Crimson staff writer
Vivienne N. Germain
Latest Content
‘POTUS’ Review: A Well-Done Riot
SpeakEasy Stage Company's farcical production of “POTUS” pleases, amuses, excites, and entertains, all while offering cathartic sociopolitical satire.
Leave ‘Illegally Blonde’ Alone: Theater Kids Deserve Space to Struggle
Five years after the upload of “Illegally Blonde: For Your Consideration,” we should reconsider the mockery and allow children to play with theater — even when it’s awful.
‘Macbeth’ on The Boston Common is ‘Bloody, Bold, and Resolute’
Steven Maler’s adaptation of “Macbeth” is intense, which ultimately works to its benefit. Commonwealth Shakespeare Company offers a thrilling take on a classic tragedy.
Portraying Struggle on Privileged Stages: Theater Should Reach All Audiences
Teaser: Plays aren’t always for playing around — but when artists bring new stories to new audiences, everyone wins. Regardless of the venue, theater is for all.
From Our Bookshelves: ‘Fahrenheit 451’
70 years later, ‘Fahrenheit 451’ still rings an urgent alarm, and it’s not a drill.
Artist Profile: Margaret Atwood, from a Lump of Clay to ‘Old Babes in the Wood’
Atwood sat down in conversation with The Harvard Crimson to discuss “Old Babes in the Wood,” her writing process, and how the two relate: she wrote the book to her own taste, and it worked.
Artist Profile: Dawn M. Simmons on the Imagination and Joy in ‘K-I-S-S-I-N-G’
Dawn M. Simmons is a director, playwright, movement enthusiast, world builder, creator, and dreamer.
What If?’s ‘Romeo and Juliet’ Review: Vibrant, Queer, Briliant
What if Shakespeare’s “Romeo and Juliet” was two girls kissing in a secret psychedelic basement?
‘Heroes of the Fourth Turning’ is an Intellectual Obstacle Course
“Heroes of the Fourth Turning” offers a surprisingly underrepresented and risky approach: listening — really listening — to the perspectives of white right-wing conservatives.