Open-uri20141002-2-1eho4u6_thumb

Nicole Serratore

Arts, Culture, and Travel Journalism

NEW YORK, NY

Nicole Serratore

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

Featured

Open-uri20170620-4-1pqqfrp_profile

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
Open-uri20200803-4-czym1q_profile

Theater of Your Mind: Closet Dramas and More

I’ve tried to engage in Zoom plays, streams of recorded shows from the Before times, audio plays, and one-on-one plays over Skype that bring performer and audience together at least virtually. But I had neglected one potential avenue for theater during theater’s shutdown—the theater of my mind. No one was stopping me from reading plays and imagining a live performance in my head.
Exeunt NYC Link to Story
Open-uri20200803-4-9033co_profile

Review: we need your listening at Ice Factory Festival

In the olden days of live theater, my cat Zainab would not have distracted a performer from their job. But in the now of Zoom theater, when I am “dialing-in” from home, it’s an actual risk. Zainab and I participated in a show in the newly digitized Ice Factory festival, we need your listening, created by Velani Dibba, Ilana Khanin, Elizagrace Madrone, and Stephen Charles Smith.
Exeunt NYC Link to Story
Open-uri20200527-4-iozh3h_profile

Review: The Interminable Suicide of Gregory Church

The show originated in 2009 and played New York in 2011. Kitson is streaming a filmed version of the show for a week at various times keyed to Australian, UK, and American audiences (you can watch any of these wherever you are in the world). It’s a meditation on an unobserved life and finding meaning, connection, and sustenance from the mystery of a quiet life and death of a stranger.
Exeunt NYC Link to Story
Open-uri20200518-4-1yl0ulb_profile

Review: Performance for One

I really like one-on-one theater. I get a thrill out of the intense focus of one artist and one audience member in conversation. Edward Einhorn’s Performance for One attempts to do this in our online times. Offering a two-part show over Skype, each around 10 minutes, the actor can see you and you can see her.
Exeunt NYC Link to Story
Open-uri20200406-4-b27e0d_profile

Review: Hamlet at Festival D’Avignon 2008

Lars Eidinger enters the scene wearing nothing but lace boyshorts and thigh high stockings. He applies stage blood to drip from his nipples. He dons a blond wig and sunglasses. Suddenly, he is the Player Queen, an exaggerated, licentious version of Hamlet’s mother, Gertrude. He then steps forward and aggressively makes out with the Player King who is wearing nothing but underpants.
Exeunt NYC Link to Story
Open-uri20200406-4-1cfl1qf_profile

Letter from the Editor

I have no answers (I do have the cat snacks, which explains this photo). With the New York theater scene shutdown, most of us in New York City in some sort of self-isolation or self-quarantine situation, it’s a very odd time to be running a theater criticism website. Many people are coping by making art.
Exeunt NYC Link to Story
Open-uri20200317-4-6j4itg_profile

Playwright Martyna Majok: ‘I want fluid to leak from your face. That’s what I want theatre to do’

Pulitzer Prize-winning playwright Martyna Majok’s introduction to theatre came via the pool halls of New Jersey. One night after hustling $45, aged 17, she decided to buy her first ticket to a Broadway show.
The Stage Link to Story
Open-uri20200518-4-jp501u_profile

Review: Unknown Soldier at Playwrights Horizons

I have suddenly found myself reviewing the new musical Unknown Solider, in the midst of its closure due to the coronavirus crisis. Any criticism now comes across a bit like showing up at a funeral and pointing out a double-chin on the deceased. I’m not saying I have done this, but as an Italian-American, I have experienced colorful funerals where the traditional, solemn rules hardly seem to apply.
Exeunt NYC Link to Story
Open-uri20200221-4-9byxzp_profile

West Side Story review at Broadway Theatre, New York – ‘Ivo van Hove refreshes a classic musical’

A video projection screen fills the entire back wall of the theatre. On to this is projected live footage from the stage, pre-recorded slow-moving dolly shots down city streets, character montages, and scenes filmed off-stage. The near constant explosion of blown-up imagery is almost too much to process – even before rain showers the stage.
The Stage Link to Story
Open-uri20200219-4-1idqyig_profile

Anatomy of a Suicide review at Linda Gross Theater, New York – ‘Alice Birch’s beautiful, aching play’

Alice Birch’s beautiful, aching play depends on the careful delivery of synchronised and overlapping dialogue from characters in three time periods who share the same stage at the same time. It functions like a symphony. Every note is critical. Director Lileana Blain-Cruz’s production gets some of the musical movements right, but it’s neither as chilling nor as finely tuned as the original production at London’s Royal Court.
The Stage Link to Story
Open-uri20200219-4-15zw98_profile

Roundabout Underground: Step inside New York’s 62-seat studio that fosters global writing stars

Best known for its revivals of musicals and the classics, the not-for-profit Roundabout Theatre Company branched out into new work more than a decade ago with Roundabout Underground in its basement black-box theatre. The programme’s associate artistic director tells Nicole Serratore how the company is nurturing the next generation of playwrights.
The Stage Link to Story

About

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, Variety, BAMbill, The Stage (UK), the Village Voice, Exeunt magazine, TDF Stages, TheaterJones.com, Flavorpill, and The Craptacular.

She is the Managing Editor at Exeunt NYC, a longform theater criticism website. She is a current member of the American Theatre Critics Association, the Drama Desk, and the Outer Critics Circle.

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 Frommers.com.

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.