Sadie Sink on Her First Tony Nomination, Shaking Off ‘Stranger Things’ Expectations

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While Sadie Sink rose to fame in Netflix’s Stranger Things, her roots are in the theater. 

Back in 2013, I found myself stepping onto the stage for a revival of Annie, and then, in 2015, I was crowned young Queen Elizabeth in The Audience. Fast forward to 2016, where I joined the cast of Stranger Things as Max, and later on, I graced the silver screen in films like The Whale. Now, I’m back on Broadway, starring in John Proctor is the Villain, for which I’ve just earned my first Tony nomination as high schooler Shelby Holcomb.

Sink felt uneasy about going back to Broadway, given the fanbase and high expectations associated with her role on ‘Stranger Things’. However, she found herself pulled back by Kimberly Bellflower’s play where a group of high school girls were analyzing ‘The Crucible’ in English class, and discovering connections to their own lives. Although the play was an ensemble piece, Sink’s character burst onto the scene like a wrecking ball, challenging the moral authority attributed to John Proctor in ‘The Crucible’, as well as the systems meant to safeguard men around her.

The play explores themes such as feminism, differing reactions among women towards male misconduct, complex relationships between teenage girls (including Sink’s character who initially clashes with her friend Raelynn over a boy), and it manages to do so in a way that resonates with today’s youth. Furthermore, the play’s use of songs by artists like Taylor Swift and Lorde adds to its appeal for young audiences navigating current political issues, according to Sink.

“I think it’s the most important thing I’ve ever been a part of, in that sense,” Sink said.  

In a surprising turn of events, John Proctor’s character has been recognized as a contender for the Best Play award, making up one of the seven total Tony Award nominations.

As a gamer, I’d rephrase it like this:

“I, myself, sat down with The Hollywood Reporter to discuss overcoming jitters and leaving my Stranger Things persona behind for Broadway. Plus, I shared what I want viewers to grasp from the play.

Had returning to Broadway been on your radar?

Initially, I hadn’t been particularly keen on returning to theater, as the thought of it was a tad intimidating given my long stint on TV. However, reading Kimberly’s play sparked a change of heart. The play seemed exceptional, boasting an impressive ensemble, which made me feel confident that I wouldn’t be overwhelmed. With such a supportive cast and their outstanding talent, it felt like the perfect opportunity to dive back into theater.

Reading it, I felt like it was a significant leap for the play to reach Broadway since I wasn’t familiar with its background. It’s quite daring to introduce a new play, even when it has garnered some recognition at regional and collegiate levels. However, one never truly knows if producers and theater owners will be convinced by a play about teenage girls, or if the traditional Broadway audience would find it appealing.

What did it feel like when you first came back? 

Initially, I was quite anxious regarding my ability to perform and manage being on stage, given its exposing nature and the vulnerability it demands. In the first week of rehearsals alone, I had to conquer my self-imposed pressures as well as any presumptions the audience might have about me. This was a concern that gnawed at me somewhat. It’s an ensemble production, true, but once you step into the show, it becomes clear that it’s not primarily about individual fame, even though my name is on the billboard.

Initially, I felt an additional burden due to questions swirling in my mind such as, “Are they expecting more because of me or seeing Shelby or Max from Stranger Things? I’m never sure.” Director Danya Taymor had a helpful talk with me about this, helping me let go of those doubts. Once I did, everything felt liberating. That’s essentially what previews are for – to experiment and make mistakes in front of an audience as we work out the kinks and find our place. It was quite a rollercoaster ride, with moments when I doubted myself, wondering, “Can I do this? Am I just being ridiculous?

What advice did Danya give you that helped you let go of that pressure?

It seems to me that in front of an audience, I unconsciously built a barrier due to the fact that it’s been a while since my role in “Stranger Things” brought me public recognition, and performing live wasn’t something I had to do before. In those moments, I believe I instinctively erected a shield that may not have been present during rehearsals. Danya advised me that such a barrier is natural, as it serves to protect oneself from the audience. However, if I focus on my character, Shelby, and consider myself merely her vessel, then any decisions I make are shielded by her, because when I’m on stage, I’m not myself, so I don’t feel judged or burdened by expectations, as they belong to the character, not me.

I received the manuscript from Kimberly’s representative, and I couldn’t help but devour it. I simply couldn’t stop reading. The first impression was not only about the brilliant narrative, but also about how authentic each character seemed. It’s quite uncommon to find such realism when telling a story about teenage girls, as it can be challenging to portray them accurately. However, Kimberly managed to capture the essence of adolescence incredibly well. This instinctive feeling that the story was exceptional led me to suggest we should organize a reading or something, and we did.

What were your thoughts on the extensive use of music, particularly songs by Taylor Swift and Lorde, in the play?

The abundance of pop culture references in this piece struck me as incredibly authentic to the teenage girl experience, given how pervasive pop culture is in our lives today, particularly during adolescence. I found the integration of these elements, such as Kimberly’s clever incorporation and the fitting use of Lorde’s ‘Green Light’ at the end, to be brilliantly done. Initially, the humor comes from the characters being overtly talented and beautiful dancers, which is why it’s no surprise they choose a Lorde song for their dance. However, as the story progresses, the dance becomes more than just a joke; it transforms into a powerful tool for the characters to reclaim their voices, bodies, and confront their inner demons. By the end, it serves as an empowering anthem. Furthermore, I appreciate that this work shares a song connection with many of the projects I’ve encountered before.

What are you hoping people take away from this play? 

Many individuals express diverse emotions upon encountering the story. Some might express anger, saying something like, ‘I’m really angry right now,’ while others may break down in tears. The responses vary, but I believe the primary message people should grasp is that this narrative is essentially a tribute to friendship, specifically between Raelynn and Shelby, and their ability to forgive, unite, and support each other. The climax represents their strong connection as they perform an exorcism in front of their class, a feat they couldn’t accomplish alone. In essence, it’s a heartfelt ode to the special bond that exists between teenage girls who are best friends.

It must feel more charged doing this play in this political climate.

Absolutely, it’s clear that the timing of our production wasn’t a coincidence at all. Originally, we were scheduled to perform at the Booth Theatre in the spring, but the election results and the subsequent rehearsals with an entirely female creative team and predominantly young female cast, working on something that truly mattered during this period of fear, uncertainty, and distress, made us feel like we could genuinely impact people. I believe this project is the most significant one I’ve ever been involved in, considering its relevance. However, it’s important to note that we’re not making any political statements with our work. Nonetheless, the current climate doesn’t escape us. The production remains consistent, but its resonance is undeniably stronger at this critical juncture.

Do you want to do more live theater after this? 

I’m deeply enthusiastic about it. I believe this could be my ultimate goal. In the past few months, I’ve discovered a wealth of knowledge about acting that I hadn’t gained in a considerable period. It’s quite an endurance test, so after this, I think we might need a short rest. However, I’m certain I’ll be back, as I strongly feel that theater keeps the fire for acting burning, at least for me. It provides a unique way of reconnecting with your craft, something that film and TV don’t always provide. Since I began my journey in theater, it will always hold a special place in my heart, and I definitely look forward to returning.

“Even though Stranger Things, the Broadway show, is just a stone’s throw away from my gaming den, I can’t help but feel immersed in my own virtual worlds.

Indeed, isn’t it remarkable synchronization? I encountered it in London some time back, and again when it arrived here. Frankly, it’s quite bizarre, given its proximity to where I am. To put it simply, it seems like it’s tailing me wherever I go. It’s quite astonishing, isn’t it?

What does this Tony nomination mean to you? 

I’ve spent every year since childhood captivated by the Tonys, analyzing performances, and cherishing each broadcast. To receive a Tony nomination or win an award is my greatest aspiration. For me, the Tonys, New York theater, Broadway – they symbolize the peak of acting and performing excellence, and being in their presence is nothing short of inspirational. It’s an honor beyond measure to be acknowledged by this community that has nurtured me for so long. Moreover, I’ve dedicated 15 years, essentially my entire life, to this craft, and experiencing something like a Tony nomination is incredibly serendipitous and deeply meaningful.

This interview has been lightly edited for length and clarity.

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2025-05-29 17:25