Matthew Tennyson



Simon Beresford and Daniel Albert

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Making Noise Quietly Dir: Dominic Dromgoole
Open Palm Films


A Monster Calls Dir: Sally Cookson
The Old Vic
Salome Dir: Owen Horsley
Cleansed Dir: Katie Mitchell
National Theatre
The Seagull Dir: Matthew Dunster
Regent's Park Open Air Theatre
A Breakfast Of Eels Dir: Robert Hastie
The Print Room
A Midsummer Night's Dream Dir: Dominic Dromgoole
Shakespeare's Globe
Making Noise Quietly Dir: Peter Gill
Donmar Warehouse
Beautiful Thing Dir: Sarah Frankcom
Manchester Royal Exchange
Flare Path Dir: Trevor Nunn
Theatre Royal Haymarket


A Midsummer Night's Dream Dir: David Kerr
Grantchester Dir: Tim Fywell
Lovely Day/ITV
Humans Dir: Daniel Nettheim
Kudos/Channel 4
Babylon Dir: Danny Boyle
Nightjack Ltd/Channel 4
Father Brown Dir: Paul Gibson
The Hollow Crown Dir: Richard Eyre
Neal Street Productions


The Sea, The Sea Dir: Bill Alexander
BBC Radio 4
Home Front Dir: Jessica Dromgoole
BBC Radio 4
Jonesy Dir: Jessica Dromgoole
BBC Radio 4


2015 Best Male Performance at the Off West End Awards.

2012 Winner Outstanding Newcomer at the Evening Standard Theatre Awards.

2011 Best Newcomer at the Manchester Theatre Awards.


Accents and Dialects:             American-Standard, Cockney, Dublin, London, Manchester, RP*
(* = native)

Languages:                             English*, French
(*= native/fluent)

Music and Dance:                   Period Dancing, Tenor Baritone*
(*= highly skilled)

Vehicle Licences:                   Car Driving Licence


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“It’s empathetic, well played — especially by Tennyson and Findlay — and is convincing in its portrait of the way strangers develop trust, but theatre director Dromgoole never finds a way to make the film earn its place on the big screen.” - Ian Freer (Empire)

“Set in a Kentish field in 1944, the first duologue returns the wonderful Matthew Tennyson to the role of the poshly spoken embryonic novelist that he played onstage in 2012.” - Mat Woolf (The Arts Desk)


★★★★★ “This strange, soaring yet miraculously unsentimental adaptation needs seeing. Matthew Tennyson holds everything together as Conor, standing firm against treacherous emotions and treacherous schoolmates. Bring tissues, lots of tissues. Amid all the aerialism, spectacle and bursts into song, we get incredibly intimate scenes. It deserves to be a monster hit.”

THE TIMES – Dominic Maxwell

★★★★★  “Every so often, you come across a show that jabs you to the bone. The Old Vic’s A Monster Calls did that to me. A central performance of rare, affecting simplicity by Matthew Tennyson as Conor. One of those productions that leaves you feeling still tender and slightly altered when next day you awake to pale, daunting dawn. Mr Tennyson, who apparently is descended from the poet, is top-rate as Conor. The boy keeps speaking of his certainty that his mother will recover. We know this is not the case.  By the end, many audience members were openly in tears. An emotional jab to the heart that will leave you on the ropes.

DAILY MAIL – Quentin Letts

★★★★☆ “Matthew Tennyson’s performance as Conor is immensely affecting, often through the most minimal means – his head downcast, pale features impassive, eyes sorrowful, body rigid, as if in sore need of a hug; the sensitive schoolboy circled by bullies, dreamily brightening at the thought of his mother who’s increasingly enfeebled as the evening moves to its climax of sorrowful release. A descendant of the poet, Tennyson remains so fresh-faced he looks like a newcomer, but he’s 30. High time he tackled that monster role, Hamlet?”

THE DAILY TELEGRAPH – Dominic Cavendish


★★★★☆ “Conor is brilliantly played here by Matthew Tennyson as a boy so frozen with grief and fear that the tiniest hint of affection or physical contact — from a friend, from a teacher — threatens to derail him completely. This beautiful, heartbreaking show is a cathartic story not just for children but for anyone who has experienced the raw pain of loss.”



★★★★☆ “Sally Cookson delivers an exhilarating production of Patrick Ness’s story about a lonely boy coping with grief, bullying and a monster in a yew tree. Matthew Tennyson’s physical presence as Conor captures the vulnerability and solitude of a victimised 13-year-old. Yet Tennyson also displays the boy’s complex mixture of guilt and love towards his ailing mother.”

THE GUARDIAN - Michael Billington


★★★★☆ “Conor is played beautifully by Matthew Tennyson. By the end, even the most hard-hearted of audience members will be left in a pool of tears on the theatre floor. It’s an upsetting watch, yes, but a truthful, hopeful and human one too.”

WHAT’S ON STAGE -  Daisy Bowie-Sell

★★★★☆ Matthew Tennyson’s performance as Conor is extraordinarily moving. You completely forget that you are watching an adult actor, so brilliantly does he capture the sensitivity of a lost and lonely teenager, tormented by his intertwined feelings of guilt and love towards his mother. With his drooping head and pallid, determinedly impassive features, he looks as if he wishes he could opt out of this cruel world. But there’s not a moment of false pathos in his portrayal.  He also superbly shows you Conor’s stroppy defensiveness and the adolescent anger that erupts in an unforgettable sequence. Magnificently phrased and magnificently dramatised.”



★★★★☆  It’s Tennyson as Conor who holds the piece together, creating a complex and nuanced character who makes a truly profound and cathartic realisation.

CULTURE WISPER - Brendan Macdonald

Tennyson gives a performance of eloquent restraint; hardly a flicker of emotion crosses his face, just blinking incomprehension, until it all eventually breaks. It’s a story about complexity that’s staged with the utmost simplicity. That is, in the end, its great strength: it allows a sentimental story to cut through with sincerity.

VARIETY – Gordon Cox



“Matthew Tennyson is mesmerising.”
- Jane Edwards (The Sunday Times)

“Tennyson is a revelation. Tapping into the same vulnerability which made his performance in Cleansed so haunting, he speaks Wilde’s florid verse with an emotional directness, his face a constantly shapeshifting cocktail of doubt, longing and indignation.”
- Ben Kulvichit (The Stage)

“Matthew Tennyson gives a highly accomplished performance.”
- Michael Billington (The Guardian)

“Matthew Tennyson is excellent in bringing the visceral poetry of Wilde’s words to life. His Salome has an intense fragility and a steely inner-strength.”
- Catherine Vonledebur (WhatsOnStage)


“Bravura performances from Janie Dee as Arkardina and Matthew Tennyson as her playwright son.”
- Dominic Cavendish (The Daily Telegraph)

“Matthew Tennyson burns bright as tortured Konstantin”
- Patrick Marmion (Daily Mail)

“Matthew Tennyson is brooding and petulent as the wannabe playwright Konstantin”
- Fiona Mountford (Evening Standard)

“Matthew Tennyson’s frail, oversensitive Konstantin impresses.”
- Marianka Swain (The Arts Desk)


“The acting is first rate. Matthew Tennyson is pitch-perfect in his portrayal of Penrose’s arrested emotional development.”
- Michael Billington (The Guardian)


“Tennyson is wonderful as Eric: endearing and hilarious, with his batting eyelashes, side-long glances and painstaking neatness when setting out the picnic things, but poignant too, in his physical delicacy, even more so when we learn that he has some horrible kind of TB. Tennyson made quite an impression in a minor role in Flare Path last year, when not yet finished at Lamda, and is most definitely a talent to watch.”
- Christopher Hart (The Sunday Times)

“It is performed with grace, humour and palpable sexual spark by Matthew Tennyson.”
- Charles Spencer (The Daily Telegraph)

“The performances are all first rate. Somewhat invidiously, I would pick Matthew Tennyson for his fey self-assurance.”
- Michael Billington (The Guardian)

“Tennyson is scintillating”
- Paul Taylor (The Independent on Sunday)

“Matthew Tennyson is a striking newcomer..the acting is superb- especially from Tennyson.”
- Michael Coveney (WhatsOnStage)


“Matthew Tennyson gives a performance of unaffected candour as Jamie.”
- Alfred Hickling (The Guardian)

“Matthew Tennyson plays the part of the games-hating outcast to perfection.”
- Jonathan Brown (The Independent)


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