Nicole Serratore

Arts, Culture, and Travel Journalism


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

Do Your Worst

Boom Bat Gesture's 'Do Your Worst' series asks artists to create deliberate flops. Nicole Serratore asks them about failure, DIY theatre, and Spiderman. “That was the living breathing example of you’re given literally the most resources and it’s the worst. It’s so bad.”. In a conversation about bad theater with Jon Burklund and Niko Tsocanos, two members of the performance ensemble Boom Bat Gesture, it was only a matter of time before someone mentioned Spider-Man: Turn Off the Dark.
Exeunt magazine Link to Story

Time and the Conways review at American Airlines Theatre, New York – ‘moving performances’

JB Priestley’s between-the-wars drama, Time and the Conways bears the hallmarks of a well-made play of the period. It’s suffused with class conflict and familial strife. But this is one of Priestley’s ‘time plays’ and halfway through he upends expectations with metaphysical questions about dreams, memory and the nature of time.
The Stage (UK) Link to Story

As You Like It review at Classic Stage Company, New York – ‘mild-mannered’

John Doyle’s Off-Broadway production of Shakespeare’s As You Like It is a mild-mannered affair – a passable production of limited enchantments. It’s energised by jazzy songs by Broadway composer Stephen Schwartz, but otherwise it favours understatement and fails to capture the play’s joy. Given the full-skirted costumes and accents, the production appears set in the late 1940s in the American South.
The Stage (UK) Link to Story

The Riveting, Roving “Oh My Sweet Land” Tackles the Plight of the Refugee

The writer and director Amir Nizar Zuabi’s play Oh My Sweet Land has no fixed address. Instead of being housed in a theater, it is being performed every night in the kitchen of a different New York apartment or community space. This movement around the city mirrors the plight of Syrian refugees, the subject of the piece, who have been pushed out of their homes by war and forced into a nomadic existence.
The Village Voice Link to Story

He Said, He Said, She Said: A Tale of 3 Hamlets

When I set out to experience a summer of Hamlets, I knew all the Hamlets would die, but I did not know how they might live and how the three productions I attended would feel seen in succession. Ever since I was 15, when I saw Mark Rylance haunt the halls of Elsinore in his pajamas, I’ve been chasing Hamlets.
American Theatre magazine Link to Story

The TEAM: “Towards collective liberation”

In 2011, after creating and touring their hugely successful musical about capitalism Mission Drift, the theater company The TEAM went on a retreat to focus on healing after what artistic director Rachel Chavkin describes as a “very emotionally brutal process.”. She says, “We went into that retreat not knowing if the company would end and we came out of it with five new shows.”.
Exeunt magazine Link to Story

Nicole Serratore: Cinema broadcast leaves angels with dimly-lit faces

Theatre productions beamed into the cinema act as soft diplomacy for the industry. It expands access beyond physical theatres and national boundaries, and connects audiences to shows they may not otherwise see. But what happens if your ambassador goes full Boris Johnson and puts the wrong foot forward for a show.
The Stage (UK) Link to Story

Marvin’s Room review at American Airlines Theatre, New York – ‘slight and ponderous’

When it opened Off Broadway in 1991, Scott McPherson’s Marvin's Room was viewed through the lens of the Aids crisis – the disease would later take the playwright's life. Although not about Aids, the play’s focus on caregiving and hope in the face of illness spoke acutely to that moment. Twenty-six years on, without that context, the play treads well-worn family drama territory albeit with some laughs along the way.
The Stage (UK) Link to Story

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

In Simon Godwin's taut production of Measure for Measure the audience enters the theatre via the back entrance through Mistress Overdone’s brothel. Greeted by blasé working ladies in action, we pass peep-show booths and sex toys on shelves. This hedonistic playground establishes the world of Shakespeare’s play – a world in which the characters weigh sin, mercy, and justice.
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


Nicole Serratore

Nicole Serratore is a New York City-based freelance journalist.

She has written opinion pieces, reviews, and features for the New York Times, 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 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.