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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

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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
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Rattlestick Playwrights Theater: The Off-Broadway new-writing venue transforming itself

The Stage Link to Story
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King Kong review at Broadway Theatre, New York – ‘spectacular puppetry, jumbled production’

This new musical version of King Kong, roaring its way onto Broadway, features some spectacular puppetry. But, though the ape is great, the score is wan and the plot a head-scratcher making for an incoherent theatrical experience. The titular ape dominates Olivier-winning director and choreographer Drew McOnie’s production.
The Stage Link to Story
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The Lifespan of a Fact starring Daniel Radcliffe review at Studio 54, New York – ‘punchy performances’

This new play about a fact-checking dispute at a magazine feels incredibly timely.
The Stage Link to Story
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Off Broadway Review: ‘Mother of the Maid’ With Glenn Close

Close is commanding in this muddled drama about parenting, faith, and trying to talk to your kids when they talk to saints.
Variety Link to Story
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Review: R+J:A Reimagination of Romeo and Juliet at Access Theater

Hypokrit Theatre Company posits a futuristic world without cisgender men in their new production R+J: A Reimagination of Romeo and Juliet. With a cast made up of women and gender non-conforming performers, the company maintains the structure of the original Shakespeare; the pressures of family, warring factions, hot-headed cousins, and violence endure.
Exeunt NYC Link to Story
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Oklahoma! review at St Ann’s Warehouse, New York – ‘a startling reimagining of a classic musical’

In his startling, minimalist reimagining of Oklahoma! , director Daniel Fish foregrounds the carnality and violence that has always formed part of this classic musical. It’s a thrilling jolt. Fish’s production examines the ugliness of an American community, a timely indictment of American “justice” and a bracing reminder of the power of art to reflect society.
The Stage Link to Story
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The Nap review at Samuel J Friedman Theatre, New York – ‘wacky snooker comedy’

Richard Bean’s broad, and at times crude, comedy, The Nap, premiered in Sheffield, the home of UK snooker, in 2016. The play’s plot borders on the ridiculous. It features a transgender gangster with one arm, a pole-dancing police officer, and a pure-as-snow rising young snooker player. Dylan Spokes (Ben Schnetzer, making his Broadway debut) returns to his hometown to play in the snooker World Championships.
The Stage Link to Story
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Bernhardt/Hamlet review at American Airlines Theatre, New York – ‘a riveting performance from Janet McTeer’

It would be a real thrill to see Janet McTeer do Hamlet. In Theresa Rebeck’s new play Bernhardt/Hamlet we get glimpses, though this is McTeer as “the divine” Sarah Bernhardt attempting to play the Danish prince. Rebeck’s play juggles a lot — women on stage, gender and power, love and ambition. Yet a lot of this gets bogged down in speechifying.
The Stage Link to Story
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Review: The Naturalists at Walkerspace

There are a lot of secrets being kept by the characters in Jaki McCarrick’s play The Naturalists. When they finally spill out in a glut, it can stretch credulity. This new play set in contemporary Ireland offers some moments of beautifully written prose and a carefully calibrated central performance.
Exeunt NYC Link to Story
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Off Broadway Review: ‘Collective Rage: A Play in 5 Betties’

Anger, love, and loneliness are comedically but honestly rendered in this occasionally absurd, stylized, queer-centric play that speaks openly and often about p—y.
Variety Link to Story
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Edinburgh fringe review: The Chore of Enchantment at Underbelly

There’s something deeply satisfying in the chill, philosophical style of Vincent Gambini the magician. His show, The Chore of Enchantment, is what he calls a theater magic show which means to him it is “slower and a bit sad.”. So if you’re expecting loud and splashy, you might be disappointed. I’ve always found magicians a bit needy.
Exeunt Magazine 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, The Stage (UK), the Village Voice, Exeunt magazine, TDF Stages, Flavorpill, and The Craptacular.

She is the New York Managing Editor at Exeunt NYC, the New York portal for Exeunt magazine. 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.