Sara Marsh has appeared in productions, workshops, and readings on stages across the Twin Cities. She was most recently seen as Una in Blackbird and Jessie in 'Night, Mother, opposite Sally Wingert as Thelma, at Dark & Stormy Productions. Currently, Marsh can be seen playing Caroline Bryant in the world premiere of benevolence, the second installment in the Emmett Till trilogy by Ifa Bayeza at Penumbra Theatre (February 14 - March 10, 2019).
"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
“Two-thirds of the way into ‘Blackbird,” [David] 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 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...At the play's center is a long monologue by Solange, who in this production delivers much of it poised stock still at the end of the bed. In lesser hands that could spell trouble, but Marsh keeps us positively rapt as we follow her violently wandering thoughts through a series of doors that never quite lead to escape — only to other doors." - Review of The Maids, Jay Gabler, City Pages
“Sara Marsh is brilliant as Caroline Bryant. Her measured, severe performance is filled with pain and nuance; it can’t be easy to play such an evil character, and I salute Marsh for her fantastic execution.” - Review of benevolence, Becki Iverson, Compendium
"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. Theresa Rebeck wrote Bad Dates for Julie White, the gifted comedienne, and Marsh, like White, is able to convey both wit and manic energy. 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 performance in particular is riveting as she cycles through fear, disgust, rage, and a host of other emotions over the course of the play, demonstrating in a raw and palpable way the effects of the trauma she's undergoing." - Review of Extremities, Lisa Brock, Star Tribune
"Marsh [as schizophrenic daughter Karen] does something with her eyes that conveys a lack of focus, a detachment from the events going on around her. Even in the close quarters of the performance space she seems authentically disturbed -- maybe even a little dangerous" - Review of And So It Goes, Eric Ringham, Minnesota Public Radio
"'The Maids' features soaring performances by Sara Marsh and Jane Froiland...These rapturuous, powerful performances should not be missed...I cannot emphasize enough the genius in the performances: Marsh and Froiland offer the best acting I've seen in a year of theater-going." - Review of The Maids, Kit Bix, Minnesota Playlist
"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…Marsh manages to tone down her natural radiance and express the emptiness and resolution that guide Jessie’s hand…Marsh also designed the set, an intriguing concept in which everything, except a homey sofa that provides a shelter for Thelma, is suspended from the ceiling. It suggests a life ungrounded, untethered to the earth." - Review of ‘Night, Mother, Arthur Dorman, Talkin' Broadway
“Una seems more straightforward but [Sara] Marsh strips away her teasing intelligence in a painful, emotionally specific monologue that hints she, too, is lying about the direction her life has taken since Ray has exploited her. Both actors handle [David] Harrower’s Mamet-y, staccato-rhythmed dialogue deftly, almost as if they’re duetting on a thorny piece of music...." - Review of Blackbird, Chris Hewitt, Star Tribune
"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
"Sara Marsh is terrific as Sunshine, a part that could have been written for her talents. She is by turns sexy, wound-up, funny and smart, and projects a vulnerability that cloaks an inner strength" - Review of Sunshine, Arthur Dorman, Talkin' Broadway
“Sara Marsh gives a raw and compelling performance, as you almost feel sorry for Caroline [Bryant] due to the men controlling her, at the same time you feel outraged at her lies and participation in the murder.” - Review of benevolence, 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. We know she can't help herself, yet in each guise she creates the illusion of being the one in control." - Review of And So It Goes, Arthur Dorman, Talkin' Broadway
"The 100-minute solo character study is a good vehicle for Marsh...[Her] Haley starts the show charmingly schooling us in what a woman goes through in balancing great-looking footwear and piercing discomfort...she has the quirks in spades; Marsh looks perfect for the role, and her energy never flags." - Review of Bad Dates, Graydon Royce, Star Tribune
"Sara Marsh's fiery May is utterly feline, hardwired into a suspended state of emotionalism that continues to short-circuit her into the toxic connection with Eddie." - Review of Fool For Love, 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
"The cast is game and gifted...Marsh, as a repeat customer in the offing-the-boyfriend industry, trods the line between grim groundedness and insanity" - Review of The Norwegians, Dominic Papatola, Pioneer Press
"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 (Extremities, The Hothouse); Melissa Hesse (The Norwegians, And So It Goes, Sunshine); John Eastman (Speed-the-Plow); Hilary Roberts (Bad Dates); Rich Ryan (Fool For Love, The Maids, ‘Night, Mother); Rick Spaulding (Blackbird); Craig VanDerSchaegen (Roller Derby Queen), Allen Weeks (benevolence).