"In many ways, the modern era of projections on Broadway — and, by extension, in the rest of the theatre — began with Wendall K. Harrington, who designed a number of productions that proved to be technological and aesthetic milestones...
"[4] Considered the ‘godmother’ of modern theater projection in New York, many of her former assistants have gone on to Broadway careers including Zachary Borovay (Rock of Ages), Sage Carter (One Flew Over The Cuckoo's Nest), Michael Clark (Jersey Boys) and Elaine J. McCarthy (Wicked) as well as Hope Hall who went on to serve as the Principal Presidential Videographer and Archive Lead for the Office of Digital Strategy for President Barack Obama.
She began her career apprenticing as a filmmaker on a number of experimental films before transitioning into advertising at Esquire Magazine, and then projection design in 1978.
Throughout the years, she continued to serve as projection designer for shows, both on and off-Broadway and nationwide, notably The Will Rogers Follies, Disney's Beauty And The Beast, Company (1995 Rvival), Paul Simon's The Capeman, The Music Man, Children of a Lesser God, The Glass Menagerie, The Human Comedy, The Heidi Chronicles, Into the Woods, A Christmas Carol.
Harrington also designed Lincoln Center's productions of Four Baboons Adoring the Sun, Racing Demon and Hapgood.
[13] As design director for Esquire, she conceived and edited Randy Shiltsís’ My Life on the AIDS Tour, which was nominated for a National Magazine Award and published in Best American Essays of 1990.