Matt Trueman is a UK-based theatre critic and arts journalist renowned for his incisive analysis of socio-political themes in performance. As lead critic for WhatsOnStage and contributor to The Guardian and Variety, he specializes in:
A five-time Allen Wright Award winner, Trueman shapes critical discourse through his academic roles and editorial work at Theatre Voice. His recent explorations into digital criticism make him a key voice on technology’s evolving role in the arts.
We’ve followed Matt Trueman’s evolution from a freelance critic to one of Britain’s most authoritative voices in theatre journalism. Since joining WhatsOnStage in 2015, Trueman has become synonymous with incisive critiques that bridge academic rigor and mainstream accessibility. His work spans platforms like The Guardian, Financial Times, and Variety, where he serves as Chief London Critic. A visiting lecturer at Central School of Speech and Drama, Trueman’s influence extends beyond journalism into shaping the next generation of theatre thinkers.
In this New Statesman piece, Trueman interrogates the commercialization of the Edinburgh Fringe, arguing that rising costs and corporate sponsorships risk alienating grassroots artists. He traces the festival’s shift from an avant-garde incubator to a branded marketplace, citing data on venue fees and interviews with indie producers. The article sparked debates about preserving artistic integrity in festivals, with Trueman advocating for subsidized slots to ensure diversity.
Published on Exeunt, this essay dissects how digital platforms have democratized criticism while diluting expertise. Trueman critiques the “hot take” culture but celebrates niche blogs for amplifying marginalized voices. He proposes a hybrid model where traditional outlets mentor emerging critics—a vision informed by his role co-editing Theatre Voice. The piece remains a touchstone in discussions about criticism’s future.
Trueman’s WhatsOnStage review of Barrie Keeffe’s revived trilogy highlights his knack for contextualizing classics within modern socioeconomics. He analyzes the production’s choreography as a metaphor for systemic disenfranchisement, linking 1970s Britain to post-Brexit austerity. The review underscores his focus on how class and power dynamics manifest in staging choices.
Trueman prioritizes works that interrogate class, gender, or systemic inequality. For example, his Barbarians review dissected how the play’s fight scenes mirror Thatcher-era unemployment struggles. Pitches should highlight a production’s relevance to current debates, such as cost-of-living crises or immigration policies.
Having written about TikTok-driven plays and virtual reality experiments, Trueman seeks coverage of tech’s role in democratizing theatre. Propose stories on apps that subsidize ticket access or interviews with collectives using AI for set design, referencing his Exeunt essay on digital criticism.
Trueman frequently advocates for subsidized theatre and regional venues. A successful pitch might spotlight a Yorkshire-based queer theatre company or a minimalist production surviving without corporate backing, aligning with his Edinburgh Fringe analysis.
The Allen Wright Award, judged by The Scotsman and Edinburgh International Festival, recognizes excellence in arts journalism under age 30. Trueman’s unprecedented streak reflects his early mastery of blending narrative flair with analytical depth.
“Criticism isn’t about verdicts—it’s about starting conversations that outlive the performance.”
At PressContact, we aim to help you discover the most relevant journalists for your PR efforts. If you're looking to pitch to more journalists who write on Arts, here are some other real estate journalist profiles you may find relevant:
