Sara Marsh has been seen on stages across the Twin Cities. Most recently, she originated the role of Caroline Bryant in the world premiere of benevolence by Ifa Bayeza (with Peter Christian Hansen, Darrick Mosley, and Dame Jasmine Hughes) directed by Talvin Wilks at Penumbra Theatre Company, and appeared as Celia in As You Like It at Zephyr Theatre, Lexie Richards in The Dixie Swim Club at Old Log Theatre, and at Dark & Stormy Productions as Helene in Jacuzzi by Hannah Bos and Paul Thureen and developed by Oliver Butler (made by The Debate Society), as Betty The Norwegians by C. Denby Swanson, as Una in Blackbird by David Harrower (opposite Luverne Seifert), and as Jessie 'Night, Mother by Marsha Norman (opposite Sally Wingert).
"Into the mix steps Karen, played to perfection by Marsh. [...] The show belongs to Marsh, who sells innocence masterfully. At one point, another character asks if Karen is a witch. I'm not sure about that, but Marsh does make the fire burn and the caldron bubble under the surface of 'Plow.'" - Review of Speed-the-Plow, Rohan Preston, Star Tribune
"Sara Marsh is a revelation of comic brilliance." - Review of The Receptionist, John Townsend, Lavender Magazine
"The show is a tour de force (as they say across the pond) for Marsh, who's always good and has perhaps never been better than in the role of Solange, one that seems tailor-made for her gifts of supreme resolve and physical fearlessness." - Review of The Maids, Jay Gabler, City Pages
“Two-thirds of the way into ‘Blackbird,” Harrower gives Una a brutal 1,400-word monologue — her version of what happened the night she and Ray spent together, and after — that’s worth bringing back the Ivey Awards, if only to honor Marsh for getting through it so masterfully.” - Review of Blackbird, Pamela Espeland, MinnPost
"The actors are all excellent, but I have to single out, for especial praise, Sara Marsh. Marsh plays Miss Cutts, sexpot...Obsessed with her womanliness ('Do you think I'm feminine?') she slinks and sashays and slithers through the Atrium, driving everyone crazy." - Review of The Hothouse, John Olive, How Was The Show?
"The play is a 100 minute workout for a lone actor who plays Haley...in this case, Sara Marsh, who has charisma to spare, and the ability to be sexy, funny, dim-witted, and insightful all at once…In Marsh's full throttle performance, they mine all the humor and display just how to mount a fizzy comedy, framed around a winning performance, that gives its audience a terrific time." - Review of Bad Dates, Arthur Dorman, Talkin' Broadway
“Marsh’s Lexie, a serial seducing narcissist, has the best lines, and she does not miss a beat. Her timing is expert. Kudos, also, for the convincing Southern accent.” - Review of The Dixie Swim Club, Rohan Preston, Star Tribune
"'The Maids' features soaring performances by Sara Marsh and Jane Froiland...These rapturous, powerful performances should not be missed...Marsh and Froiland offer the best acting I've seen in a year of theater-going." - Review of The Maids, Kit Bix, Minnesota Playlist
"Marsh's performance in particular is riveting as she cycles through fear, disgust, rage, and a host of other emotions over the course of the play." - Review of Extremities, Lisa Brock, Star Tribune
"Every once in awhile, a play is so perfectly cast that it would be hard to imagine, moving forward, ever seeing it with anyone else in the roles. […] Put in the hands of the marvelously talented Sally Wingert and Sara Marsh, this sturdy play rises to a transcendent level." - Review of ‘Night, Mother, Arthur Dorman, Talkin' Broadway
"Marsh finds, in May, a manic pixie dream girl who's started to outlive her dreams. Flirtatious but deliberate, Marsh throws her slight frame entirely into the encounter, at one point wrapping herself around her partner's body as tightly as one of those things that jump from the eggs in Alien." - Review of Fool For Love, Jay Gabler, City Pages
"Sara Marsh is magnificent as Marjorie." - Review of Extremities, John Townsend, Lavender Magazine
"I often say that two person plays are my favorite…This is one such play, and both Sally Wingert and Sara Marsh give among the best performances I’ve seen from either of them." - Review of ‘Night, Mother, Jill Schafer, Cherry and Spoon
"As Karen, erupted into paranoid schizoprenia, Marsh is a marvel of manic terror one moment, vicious character assassination another, the soul of reason the next minute." - Review of And So It Goes, Arthur Dorman, Talkin' Broadway
"It is Sunshine, played by a petite performer who punches way above her weight, who brings a sense of menace to the 90-minute play...Imagine Lady Macbeth as a working girl, struggling to find a way to get her soul some nourishing light." - Review of Sunshine, Rohan Preston, Star Tribune
Photo credits: Heidi Bohnenkamp; Hilary Roberts; Rich Ryan; Rick Spaulding; Allen Weeks; Old Log Theater.