HARRINGTON REPERTORY: Asking important questions in questionable times

Chase Harrison
Nov 4
5 min read

What we do with our time on this planet is just as important as us being here at all. There are philosophies which say we live to suffer in perpetual search for meaning; certain religions teach that meaning and purpose to be discovered through pious revelation of a divine edict. No matter which you, dear reader, adhere to, the search for meaning is a universal quest.

Rose-Mary Harrington has been traveling that journey and has found meaning through her art, play writing to be exact. The playwright has her origins across the pond in Great Britain but, since entering the state-side theater game has had productions performed all over the United States. From Coop Theatre East in New York City, the Kennedy Center in D.C., all the way to Oregon and Utah. Harrington’s shows have taken shape and taken to stage all over the US of A.

Over that time, Harrington has picked up numerous awards, such as the Oregon Literary Fellowship in Drama (2009). She was the winner of the 2014 New American Playwrights Project at the Utah Shakespeare Festival for her production “Six Seconds.” Most recently, Harrington has been recognized by Wilmington’s own theater scene with a nomination at the 2025 Wilmington Theater Awards for Outstanding Original Production for her play, “Shakers Revised.”

Now the writer, director, and namesake of Harrington Repertory is on the cusp of opening the company’s latest production and the fourth to stage here in the Cape Fear Region. Before the whirlwind of rehearsals began, Harrington sat down with me to discuss the upcoming production, “Orion’s Choice,” what drew her to the subject, what motivated her to write it, and most importantly, what meaning she hopes audiences take away from it.

“Orion’s Choice” is a challenging yet unfortunately relatable story: when Mary (played by Elizabeth Michaels) begins to show signs of a debilitating illness, she finally reaches out to her long-estranged son, Orion (Joshua Lowry), for assistance as she begins to lose more and more of herself. Unimaginable conversations and impossible choices are confronted by the mother and son, as they try to resign themselves to what has greater meaning: quantity or quality.

It was interesting walking into the Community Arts Center at 2nd and Orange street, frantic movement all about, each room booming with rehearsals. This always brings a smile to the face, to see that city’s arts in action, but it can make it a tad bit difficult when searching for a stranger. Maybe it was the notepad in my hand, or the whipping whirls of my head as I scanned the lobby for a face I had never seen before, but something clued Rose-Mary into my arrival. That was when the sweetest British accent greeted me, “Are you Chase?”

Between an elevator ride to one of the rehearsal studios, introductions were made as we “talked shop” about the struggles of writing and just what a long game it can be. “When I wrote this play, well, when I started writing it, my youngest son was a freshman in college, and he is now going to be 39 this year,” she says. “Sometimes the idea needs to stew and percolate.”

There is a passion for the process of writing, and that radiates from Harrington.

“What I write about is social justice, so when I get fired up on a subject I delve in!” To help facilitate her goals, The Harrington Repertory was founded in 2024. “I started this little company because I don’t have time to wait for people, for it all to evolve into a production. You could call them vanity projects, but I write to have the plays performed. I have to see them on stage and see if what I was trying to get across truly does come across.”

For her latest play “Orion’s Choice” the playwright was inspired by an article that she had read during her time in Oregon. While Harrington requested certain elements of the production’s plot remain mum, “The plot can be seen as controversial to some,” she notes. What it all comes down to is, does an individual have a right to end their own life? Do we have the right to choose?

Clearly a matter close to Harrington, “I read this article in a Eugene, Oregon newspaper about a mother and son, and the son had committed…” She stops herself, thinking of her word choice, and corrects herself, “Assisted his mother. It just made me think, wow! Could I be on board if asked to do that? Would one of my own kids be on board if asked that?”

The vibes of an A24 dramedy are already heavy in the air. In the same breath though, Harrington combats the moody air, “I really don’t want people to think it’s a dark story. Though it may cover a heavy subject matter, there is so much more to it than its themes. There is so much humor that I have incorporated,” with a hopeful laugh she adds, “At least I think I incorporated it, so that the comedic relief weight balances with the dramatic impact of the themes.”

Our conversation would turn from the tragic inspiration, to the labor that crafting it into a compelling story would take. “The idea came to me oh, 20 years ago, but I didn’t start writing it until five years ago in all earnest.” Harrington adds “I did years of research in Portland, Oregon. There is a huge bookstore in Portland called Powells, and it is a building that is like four blocks. I would go there…” Harrington lets out a soft chuckle in recollection, “My husband is a train buff, so he’d be in the train section, and he’d have to call me to find me, and he’d go where are you?” Her chuckle grows more gleefully, “and I would go, I’m in Death & Dying.” With a nod she confesses that’s where a majority of the play was patchworked together.

Through all of her research and writing what Rose-Mary truly aims to achieve from the production is to remove stigma or, at the very least, open up a dialogue. “I want the audience to have a discussion. That’s the whole thing really, that it (the play) will take on a life of its own and that people will go and discuss and maybe, just maybe, we can get the law changed.” She lowers her head, shaking in the negative, “I don’t think so, but one must try.” That hell or high-water attitude brought an honest smile to my face.

Harrington is an author that puts her money where her mouth is, as she shares, “One thing you should know is that I cashed in my IRA to do these plays, it was that important to me. I’m not in this to make money at all, I’m just in it to see the plays, and see how they come out. That’s it, because that’s why I wrote them.” Rose-Mary began to chuckle to herself before adding, “my Husband will disagree, it was either… Are you listening?” Rose-Mary’s husband had just arrived to begin setup for that evening's rehearsal, she proceeds to josh him. “…It was either the plays or a travel trailer, and we’ve already traveled around.”

On that last laugh I called our interview to a close, thanked her for her time and let her join in on the preparation for rehearsal. I enjoyed my conversation with Rose-Mary immensely, the fiery passion with which she spoke about the show more than incited my interest to see it, just as I hope reading about it has incited yours, my trusted reader.

Independent theater is important, it’s bold, it’s edgy, it’s new. Sure, all those things can sound risky, but so is living, and so is that search for meaning. After my conversation with the writer/director, it’s certainly safe to say that Mary-Rose Harrington has found hers.