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Best Theater of 2016:

Dark & Stormy Productions

CITY PAGES

“How did tiny upstart Dark & Stormy take the prize? It happened through the dedication of a handful of talented and committed artists who want the very best on stage […] Artistic Director Sara Marsh has, over the course of a few years, crafted a must attend company out of a simple desire to put on great shows with great acting.”


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The 25 Best Arts Events of 2018: “‘Night, Mother”

MINNPOST

“Marsha Norman’s unsettling play about a young woman’s final hours on earth was fearlessly acted by Sara Marsh and Sally Wingert on a set where some of the furnishings were suspended.”

LAVENDER MAGAZINE

“Theater Artists of the Year: Sally Wingert, Actress, ‘Night, Mother

2018 TWIN CITIES THEATER BLOGGERS AWARD NOMINATIONS

“Favorite Dramatic Performance by an Individual: Sara Marsh, ‘Night, Mother


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Minnesota’s top theater women are creating stages of their own

STAR TRIBUNE

“They may look to Dark & Stormy for inspiration. Through tenacity and grit, actress/Artistic Director Sara Marsh built her company conserving money to hire top-notch talent […] Dark & Stormy has been an Equity [union] company since its second production, paying at least union-scale wages plus pension benefits. It added health benefits in 2016.”

— Rohan Preston


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“Fool For Love” honored by critics as a top production of the year

CHERRY AND SPOON

“An intense and intimate exploration of love, family, and their devastating effects.”

— Jill Schafer

LAVENDER MAGAZINE

“Outstanding Supporting Actor: Patrick Coyle, Fool For Love


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“Extremities” honored by critics as a top ten production of the year

STAR TRIBUNE

“Sara Marsh is the founder of this nimble company…She was riveting as the would-be rape victim who turns the tables on her attacker in Mel Day’s tense and taut production.”

— Rohan Preston

CITY PAGES

“Dark & Stormy brought audiences into a living room where a young woman fought off her attacker — and was then forced to decide whether he lived or died. Compelling acting and directing meant we also lived and died with every twist.”

— Ed Huyck

LAVENDER MAGAZINE

“Best Stage Combat Direction: Annie Enneking, Extremities, Dark & Stormy Productions; Henry IV, Part I, 10,000 Things Theater; The Jungle Book, Children’s Theatre Company”

“Crème de la crème performances: Sara Marsh, Extremities, Dark & Stormy Productions”

— John Townsend


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“The Hothouse” honored by critics as a top production of the year

CITY PAGES

“Nothing says Christmas like Harold Pinter and torture, especially when it comes wrapped up with a great cast, direction, and concept that saw the show played out in an echoing atrium.”

— Ed Huyck

MINNESOTA PLAYLIST

“This is a ‘Best of’ article, so I realize I need to pick something that was actually the best: I’m giving this one to Dark & Stormy’s The HothouseThe Hothouse had it all for me this year. Best Production of 2014-15.”

— Sophie Kerman


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“The Receptionist” honored by critics as a top ten production of the year

CITY PAGES

“Sally Wingert led a talented four-actor cast through Adam Bock’s dark-as-midnight workplace comedy. The experience was intensified by the found location — a recently vacated downtown office space — that seemed to be haunted by the true nature of the Northeast Office’s work.”

— Ed Huyck


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“Speed-the-Plow” honored by critics as a top ten production of the year

STAR TRIBUNE

“Director Ben McGovern teamed with actors Sara Marsh, Bill McCallum, and Kris L. Nelson to make David Mamet’s ‘Speed-the-Plow’ a savagely arresting treat in a found space.”

— Rohan Preston


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Nimble, inventive small theaters proliferate in the Twin Cities

STAR TRIBUNE (2013)

“For several weekends last month, people gathered in an out-of-the-way office building in southeast Minneapolis. They came to see ‘Speed-the-Plow,’ David Mamet’s acidic take on Hollywood, as staged by new company, Dark & Stormy Productions. The show, which starred Guthrie regulars Kris Nelson and Bill McCallum alongside company founder Sara Marsh, offered a gripping, spittle-laced experience, darting actors coming dangerously close to tripping over audience members…The drama, which could hardly have been better if it had been pumped up with a Guthrie-sized production budget, was more evidence that small theaters are a big part of what makes the performing arts scene special.”

— Rohan Preston


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