Sarah Coomes grew up in space, where she ate dehydrogenated food and projected the universe’s first mind vision solution of Einstein’s gravity equivalence condition, a problem that had eluded the scientist for the whole of his working life.


Her hair is made of light, and she can run faster than any land creature, including elk and all members of the feline majori. She can see through walls and roads and houses and can tell you what you are going to say ten minutes before you say it, and even if you try and catch her out by changing your mind she still gets it right. She is over eleven feet tall and capable of crushing your head with her left hand without even trying. She can fly and she never gets lonely.


Sarah trained at the Royal Academy of Dramatic Art (RADA) in London and spent a blissful three years there, learning how to cry, speak Shakespeare and stage fight like a tiger.

Comedy Shows

Gwynn Williams—Domestic Goddess


“Sarah Coomes’ latest character  – Gwynn Williams is pure genius. Born from a film that Coomes made for her double act, the eighty-seven year-old character that she’s created for this new show, should be a Welsh national treasure. The Character transposes well from Film to stage, giving us endless gem like moments of really well tuned physical comedy and delightfully detailed character observation.   Coomes expertly manages to keep the audience engrossed with the wild ramblings of her character, as she bakes a fruit cake live on stage and takes us through the finer points of a pottery class.   To keep such a character so spot on for over an hour while still managing to take the audience with her is quite a feat; and a very funny one too, one I would highly, highly recommend.”

United Biscuits in High Tea


“Verdict: Comedy delight. High Tea is an hour of expert and outside-the-ordinary character comedy, sketches and film… The art is in the performances and highly original script. It’s extremely funny, and very clever – two words that for once aren’t contradictory… The show sets up situations, characters and conversations that at first appear real. Some stay like that, with occasional jarring edges signalling a bend in reality. In others, the script keeps the shape of real sentences, but with increasingly bizarre words. The action develops to follow that twist in logic, with the characters continuing to seem reasonable. The result is funny and often disturbing. It’s very odd stuff, and delightful to experience – truly original and delightful comedy. Cast Credits Sarah Coomes & Belinda Stewart-Wilson.”

The Fifth Booth


“Sarah Coomes is a thoroughly accomplished character actress and it is no surprise that her two-hander about inane bra-fitters comes across as a superb collection of monologues for women. The play’s narrative hinged on the ever so slow movement of the hands on a watch, juxtaposes the senior fitter Pattys marital contentment with young Delia’s silent psychological denial of post separation solitude.  Gradually her repressions begin to manifest themselves in Ally Mc Beal acid hallucinations, only to end in a reluctant relapse into her bleak reality. Both Coomes as Delia and Lyn Christine as prim and proper Patty exert an enchanting effect on the audience… As it is, the end arrives all too soon by the standards of the plays own extended passage of time, suggesting that this could have been only the end to the first act.”

Big Bend National Park


“Set at the funeral of her dead mother’s left leg, Sarah Coomes has her new show immediately launching off from a very funny, edgy place. She skilfully imbues her black comedy through a selection of her latest characters, deftly weaving a story through the middle, the whole evening climaxing with a cremation and a coffin dance. Very clever, funny stuff.”