othello by then really is a man in torment and the scene when he strangles Desdemona – no pillows in this production – is suitably horrifying."

Othello (2019), William Russell, Reviewsgate

"Matthew Wade is spot on as he morphs from successful general to besotted lover, to vulnerable doubter, to jealous murderer and then back to an inconsolable lover. It’s a tall order but Matthew passes every test with flying colours. Fittingly he is reunited with his love and dies upon a kiss."

Othello (2019), John O'Brien, Last Minute Theatre Tickets

"Matthew Wade wonderfully captures Othello as a personification of our better nature undermined by gullibility and unconsidered trust"

Othello (2019), JC, London Living Large

"We see the 'Foreigner' Othello who is in charge of the British occupiers, played in turbaned majesty by Matthew Wade. He is a gentle soul but has a commanding voice and is every inch a hero during the first act. His love for Desdemona comes over so powerfully that nothing could ever demean or destroy it."

Othello (2019), Aline Waites, RemoteGoat

"The triumph of the evening was the dramatic and tireless Matthew Wade, who performed the part of the Duende with exemplary characterisation, demonstrating his natural talents and vocal setup of an assured craft."

Maria de Buenos Aires (2017), David Toschi, Opera Click

"Matthew Wade plays Prometheus like an angry socialist, deflecting Zeus's kronies with an acerbic wit and vast intellect"

Io Restored (2017), Frank McHugh, Arthurs Seat

"Matthew Wade’s Iokannan is an immensely charismatic figure."

Salome (2017), Franco Milazzo, carnstheatrepassion.com

"Matthew Wade is all testosterone fuelled piety as sex god Iokanaan"

Salome (2017), Gary Naylor, Broadway World Uk

"Matthew Wade was impressive as the Duende, here not crippled but a sort of demented black angel, speaking his poetry with magical tones and extremely physical in his performance."

- Maria de Buenos Aires (2016), Robert Hugill

"The expressive company generates great energy.... Matthew Wade, with a strong presence, rich, clear voice and graceful movement stands out among them..." 

- Psychostasia (2013), Howard Loxton, British Theatre Guide

"...great performances from Matthew Wade in the title role and Nicole Cooper as his Desdemona...the pair are a delight to watch...conveying a besotted couple completely in tune with each other – but, crucially, without calling into doubt Othello's capabilities as a focused and respected army general." 

- Othello (2013), Shona Craven, The Herald

"The irony is heightened by the portrayal of the character Palinor by Matthew Wade, every bit the peaceful everyman" 

- Knowledge of Angels (2012), Jessica Bailey, One Stop Arts

"Matthew Wade is impressive as the intellectual, good-hearted Palinor who might as well be considered the Messiah of atheism." 

- Knowledge of Angels (2012), Carolin Kopplin, UK Theatre Network

"Matthew Wade is an exotic Aegisthus (the Queen's attraction to him is clearly not just as an ally) but he spits out the venom of hatred." 

- The Oresteia (2012), Howard Loxton, The British Theatre Guide

"Poseidon and Perseus are played by the same actor, Matthew Wade strikingly physical even when seen only as a silhouette." 

- The Beheaded Lover (2011), Howard Loxton, The British Theatre Guide

"An imposing Matthew Wade as Tom Carter comes to represent authority."

- The Cave (2010), Paul Vale, The Stage

"Rob Maloney (Iago) and Matthew Wade (Othello) are excellent throughout. Wade throws himself into his role, his physical acting enhancing the passion, and later the pain, burning within his character's soul." -

- Othello (2010), Franco Milazzo, Londonist

"Matthew Wade has the archetypal features for Othello. He swings from charismatic leader and star struck lover to jealous victim and cruel husband with convincing characterisation. Wade roars over the other members of the cast as he swaggers forwards, but he is eventually reduced to a mumbling paranoiac after Iago's loaded suggestions unbind him."

- Othello (2010), James Buxton, Extra Extra

"In the leading role, Matthew Wade finds gravitas as his Othello is reduced to pulp of misery at his wife's supposed infidelity"

- Othello (2010), Anita Butler, British Theatre Guide

"Stand-out performances include the interplay between Portia (Elana Martin) and Brutus (Matthew Wade)" - Julius Caesar (2009), Dulwich OnView

- Julius Caesar (2009), Dulwich OnView

"There is some real quality...Matthew Wade is a more than serviceable Brutus"

- Julius Caesar (2009), Alistair Smith, The Stage

"Some performances do shine. Matthew Wade's Brutus is literally and metaphorically haunted by his actions"

- Julius Caesar (2009), Kevin Quarmby, The British Theatre Guide

"Matthew Wade's Brutus is nicely understated" 

- Julius Caesar (2009), Joanna Bedford, Fringe Review

"Rob (a devilishly attractive Matthew Wade) is your quintessential everyman"

- Rob Is (2009), Fringe Review

"Matthew Wade's Hameem is always well-judged." 

The Ides of March (2008), Michael Spring, Fringe Report

"...this production had many wonderfully deft comic, often Pythonesque, touches that were skilfully handled, most vividly by Matthew Wade. " 

-The Merchant of Venice, Tribe Theatre, Theatre Royal, Winchester (2008)

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© 2017 by Matthew Wade
 

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