Portland Stage Company, Portland, Maine, Anita Stewart, Artistic Director, 2002
Wellesley Summer Theatre, Nora Hussey Artistic Director, 2000
Tulane University, 2004
University of Alabama, 2001

Portland Stage Company's Little Festival of the Unexpected
University of Alabama Janus Festival

Boston "IRNE" Award for Best New Play
Clauder Playwriting Competition
New Orleans "Big Easy" Award
Winner University of Alabama National Playwriting Contest

Portland Stage Company, Anita Stewart, artistic director
Director: Martha Banta
Set Design: Anita Stewart
Costume Design: Jaqueline Firkins
Lighting Design: Bryon Winn
Sound Design: Jill B.C. DuBoff
Stage Manager: Myles C. Hatch

With: Matthew Maher, Jennifer Woodward, Chanda Hartman, Jeff Patterson, David Glendinning, Samuel Pennel, Seth Rigoletti, Rufus Tureen, Matt Cost, Michael Eller


"Harrington's characters come together at play's end, pulling the individual stories together so seamlessly for a touching and remarkably redemptive conclusion you don't see it coming, though in hindsight it is inevitable. Harrington and company have composed an evocative tone poem about life and death." —TheatreMirror

"Hallowed Ground earns its stripes ... a cleanly written drama that deals with universal emotions. "Hallowed Ground is a simple but elegant work ... effectively directed by Nora Hussey. The set is minimal and ... gives the play a post-apocalyptic feel that transcends its Civil War setting. "Hallowed Ground isn't a play of showy importance, and though it has something to say about racial and gender roles, its subtlety and concern with universal themes - the futility of war, the power of hope - push it beyond "identity" theatre. I hate to categorize the play at all, especially after recalling another fine moment in this production. The Confederate soldier plays a tune on his cornet and Lizzie is about to identify it when he puts up his hand and says, "Don't name it, girl. Let it live a bit before you tie it down." —Boston Phoenix

"Hallowed Ground deftly portrays war's horror, poetry. Laura Harrington makes these characters real. As these enemies try to forge a peace over ravaged bodies, so shall the entire nation after the war ends. Jubal and Lizzie and Micah and Jack feel like flesh and blood, not walking symbols. Harrington also forges a fine language, capable of sounding like real speech while packing a poetic punch. Witness Jubal when he dreams of playing his cornet beautifully enough "to drown out the sound of this war." —Maine Sunday Telegram

"Higher Ground" "The text of the play is mesmerizing ... the language poetic. "The play is a story of friendship and growth, of grief and loss, and of the tenuous moments between life and death, between peace and war. "Hartman's performance is outstanding." —The Portland Phoenix