Matthew Kelly (I)
- English
- Actor and comedian
Press clippings
Filumena, Theatre Royal Windsor review
Dazzling Felicity Kendal conquers time in a tour de force of comedic playing.
Ismene Brown, The Arts Desk, 11th October 2024Filumena review
Felicity Kendal positively glows in the title role as a former prostitute and her lifelong love affair with a wealthy man-about-town.
Patrick Marmion, Daily Mail, 10th October 2024Filumena review
This is a period play that resonates today, is extremely well set and acted, and makes for a very enjoyable and engaging Autumn night out at the theatre.
Nick Wayne, West End Best Friend, 10th October 2024Filumena, Theatre Royal, Windsor, review
Felicity Kendal enchants in this evergreen comedy of gender politics.
Lindsay Johns, The Telegraph, 10th October 2024Filumena review
Felicity Kendal is the bright spark in this revival of Eduardo De Filippo's Neapolitan comedy.
Holly O'Mahony, The Stage, 10th October 2024Filumena review
Felicity Kendal is fabulous, but this production is not. It totters from one mildly amusing plot twist to another.
Clive Davis, The Times, 10th October 2024'Murder, They Hope' special Apocalypse Slough reveals star cast
Sanjeev Bhaskar, Shaun Williamson, Annette Badland, Simon Day, Jim Howick, Ben Bailey Smith, Jason Lewis, Matthew Kelly, Charlie Hardwick, Gemma Jones, Harry Peacock and newcomer Dane Williams will star in new Murder, They Hope special Apocalypse Slough.
British Comedy Guide, 22nd July 2024Inside No. 9: Boo To A Goose review
Not quite all human life is encapsulated within the characters trapped in carriage C9 when the power fails, but quite a lot of it is.
Chortle, 8th May 2024The Gap: Matthew Kelly delivers big laughs, but the play is only skin-deep
Jim Cartwright's latest sees two old friends reminisce about their heady youth, but it tends merely to bump over the surface of their lives.
The Telegraph, 16th February 2024The Gap review
The actors are lumbered with an unnecessary welter of tertiary characters who they simply send up with ridiculous costumes. After treating the central pair so fatuously, the play reaches at the end for unearned pathos where it expects us to suddenly care. The distance between this and a rich, layered, rounded play isn't a gap, but a gulf.
Matt Barton, What's On Stage, 16th February 2024