Prima Facie is a play that refuses to be taken at face value.

Driven by a powerhouse performance, Vanya is devilishly funny, playful, and inextricably human.

Much Ado About Nothing, unlike the name suggests, actually packages up quite a few happenings before recounting them in a kaleidoscopic stage that seems to have a dozen or two aces tucked up its sleeve.

At The Seagull, I felt welcome. 

Straight Line Crazy was rotten, in a thoroughly enjoyable way.

Webster’s Henry V is ultimately a disjointed and familiar take on the bard’s play. However, Harrington excels at recontextualising the play in its exploring the themes of war, nationalism and leadership through the prism of the twenty-first century. It may not be the most effective modernisation, but Harrington’s larger-than-life performance is certainly worth the watch.