Theatre roles include Julia in FALLEN ANGELS at TheatreWorks Silicon Valley, Mary in IT'S A WONDERFUL LIFE A RADIO PLAY at Marin Theatre Company, Stella Adler in THE MAZE OF OUR OWN LIVES at San Francisco's Jewish Theatre, Catherine in PROOF (Bay Area Critics Circle Award, Dean Goodman Choice Award) and Slippy Helen in THE CRIPPLE OF INISHMAAN also at Theatreworks Silicon Valley, Violet in MAN AND SUPERMAN at Portland Center Stage, Evelyn in THE SHAPE OF THINGS at Artist's Rep, Belle in A CHRISTMAS CAROL at American Conservatory Theatre, Cordelia in KING LEAR and Julia in TWO GENTLEMEN OF VERONA (Dean Goodman Choice Award) at The California Shakespeare Theatre, Ann in BRONTE and Natalie in SUMMERTIME at Magic Theatre, Julie in TRUST at Eureka Theatre, Catherine in A VIEW FROM THE BRIDGE at San Jose Stage, Castiza in THE REVENGER'S TRAGEDY at Park Square Theatre St. Paul, and Cinderella in CINDERELLA at The Children's Theatre in Minneapolis.
Sarah is especially fond of workshopping new plays and has been in numerous readings and development processes including Portland Center Stage's JAW West, the TheatreWorks New Works Festival, The Oregon Shakespeare Festival's Play On! Series, and Proscenium Live with The Portland Shakespeare Project.
Sarah's on-screen acting credits include LOVE & TAXES with ABRAMORAMA, the upcoming MY SUMMER AS A GOTH, HAIKU TUNNEL with Sony Pictures Classics, the web series AFTERGLOW, A COMEDIE OF BAD MANNERS and THE SATCHEL, the television series MURDER IN THE FIRST, and the educational film THIS IS ROMEO AND JULIET. Sarah has also been seen and heard in numerous commercials and voice overs.
Ms. Overman received her MFA in Acting at the University of Minnesota/Guthrie Theatre and she congratulates you for reading this far.
Go make yourself a martini.
The San Francisco Bay Area Critics Circle Outstanding Achievement Award: Principal Performance; Catherine in PROOF, TheatreWorks 2003
Dean Goodman Choice Award: Principal Performance; Catherine in PROOF, TheatreWorks 2003
Dean Goodman Choice Award: Principal Performance; Julia in TWO GENTLEMEN OF VERONA, The California Shakespeare Theatre 1999
MAN AND SUPERMAN, Portland Center Stage: “Sarah Overman delivers a devastatingly funny, true to the bone performance as Octavius’ calculating sister Violet: she’s like the pragmatic Charlotte Lucas in “Pride and Prejudice” but with fangs.” The Oregonian, Bob Hicks
HAIKU TUNNEL, a Sony Pictures Classics Release of a Kornbluth Bros. Film: Sarah Overman, in her film debut, registers a particularly strong impression as Julie. Overman has the self-possession, the magnetism, and the all important ability to think on-camera that marks her as someone who will be making more movies.” San Francisco Chronicle, Mick LaSalle
PROOF, TheatreWorks: “Overman and Earnst create a richly textured, beautifully nuanced sense of the love, frustration, mutual respect and tender concern between her eager, wary Catherine and his fond, crusty, still boyishly impulsive Robert.” … “Overman is riveting too, in the depth of her grief, seething with unexpressed layers of resentment and exhaustion.” San Francisco Chronicle, Robert Herwitt
“The greatest asset of this TheatreWorks “Proof” is Sarah Overman’s central performance as Catherine. Unaffected and grounded, Overman can play a depressed woman believably and still make us laugh. We come to care for Catherine almost immediately, and through Overman’s carefully calibrated work, we feel the character’s every pang of happiness or jolt of despair.” Oakland Tribune, Chad Jones
“Sarah Overman performs brilliantly as Catherine, effortlessly modualating between the cranky stubbornness of a depressive and the elation of a newly enamored lover. Catherine’s struggles with her inner demons and desires drive the play, and Overman renders them with calculated precision.” The Metro, Rob Pratt
CRIPPLE OF INISHMAAN, TheatreWorks: “Sarah Overman makes her entrance as if blown through the door in a blast of scattershot energy. Slippy Helen would rather break eggshells... than walk on them, and Overman raises the stakes of every scene she’s in.” San Francisco Chronicle, Bob Graham