Current and forthcoming credits include FIDDLER ON THE ROOF (West End); OKLAHOMA! (Chichester Festival Theatre); BERLIN BERLIN (German Tour); LOVE SICK (Theater J, Washington D.C)
As Choreographer credits include: AMOUR (Charing Cross Theatre); FIDDLER ON THE ROOF (Menier Chocolate Factory); THE RETURN OF THE SOLDIER (Hope Mill Theatre & Jermyn Street Theatre);FLASHDANCE andLITTLE SHOP OF HORRORS(Selladoor, UK Tour);LITTLE BABY BUM; THE NIGHT PIRATES (UK Tour); THE BEAUTIFUL GAME (NYMT); THE SWEET SMELL OF SUCCESS and AMOUR (Royal Academy of Music); LOVE SICK (Berkeley Rep, California); THE PRODUCERS (Selladoor, International Tour); EM (Royal Central School of Speech & Drama); FOOTLOOSE (Selladoor, UK & International Tour); SIDE SHOW (Southwark Playhouse); ALADDIN (Theatre Clwyd); RAGS THE MUSICAL (Theatre Royal Stratford East); PURE IMAGINATION (St James’ Theatre); JERRY’S GIRLS (St James’ & Jermyn Street Theatre); BETTE MIDLER & ME (Edinburgh Festival & UK Tour); THE ROAD TO QATAR (Edinburgh Festival & Landor Theatre); ANGELINA BALLERINA THE MUSICAL (UK & Australian Tour); VAMPIRETTE: A NEW MUSICAL (Manchester Opera House); THE PULSE AWARDS (Grosvenor House); THE PAM ANN SHOW (Palladium, Apollo Hammersmith & UK/International Tour); CINDERELLA, SLEEPING BEAUTY, JACK AND THE BEANSTALK and ALADDIN (Qdos Entertainment).
As Director credits include: SWEET CHARITY (& Choreographer, Urdang Academy); CARMEN LA CUBANA (Co-director, Chatelet Theatre, Paris and International Tour); THE MGM STORY (& Choreographer, Upstairs at the Gatehouse & UK Tour); THE RAILWAY CHILDREN (Resident Director, King’s Cross Theatre); WEST SIDE STORY (Resident Director, UK Tour); NEVER FORGET (Resident Director, UK Tour).
Television credits include Assistant Choreographer on STRICTLY COME DANCING (BBC).
OKLAHOMA! is more than OK!
Jeremy Sams’ new production at the Chichester Festival Theatre features Choreography by Matt Cole and Musical Supervision, Musical Direction & Dance Arrangements by Nigel Lilley.
“Matt Cole’s choreography is a whirl of communal gusto and individual detail. It is bold, too: a sequence with massed rope-skipping could easily go wrong. This dancing has guts, and a dream sequence with cowboys in Friesian cattle-coloured outfits adds a surreal dimension.”
“the real winner is Matt Cole's choreography… "Dream Ballet" and "The Farmer and The Cowman" deliciously sandwich the interval. Euphoria, humour and tension all coexist as the piece spirals towards a sad climax.”
“Jeremy Sams’ resplendent revival of one of the all-time great American musicals delivers what any summer audience could want.”
“tremendous set-pieces… None better than the second act opener, "The Farmer and The Cowman" - choreographer Matt Cole's barnstormin' barn dance (with a whiff of Sharks vs Jets), topping a psychologically traumatic dream ballet sequence that borrowed a little from Bob Fosse. Roll in songs with Rodgers and Hammerstein's signature simplicity that unpeels into so many levels of complexity, and you've a surefire hit!”
“From the opening number all the way through to a triumphant finale, the audience is kept thoroughly entertained by the vibrancy of the music, cast and choreography.”
“…the choreography really stand[s] out. Matt Cole’s routines are simply outstanding, most notably the pieces either side of the interval. Firstly the ‘Dream Ballet’ running from virginal white to burlesque black and red as Laurey’s dream twists and turns, then after the interval the rollicking barn dance of The Farmer and the Cowman complete with live fiddle, and almost as much fighting as dancing. The company are given an exhausting workout which they manage with considerable panache.”
“Matt Cole’s choreography is slick and exciting especially during the hoedown and the nightmare sequence. And I really enjoyed the the work of the magnificent orchestra under Nigel Lilley as MD.”
“Set, costume, choreography and music all blend perfectly and the dancers are fantastic with director Jeremy Sams keeping the pace hot and often frantic. The biggest surprise is the dream sequence at the end of act 1 which is most unusual, unexpected and surreal, beginning with the innocence of romantic love before erupting into a high-octane nightmare of eroticism, and a lot of fire!”
“the audience stayed on in their seats to hear every last note played by Nigel Lilley’s orchestra”
AMOUR: Cest Magnifique!
“Matt Cole has choreographed some big production numbers, as well as a gentler flow in the majority of scenes, making Amour a visual treat, with just a hint of magic thrown in.”
“Its fabulous tale, its luscious music, its clever lyrics all delivered with such understated verve, is exactly what's needed. Literally delightful”
“Irresistibly charming chamber musical by the late Michel Legrand.”
“It's got no shortage of cinematic dazzle and it never misses a beat”
FIDDLER ON THE ROOF in ★★★★★ “intimate and resonant revival”
Trevor Nunn’s “definitive” production transfers to the Playhouse Theatre in the West End from the Menier Chocolate Factory, with Matt Cole’s “dazzling” and “thrilling” choreography centre stage.
“whirlingly energetic and achingly moving”
“love is expressed as movingly by the whole community as it is individually, and the joy running through Nunn’s staging of the Jewish wedding between Motel and Tzeitel, complete with bottle dance, is tangible.”
“the dazzling folk choreography of Matt Cole is definitive”
“This is a gorgeous production of a simply glorious musical.”
“choreography by Matt Cole, feels particularly thrilling in this small space; the scene in which the villagers end up in a whirling, wary, but eventually celebratory dance with the Russian cossacks is an energetic highlight.”
“Nunn’s production is rich and resonant”
“There are flashes of extravagant fun, not least in the scene where Russian men crash into Tevye's drinking den of choice and perform coccyx-threatening feats of cossack dancing. And the intimacy of this staging means it's rousing as well as solemn."
“This production is sensitive, confident, heartfelt and boisterous by turn, and equally convincing in every mood.”
FIDDLER ON THE ROOF in “tight, trad revival”
Trevor Nunn’s revival of this classic musical, with Choreography by Matt Cole, is now thrilling audiences at the Menier Chocolate Factory.
“Every detail has a texture, a delicacy and authenticity… This is true of each aspect of Trevor Nunn's magnificent revival.”
“Robbins's own choreography, honed by Matt Cole to fit the space, retains its passionate exuberance, and its political purpose… Rarely has dance in a musical had such a metaphorical punch.”
“The cast is incredibly tight, the movement slick.”
“Nunn is a master of musicals… He builds a bustling village from nothing, whips up whirlwinds of motion and noise in split seconds”
“The “daidle, deedle, daidles” in If I Were a Rich Man are delivered with rare frailty, as if giving voice to back-pain spasms… Nyman wrings out the full measure of mounting anguish and the tears ring true.”
“The dancing, with choreography by Robbins and Matt Cole, is breathtaking, what with the Cossacks somersaulting and a wedding dance involving bottles on heads”
Matthew Cole is Choreographer on LOVE SICK at Berkeley Rep
Directed by Christopher Renshaw, this new musical premieres at Berkeley’s intimate Osher Theater in San Francisco this month, followed by a run at the Mountain View Center for the Performing Arts in February.
San Francisco Chronicle
“is at once economic and lush, both human and cosmic in scale, its plot steadily propelled toward inevitable ruin yet simultaneously full of surprises.”
“…The show has been staged as a magnificent exercise in storytelling through music and dance”
Edge Media Network
"the sexiest Bible study we’ve ever been to.”
“punctuated by brazen dance.”
“an intimate spectacle in more ways than one and, simply put, this show is amazing, note for note.”
“The fact that in this day and age it's possible to surprise and challenge an audience with just dance and words illuminates how powerful and enduring the poetry really is.”
“Indeed, this is the kind of show where you hope it takes off and becomes a hit just so that you'll have the chance to see it again.”
Joint Forces Journal
’Love Sick’ is unique in that it fuses the music and poetry of theater with elements of a live concert. This is a unique production that has sensual overtones. It encompasses rich character, offering a story with a musical landscape that echoes the rhythms of flamenco and unique sounds from throughout the Middle East to traditional modern musical theater.”
“flamenco music and voluptuous dance are vital and spectacular aspects”
Matthew Cole and Howard Hudson open SIDE SHOW at Southwark Playhouse
With Choreography by Matthew Cole and Lighting by Howard Hudson, this musical runs at Southwark until 3rd December.
"This is top-quality West End stuff at a quarter the price."
"A word too for Matthew Cole's dynamic choreography, adding to the West End lustre of the production."
"I might not see anything as good on its own terms for years."
"an unqualified sensation"
"the seven strong chorus of human oddities is terrific, singing and executing Matthew Cole's muscular choreography magnificently"
"Howard Hudson's evocative lighting is truly a thing of beauty."
The Stage ★★★★
"Hannah Chissick's production doesn't stint on putting them at the centre of a very vividly realised freak show"
"a fine, fluid production by Hannah Chissick"
"The staging also boasts a design by Takis that offers plenty of low-budget pizazz, with fairground lights and silver tassels to conjure up the tawdry glamour of the travelling side show – a world with a much darker and grimmer reality beneath its surface"
The Arts Desk
"Matthew Cole provides ingenious and frequently witty choreography"
"with Director Hannah Chissick creating a textured and troubled world for the starlets. The scaffolding-like stage that houses the band glows with warm filament bulbs."
"Matthew Cole’s choreography is slick and inventive and the ensemble are polished, tight, and charming."
Matthew Cole Directs and Choreographs THE MGM STORY at the Gatehouse Theatre
Running until 25th September
Musical Theatre Review ★★★★★
“Matthew Cole’s choreography makes up for it by filling the small Gatehouse stage.”
“Cole, who also directs, keeps it all ticking along at a decent pace”
“a joyful celebration of a golden era.”
The Reviews Hub ★★★★
“Chris Burgess clearly knows his subject, and combined with the direction and choreography of Matthew Cole, and the musical direction of Charlie Ingles they have an excellent mix for communicating it to an audience”
“an intelligent, very interesting and sweet look at one of the powerhouses of 20th Century mass-entertainment”
A Younger Theatre ★★★★
“The choreography throughout the rest of the show is also superb”
“a worthy celebration of the studios work and really highlights the Golden era of Hollywood musicals that’s well worth the ticket.”
Matthew Cole and Andy Massey open GUYS AND DOLLS at the Savoy Theatre.
This classic musical transfers from Chichester Festival Theatre to the West End for a limited run. Matthew Cole is Associate Choreographer and Andy Massey is Assistant Musical Director. Playing until the 12th of March.
The Telegraph ★★★★
“lighting up the West End like a heaven-sent shaft of summer sun.”
“induce shivers of delight at every turn, keeping the wise-crack wit coming, and hitting you with one classic tune after another.”
“if it doesn’t put a spring in your step then I don’t know what will.”
The Stage ★★★★
“looks, sounds and dances up a storm”
The Guardian ★★★★
“the choreography…feels inherently dramatic”
“Delivered with grace and elan.”
The Evening Standard ★★★★
“looks gorgeous, sounds timeless”
The Independent ★★★★
London Theatre Guide ★★★★
“that pulsating score comes once again to irresistible thrilling life, and an ensemble of superbly drilled dancers give the choreography…athleticism and exhilaration.”