REVIEWS

 

Meadowlark Shakspeare Players’

The Witch

by Thomas Middleton

“Scarborough’s Hecate was literally and narratively central to these scenes as she sung and smiled and moved among her gaggle of followers. Her spirited rendition of Taylor Swift’s “I Did Something Bad” was taken up by a noisy Playhouse audience to close the intermission, and her joy in the attention she received from her spirits supported the stated primary motive of this enigmatic character – she delighted in mischief. As Hecate moved above and around her witches, she also emerged as a mother figure, including in her soft approach to Smyl’s Malkin (with pointed ears and tail) and to Devlin Ford’s Firestone.”

as Reviewed by Dr. Peter Kirwan on “The Bardathon”

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Meadowlark Shakspeare Players’

The knight of the Burning Pestle

by Francis Beaumont

Directed by Constance Swain

“Sarah Scarborough played a costume attendant who was pulled out and dressed in a makeshift princess gown in real-time as the Grocers called for the scene; transforming from backstage blacks into a full dress, Scarborough’s character relished the chance to suddenly be the centre of attention, even squeezing Rafe’s arse cheekily as she finished her scene.”

as Reviewed by Dr. Peter Kirwan on “The Bardathon”

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Meadowlark Shakspeare Players’

A Midsummer Night’s Dream

by William Shakespeare

Directed by Alaina Shefelton (nee Smith) & Johnny Williams III

“Hermia, for her part, was purer than pure, Scarborough’s open expressions shifting with the prevailing mood as others gave her fear or hope. With the world upside down, though, her Hermia suddenly took on a force of her own, finally squaring up to Helena and Lysandra and requiring all three of the others to keep her at bay (she also, Boromir-style, needed at least three sleep darts to finally get her to succumb to the fairies’ whims).”

as Reviewed by Dr. Peter Kirwan on “The Bardathon”

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Meadowlark Shakspeare Players’

Noble Hearts

by Monica Cross

Directed by Alaina Shefelton (nee Smith)

“Scarborough’s version of Margaret still had some of the wit of Shakespeare’s, but here was allowed to be a romantic heroine of her own […] Scarborough’s skill here was in grounding Margaret in a firm sense of personal stability. She loved Borachio dearly; she also spoke up for herself when she realized how she had been used; and she chose to forgive.”

as Reviewed by Dr. Peter Kirwan on “The Bardathon”

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News

September 2024

I’ve officially been in Nashville for two months though I’m still learning my way around.  I’ve stumbled into a few consistent gigs that have made this town feel do-able in terms of staying on top of bills as well as being able to work on the chunk of student debt I’ve got from two MFAs!  I’ve been working as a Simulated / Standardized Patient at Belmont University as well as some minor work in the film industry here in Nashville!

MORE HERE

July  2024

I’m going on for a make-up rain date for one of my understudy tracks for Endstation Theatre Company’s Twelfth Night!  Here’s to continuing to explore my work began in my MFA thesis on how the work of understudying intersects but doesn’t perfectly overlap with typical acting training! 

June 2023

Catch me in two staged readings for Endstation Theatre Company’s Playwrights Initiative!  I will be playing Beth in Patrick Earl’s The Good Birth, and Maggis in Dry Bones by Jim McManus!  It’s been a joy to work with our directors, who are both MFA students here at Randolph College, as well as work with new actors and on new works after so long treading the boards at the Blackfriars Playhouse fully immersed in Early Modern plays!