Discover what critics had to say about the immersive production based on Jordan Belfort’s memoirs.
Londonist: ** “Wolf is extensive-to-sprawling and all the ingredients are here: it’s just that they came from Wilko rather than Wall Street. The bear-pit trading floor has six cheap flatpack desks and second hand carpet tiles, billionaire Belfort’s bedroom and kitchen look like the windows of Home Bargains, and when you’re obliged to run up five flights of stairs with the FBI raiders, it feels like being backstage at Noises Off.”
Time Out: ** “a soulless, tedious production with very little to recommend it, least of all the rest of the audience, who do get suspiciously enthusiastic about racist slurs and misogyny. Give this a miss and try Wright’s long-running ‘Gatsby’, which does everything ‘Wolf’ tries and fails to do.”
iNews: ** “Lest proceedings be seen to be too in love with a monstrous world from which most of us would run a mile, my fellow playgoers were given a moralistic, virtue-signalling finish that may or may not find an equivalent in the other stories going on elsewhere in the building.”
The Guardian: ** “The actors all do a stellar job plate-spinning, and it’s fun to dress up and be bathed in dollar bills, but as a whole this production is a timid sheep in the sharp-cut suit of a wolf.”
Culture Whisper: **** “Generally this version of The Wolf of Wall Street works best when it’s sticking to the straight-up silliness and parody – that’s when the audience really embrace it, chanting ‘fuck the poor’, stuffing wads of money into their socks and hiding Quaaludes in a condom. But thank goodness the show develops and departs from this, and forces everyone to confront the ugly underbelly of all the glamour and greed.”
The Stage: * “Ultimately, the biggest crime committed in Alexander Wright’s production is the criminal waste of a good cast. James Bryant makes a charismatic Danny, while the underused Oliver Tilney encapsulates Belfort’s bullyboy charm and Rhiannon Harper-Rafferty impresses as Nadine. But it’s never a good sign for any production when one’s overwhelming emotion is pity for its performers.”
The Times: *** ” Months before it opened, this immersive staging of Jordan Belfort’s astonishing Wall Street memoir was raising one question — who on earth would want to be immersed in The Wolf of Wall Street? As seen in Martin Scorsese’s 2013 adaptation it is a world of industrious greed, rampant misogyny and “alpha-male” tedium. American Psycho without the irony. Something to be viewed, like the movie, from behind a glass screen — so that you don’t get any of the bodily fluids on you.”
Broadway World: ** “By any theatrical standards, it is a tall order to try and recreate this film, particularly for an immersive production.”
The Telegraph: ** “In the basement of a former Georgian townhouse, about 100 people are chanting “Stratton f—— Oakmont” and rhythmically thumping their chest. A sweaty, dishevelled man in a suit is whipping them along. A few minutes later, one female member of the crowd, at sweaty man’s behest, will spill a secret about another, an unedifying little tale involving sex and the London Eye. The crowd whoop and cheer.”
London Box Office: *** “The enjoyment from immersive theatre comes from the unknown, entering a 360 degree experience, and for a few hours aided by a talented team, inhabiting a life different from one’s own. Wolf Of Wall Street, manages to deliver all of this, without the fear of facing a jail sentence for your short time spent in an illegal, dark and greedy world!”
The Wolf of Wall Street is booking at 5-15 Sun Street until the 19th January.