Nicole Serratore



Nicole Serratore

I write about US and UK theater and my travels to and fro.



James Comey and the Predator in Chief

As I listened to James B. Comey, the former F.B.I. director, tell the Senate Intelligence Committee about his personal meetings and phone calls with President Trump, I was reminded of something: the experience of a woman being harassed by her powerful, predatory boss. There was precisely that sinister air of coercion, of an employee helpless to avoid unsavory contact with an employer who is trying to grab what he wants.
The New York Times Link to Story

That’s What They Wrote and ‘That’swhatshesaid’

In That’swhatshesaid, the 72 pages of Matthew Lopez’s play The Whipping Man flip by—literally. As this happens, performer Erin Pike runs around the stage searching for her place. There are no female characters in The Whipping Man, so she finds no place, which is the point the artists staging it are trying to make—not about Lopez’s play, which they have no issue with per se, but as a representative of the dearth of female voices onstage in general.
American Theatre magazine Link to Story

Measure for Measure review at Polonsky Shakespeare Center, New York – ‘an illuminating production’

The Stage (UK) Link to Story

1984 review at Hudson Theatre, New York – ‘dark, audacious production’

Sales of George Orwell’s novel, 1984, have skyrocketed since the inauguration of Donald Trump. It's an apt moment for Robert Icke and Duncan Macmillan’s stage adaption to come to Broadway. This dystopian world where hate is encouraged, language truncated to control ideas, and Big Brother monitors all through ubiquitous screens reverberates in the political moment.
The Stage (UK) Link to Story

The Immersive Play “(Not) Water” Is A Fitful Seminar On Climate Change

Setting out to tackle a notion so broad as “water” is a risky theatrical endeavor. Get the balance right and you offer a survey that carefully navigates important issues like politics, science, and humanity. But overfill the vessel with too many lofty ideas and the enterprise gets bogged down. The decade-in-the-making immersive play (Not) Water, by playwright Sheila Callaghan and director Daniella Topol, uses a self-referential tone to acknowledge the wild folly of trying to create theater out of such a massive concept.
The Village Voice Link to Story

Review: Maps For A War Tourist at Dixon Place

Sister Sylvester’s newest show, Maps for a War Tourist, is “A Performative Essay” about the theater company’s failure to make a play. The company’s abortive attempt centers around the journey of a young Turkish woman called Ayşe Deniz Karacagil, a protester involved in the Gezi protests in 2013 in Istanbul who ended up joining the PKK, considered a terrorist organization by some nations.
Exeunt magazine Link to Story

A Hunger Artist

Operating at the intersection of puppetry and physical theater, Sinking Ship Productions makes work that can be both playful and contemplative. Their new creative adventure is the darkly comic A Hunger Artist, a stage adaptation of the same-named Franz Kafka story.
The Village Voice Link to Story

Ms. Julie, Asian Equities

Village Voice Link to Story


Village Voice Link to Story

Derren Brown: Secret review at Linda Gross Theater, New York – ‘a series of dazzling acts’

The first rule of Derren Brown: Secret is you need to keep it secret. Magician and mentalist Brown is making his American debut, Off-Broadway, with a show that operates, in part, as an introduction to an audience who may not be familiar with his particular set of skills. Through a series of "mind-reading" gambits he showcases his apparent powers of psychological manipulation while carefully earning the audience’s trust.
The Stage (UK) Link to Story

Review: The Little Foxes at Samuel J. Friedman Theatre

One woman with an ambitious gaze fixed on her future and another with a dreamy eye towards an ever-increasingly distant past, both are unhappy. They’ve reached the place in their lives where they must act if things are to change. Lillian Hellman’s classic play The Little Foxes may be set in 1900 in the post-Civil War South but in Daniel Sullivan’s revival it hardly seems like all that much time has passed.
Exeunt magazine Link to Story

Review: Anastasia at Broadhurst Theatre

The animated film Anastasia makes perfect sense for a stage adaptation, with its sweet romance, catchy Ahrens and Flaherty songs, and a sweeping setting of revolutionary Russia to the Paris of the ’20s. But the likable Broadway cast and well-crafted new tunes created for the stage musical (music by Stephen Flaherty, lyrics by Lynn Ahrens) cannot cure this projection-heavy production of its unimaginative staging and digitally dependent look.
Exeunt magazine Link to Story


Nicole Serratore

Nicole Serratore is a New York City-based writer. She has written theater previews, reviews, and features for American Theatre magazine, The Stage (UK), the Village Voice, Exeunt magazine, TDF Stages, Flavorpill, and The Craptacular. She is the Broadway editor at Exeunt magazine. She is a current member of the American Theatre Critics Association.

She was a co-host and co-producer of the weekly Maxamoo theater podcast. She was a Fellow at the Eugene O'Neill Theater Center's National Critics Institute in 2015.

She has written about travel and world adventures for Shermans Travel and

She has a B.F.A. in Film and Television from New York University's Tisch School of the Arts. She has a J.D. from Fordham University. She is a former film executive and producer. She once had a prize-winning cow.