Sink, Sadie (2002- )

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    Nicole Scherzinger and Other Tony Winners Party After the Awards

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    On Sunday night, after all the Tonys had been handed out, the comedian Alex Edelman took the stage during the official after-party at the Museum of Modern Art.“One day more,” he sang, waving his arms, trying to recruit others to join him behind the microphone in a rousing one-man rendition of a song from the musical “Les Misérables.”“Another day, another destiny … ”Mr. Edelman, who received a special Tony Award last year for his one-man show “Just for Us,” slowly gathered his army of fellow performers: Betsy Wolfe, Jessica Vosk and Casey Likes. Soon, more than half a dozen stars were belting not just their own parts, but every part.A cabaret moment is a familiar scene for any theater party, even on a night celebrating an unusual Broadway season.It has been a banner year on the district’s 41 stages, thanks in large part to a flurry of shows with screen stars on the marquee: “Good Night, and Good Luck” (George Clooney), “The Picture of Dorian Gray” (Sarah Snook, who won a Tony Award for playing 26 different characters), “Othello” (Denzel Washington and Jake Gyllenhaal) and “Glengarry Glen Ross” (Bob Odenkirk, Bill Burr and Kieran Culkin), among others.Many actors were making their Broadway debut.“I’m so lucky to get to do it,” Sadie Sink, best known for her role as the tomboy Max in Netflix’s science fiction drama series “Stranger Things,” said at the MoMA party, celebrating her first nomination.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Test Your Broadway Knowledge, Celebrity Edition

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      George Clooney is making his Broadway debut in the stage adaptation of his 2005 film “Good Night, and Good Luck.” In 1994, he had his big break on the popular medical ensemble drama “ER.” Which other “ER” actor also starred in a Broadway show this season? More

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      The 2025 Tony Nominees Discuss Their Biggest Tests and Triumphs

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      Since 2018 The New York Times has been interviewing and shooting portraits of performers nominated for Tony Awards, those actors whose work on Broadway over the prior season was so impressive that they are celebrated by their peers. This spring, we asked those nominees to tell us about tests and triumphs — how they persevered, persisted or muddled through challenges on the path to becoming a successful actor, and in the roles for which they are nominated.‘The Picture of Dorian Gray’Sarah Snook“I was pregnant when I was offered this role. Had I known what it was to do this show, and had I known what it was to have a kid, I probably would have said no! You’re kind of going in with blissful ignorance on both counts, and finding your way through that, and showing up and being conscious about being present in all the places that you’re asked to be, whether it’s family or it’s work.”‘Sunset Boulevard’Nicole Scherzinger“I’ve always struggled with low self-esteem and a lot of insecurities. This role has really helped me to become the woman who I was meant to be. Facing head-on those insecurities, that’s where you build your bravery and you build your armor.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Backstage With ‘Sunset Boulevard’ and 3 Other Broadway Shows

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      Broadway stars make it look easy — hitting a high C, crying on demand, landing a complex turn with taps, doing all that as many as eight times a week. But behind the curtain, before a show, the groundwork is laid: the vocal cord steaming, the fight calls to ensure violent scenes can be staged safely, the visits and hugs and affirmations that put actors in the right frames of mind. We watched the preparations for four Tony-nominated shows — “Buena Vista Social Club,” “Sunset Boulevard,” “John Proctor Is the Villain” and “Oh, Mary!” — as their performers got ready to go onstage.‘Buena Vista Social Club’Photographed by More

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      2025 Tony Awards: George Clooney, Sarah Snook and Sadie Sink Among Nominees

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      The new musicals “Buena Vista Social Club,” “Death Becomes Her” and “Maybe Happy Ending” tied for the most Tony nominations, with 10 each.George Clooney, Mia Farrow, Sarah Snook and Sadie Sink all picked up Tony nominations on Thursday as Broadway began its celebration of an unusually starry season.In a robust season with 14 new musicals, three tied for the most nominations, with 10 each: “Buena Vista Social Club,” “Death Becomes Her” and “Maybe Happy Ending.” And Audra McDonald, who has already won a record six competitive Tony Awards, set another record: she picked up her 11th nomination for her role in “Gypsy,” making her the most-nominated performer ever.The nominations were announced at the end of the most robust Broadway season since the pandemic. Box office grosses are approaching prepandemic levels amid a bumper crop of 42 show openings. Several productions have drawn much-desired young audiences, and the season featured a mix of quirky and original shows alongside big-brand spectacle. But the industry faces challenges too: Ticket prices, especially for the hottest shows, have become out-of-reach for many, and fewer shows are turning a profit as the cost of producing has risen.The closely watched race for best new musical, bizarrely enough, features three shows concerning dead bodies: “Dead Outlaw,” which tells the story of a train robber whose corpse became an attraction; “Operation Mincemeat,” about a strange-but-true World War II British intelligence operation involving disinformation planted on a corpse, and “Death Becomes Her,” a stage adaptation of the film about two undead frenemies. The other two contenders are “Buena Vista Social Club,” about the group of beloved Cuban musicians, and “Maybe Happy Ending,” about a relationship between two robots.Hue Park, who wrote “Maybe Happy Ending” with Will Aronson, said the nominations affirmed a stunning turnaround for the show. “We had a very rough start, and we were not sure if the show would stay running,” Park said. “Being an original story, not based on famous IP, was the biggest challenge in the beginning, but at the same time for that reason the entire theater community has tried to support us, and that is one of the main reasons the show is still surviving and getting these nominations.”Three new musicals tied for the most nominations, with 10 each: “Maybe Happy Ending,” “Buena Vista Social Club” and “Death Becomes Her.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘John Proctor Is the Villain,’ It’s the Girls vs. the Men

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      Kimberly Belflower’s play, on Broadway starring Sadie Sink, gives high school students a chance to prosecute a #MeToo case against “The Crucible.”The first word spoken in “John Proctor Is the Villain,” a vital new play in a thrilling production at the Booth Theater on Broadway, is “sex.”Defining the word is part of a six-week sex education unit at a rural Georgia high school that doesn’t want to teach it. Just 10 minutes a day is all it gets, and those minutes consist mostly of reading a textbook aloud, in imperfect unison that makes it sound like mush.The 16- and 17-year-old girls in the class know all about sex anyway. Even in their conservative, one-stoplight community — one’s father is the preacher at the Baptist church most of the others attend — they’ve “done some stuff,” or at any rate have obsessed over Lorde and practiced Talmud on Taylor Swift.It is in this hormonal, repressive environment, in 2018, just a year since #MeToo acquired its hashtag, that the playwright, Kimberly Belflower, sets the action. But the girls who want to start a feminism club, which the school resists as “a tricky situation,” do not need hashtags to understand sexual predation. Some have already lived it. Raelynn, the preacher’s daughter, has a purity ring but also an ex-boyfriend who, trying to win her back, forces her to have what he later calls a “conversation.”“Do you mean like when you threw a desk on the ground and kiss-raped me?” she asks.Others have experienced worse.But even for those who have thought little about the subject, the world is about to change, as their lit teacher, the golden Mr. Smith, embarks on a unit about “The Crucible.” Excitedly he tells them that the Arthur Miller classic, an allegory of McCarthyite witch hunts set in 17th-century Salem, Mass., is “a great play about a great hero.” Once they start reading it, they beg to differ.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘O’Dessa’ Review: One Song to Save Them All

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      Sadie Sink (“Stranger Things”) rules this postapocalyptic musical with a guitar and an attitude.The director Geremy Jasper begins his new musical in such a bombastic manner, complete with a mock-spaghetti western score, that it’s hard not to be at least intrigued. What is this cinematic U.F.O.?We are, we quickly learn, in a postapocalyptic future in which a certain Plutonovich (Murray Bartlett, from “The White Lotus”) rules the airwaves and people’s minds with a reality competition beamed from his Onederworld lair in Satylite City — think “America’s Got Talent” at Thunderdome.Despite the goofy names, these are scary times. A fresh-faced farm girl named O’Dessa Galloway (Sadie Sink, of “Stranger Things”) is informed that “It ain’t safe for a 19-year-old gal with stars in her eyes.” It’s actually even less safe for her parents, who are both summarily dispatched from the story within a few minutes. O’Dessa’s daddy (the singer Pokey LaFarge) was a rambler, so off she goes rambling as well, armed with his guitar. She ends up, naturally, in Satylite City, where she falls for the sweet Euri Dervish (Kelvin Harrison Jr.), a sex worker and cabaret singer whose funky-cool abode has a heart-shaped tub.As he did for his previous film, “Patti Cake$” (2017), which was about an aspiring rapper in New Jersey, Jasper wrote the score with Jason Binnick. Their songs tend to be either emo Americana or power ballads; sometimes the first style builds into the second, as in “Yer Tha One.” And because O’Dessa has a mysterious prophecy to fulfill, she gets one song to rule them all, simply titled “The Song (Love Is All).” It’s worth noting that everyone sings well, sometimes surprisingly so. Sink, in particular, has an unforced elegance that carries even the by-the-numbers numbers.While you might assume Plutonovich is the antagonist, he is overshadowed by the enforcer and pimp Neon Dion (Regina Hall, having a ball), whose severe bangs, dramatic outfits and even more dramatic expressions position her as a villain retrofitted from a 1980s music video.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sadie Sink Heads Back to School, in Broadway’s ‘John Proctor Is the Villain’

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      For much of her high school career, Sadie Sink took her lessons inside an old lifeguard shack that had been converted into a schoolhouse for the child actors on the set of “Stranger Things.” When the cast wasn’t battling Demogorgons in a parallel dimension, “everyone was studying different things at the same time,” Sink told me recently of her experience in the shack. “It was chaos.”With that hit Netflix series nearing its end, and as Sink plotted her next move, she read the script for Kimberly Belflower’s “John Proctor Is the Villain,” a play about teenagers reading “The Crucible,” together, in a more typical school setting — though one that hides troubles of its own.On a February afternoon, Sink sat at a desk in a rehearsal space in Manhattan’s Flatiron district, in a simulated classroom that had a timeless quality. There were pencil grooves atop the melamine desks, tennis balls at the bottom of the chair legs. On a blackboard in the back, cryptic remnants of a lesson: “SEX IS POWER” was scrawled in chalk in uppercase letters, and below that, in lowercase, the words “changes nothing.”Sadie Sink made her Broadway debut at the age of 10 in “Annie,” and is returning this spring in the play “John Proctor Is the Villain.”Hannah Edelman for The New York TimesJust as “The Crucible,” Arthur Miller’s 1953 classic, used the Salem witch trials as an allegory for McCarthyism, “John Proctor Is the Villain” uses “The Crucible” to interrogate the complexity of growing up in the #MeToo era. In an English class in Appalachia in 2018, the students are studying Miller’s play just as that movement against sexual violence tears through their one-stoplight town, breaches the doors of their school and collides with their reading of the play itself.The result is a prismatic revelation: “John Proctor Is the Villain” is, at turns, a literary critique, a tender bildungsroman, a loopy comedy, a study of rural America and a Taylor Swift appreciation post. This month, it becomes a Broadway show, directed by the Tony Award-winning Danya Taymor.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Nick Jonas, Sadie Sink and More Had Broadway Debuts as Kids. Now They’re Back.

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      Nick Jonas, Sadie Sink and Christian Slater are among this year’s unusually large cohort of stars who first appeared onstage as tweens or even younger.The New York stage has some notable nostalgia this year: More than a half-dozen performers in significant roles made their Broadway debuts as children. Some were in hits and some were in flops; they experienced joy and (in one case) trauma. A few have appeared onstage with regularity, while others pursued music or film and are now returning. Here they reflect on those early experiences.☆ ☆ ☆Nick JonasNick Jonas was just 8 when he landed a part as a Tiny Tim understudy in a 2000 production of “A Christmas Carol” at Madison Square Garden (Frank Langella was Scrooge). A year later, at 9, he made his Broadway debut as Little Jake in a revival of “Annie Get Your Gun” then starring Reba McEntire.He did two more Broadway shows in rapid succession: At 10 he played Chip, a teacup, in “Beauty and the Beast,” and at 11 he played Gavroche, a street child, in “Les Misérables.”Though he became a successful pop star in the years that followed, the stage kept calling: At 19, he returned to Broadway in “How to Succeed in Business Without Really Trying.” And this spring, at 32, he is returning in the first Broadway production of Jason Robert Brown’s much-loved “The Last Five Years.”Like many of the actors interviewed here, Jonas said that in theater he found a group of peers who understood him in a way that classmates often did not. At school, Jonas said, “I definitely felt like I was strange to them.” But onstage, he said, “I finally felt like I was around my people.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More