Crimson staff writer
Vivienne N. Germain
Latest Content
Marianna Bassham on Love and Vulnerability in a Contemporary ‘Romeo and Juliet’
In her work, theater artist Marianna Bassham finds care and compassion in relationships between characters, even so-called enemies.
A Call to Read Problematic Classic Novels
Valuable classic fiction with prejudiced ideas should remain on our shelves, on our syllabi, and in our minds.
Artist Profile: Kate Greene on Writing as Discovery
Writer Kate Greene observes, explores, and experiments in poetry and prose, harmonizing the internal with the external in pursuit of discovery.
‘Burn This’ Review: A Good-But-Not-Great Exploration of Loss, Love, and Longing
Hub Theatre’s “Burn This” seeks to probe weighty facets of life, but the actors do not achieve the necessary complexity to do so.
‘John Proctor is the Villain’ Review: An All-Around Triumph
"John Proctor is the Villain" provides profundity and levity, which neither detract from nor clash with each other, but instead enhance the show.
‘Alt-Nature’ Review: Prose Poetry at Full Capacity
In “Alt-Nature,” Saretta Morgan engages with the desert and the waters to meditate on love, violence, injustice, Blackness, and queerness.
Arts Vanity: ‘EDITED/VIV,’ an original musical about The Crimson’s Theater Renaissance
“EDITED/VIV” is an original comedy-drama musical by Vivienne N. Germain, inspired by her experience as an Associate Arts Editor leading the Theater section of The Harvard Crimson.
‘BLKS’ Review: Relatable, Energetic, Vibrant, and Uplifting
Achieving its goal to mirror Black queer women of the present day, “BLKS” told a relatable story full of humor and heart.
‘The Planets’ Retrospective: Holst’s Spectacular, Forward-Looking Journey Through Music, Space, and the Mind
Holst's brilliant suite offers intimate insight into a private man’s mind, a spellbinding journey through space, and an astounding view into the future.
‘The Game’s Afoot’ Review: A Gray, Lethargic Attempt at Farce
Lacking speed and energy, Lyric Stage’s “The Game’s Afoot” falls short of farce.