This transcript was automatically generated and might contain errors.

[0:01] Jayke Workman: Girl, these Met Gala looks...

[0:03] Sarah Sigman: Excuse me?

[0:05] Jayke Workman: Some of you need a stylist.

[0:08] Sarah Sigman: And some of you need to fire your stylist.

[0:16] Jayke Workman: Oh my God! Did you hear?

[0:18] Sarah Sigman: Did you hear? Did you hear?

[0:19] Jayke Workman: Oh my God, guys.

[0:20] Sarah Sigman: Jayke got hired.

[0:21] Jayke Workman: I can't believe Jayke got hired.

[0:22] Sarah Sigman: Oh my God. Oh my God.

[0:23] Jayke Workman: Jayke got hired.

[0:24] Sarah Sigman: Jayke got hired.

[0:25] Jayke Workman: Oh my God.

[0:27] Sarah Sigman: Oh my God. Oh my God, you guys.

[0:31] Jayke Workman: What's up, everybody? My name is Jayke Workman and this is Oh My Pod U Guys, a musical theater and pop culture podcast.

[0:37] Jayke Workman: And you guys, I am coming to you live from Nantucket Island.

[0:42] Jayke Workman: I mean, have you ever been to Nantucket Island? Have you ever heard of Miss Nantucket? This is my first time here and she is gorgina.

[0:52] Jayke Workman: Shout out. A huge, huge shout out and thank you to the incredible team at the White Elephant Resort. It is immaculate. It is so beautiful here. And oh, mama, I needed a little getaway. And here we are on Nantucket.

[1:09] Jayke Workman: You guys, what's the cool jams? What's new? Hi. Miss you. Love you. Okay. Before I talk to my darling diva dear, Miss Sarah Sigmund, who you guys are going to love, we, of course, have to dive into this week's Broadway World Recap, brought to you by my amazing friends at BroadwayWorld.com.

[1:29] Jayke Workman: First, you guys, we've got a very exciting announcement that my darling diva dear friend, Miss Ana Villafane is going to be playing at the Lincoln Center Theater, the Mitzi Newhouse, this summer opposite one Holland Taylor in a new political play called N.A. And they actually play N and A. And I'm really, really intrigued by this. I was talking to Ana and she was so excited about this new project that she gets to do at Lincoln Center. And I cannot wait to know more.

[1:57] Jayke Workman: So, you guys, the show is going to open June 23rd at the Mitzi E. Newhouse Theater, directed by Diane Paulus. And you guys, we got to get our tickets today because this is going to be incredible. I just know it. Ana is amazing. And are you kidding? Holland Taylor. This is going to be iconic.

[2:16] Jayke Workman: And speaking of iconic new plays, we got the amazing announcement that the gorgeous Dylan Mulvaney is set to present a solo musical called Fag Hag at the Edinburgh Festival of Fringe. And I am so intrigued by this. She has gone through so much on her journey, coming out as a trans woman on social media and in the world of TikTok. And she has been put through the ringer. So, I just know that her solo show is going to be so clever and thought out. I just cannot wait to see what she does with this.

[2:54] Jayke Workman: And, I mean, who doesn't love the Edinburgh Fringe? It's where so many amazing things have started. And now, you guys, Edinburgh. I'm so jealous because my son's a queer is going to play Edinburgh again. And Rob Madge also announced that they're going on an international tour with that show. But, anyway, I can't wait to see what Miss Dylan Mulvaney does with this show.

[3:15] Jayke Workman: Next, you guys, in a really awful and sincere update, we have to talk about the very untimely passing of production stage manager Thomas J. Gates. He was the PSM for the currently running show, Illinois. But he has worked on many, many Broadway shows. And, unfortunately, he passed away this week at the age of 51 after tragically being struck by a train, which is just so, so devastating.

[3:46] Jayke Workman: And Illinois ended up actually canceling their second performance, you know, in response to their news. And I just can't imagine what anyone in that building is feeling, you know, losing someone who has been so wonderful and close to a project. But especially someone in that position of leadership of a company, it's just, I can't imagine. It must be so, so shocking and devastating. So sending all, all, all of my love and thoughts to those people affected and Thomas's late husband. It's just, it's crazy.

[4:24] Jayke Workman: When things like this happen, it's always such a crazy, like, you just, I was just talking to him. Like, you know, I saw him yesterday. We walked out of the theater together. Like that, it just, life is so precious. And it's such a crazy, horrible, you know, reminder that we have to hold all that we love close and honor it every day. And the cast has dedicated the rest of this run to Mr. Thomas Gates. So all my love and may Thomas Gates rest so, so peacefully.

[5:00] Jayke Workman: And lastly, you guys, we got the very exciting announcement that Robert Downey Jr. is set to make his Broadway debut in Ayad Akhtar's play, McNeil. This is a new play from Ayad Akhtar, and it's going to be produced this fall at Lincoln Center Theater. And it's going to be directed by the iconic Bartlett Sher, which is just amazing. Bartlett obviously has directed some of the most beautiful and stunning works of musical theater at Lincoln Center.

[5:28] Jayke Workman: But this is going to be a much more pared down play from what I'm gathering. And who doesn't love the iconic Robert Downey Jr.? He's incredible, and I cannot wait to see him on stage. I think he's such a brilliant actor. And yeah, I can't wait to see what he does with this play. So I will give you all of the updates for this new play as they come in. And you guys, this has been the Broadway World Recap.

[5:52] Jayke Workman: Oh, my pod, you guys. I am so excited to welcome my next guest to the show. She is currently killing it in the ensemble of MJ the Musical on Broadway. Please welcome my dear friend, Miss Sarah Sigmund.

[6:13] Sarah Sigman: Yes, hello. Come on, ensemble. Come on.

[6:16] Jayke Workman: All right. Welcome to the podcast.

[6:20] Sarah Sigman: Thank you. I am so I've wanted to do this for so long. I'm so glad.

[6:25] Sarah Sigman: I remember when you announced that you were doing this and you had the whole photos. I said, I can't wait to listen. And now here I am.

[6:33] Jayke Workman: Branding.

[6:34] Sarah Sigman: Yes. No, literally. I know.

[6:36] Jayke Workman: But, of course, I usually ask, could you tell the listeners where we're calling in from? But we're on your very couch.

[6:41] Sarah Sigman: We sure are.

[6:42] Jayke Workman: In your living room.

[6:43] Sarah Sigman: It's comfy.

[6:44] Jayke Workman: Gorgeous, renovated apartment. You better work.

[6:47] Sarah Sigman: Thank you. I feel like you've been in this building for so long.

[6:49] Sarah Sigman: I have been in this building for so long.

[6:51] Jayke Workman: This is such a level up in terms of having it be your own space.

[6:55] Sarah Sigman: Yes.

[6:56] Jayke Workman: I live.

[6:57] Sarah Sigman: Thank you. I live. I'm living in it.

[7:00] Jayke Workman: You're like, I live here.

[7:01] Sarah Sigman: I sure do.

[7:02] Jayke Workman: But no, it was definitely a journey to get here. But I am so grateful to be here.

[7:06] Sarah Sigman: Yes. I love that I got to put myself into the apartment and have this forever and create generational wealth. And maybe at one point rent it out and live somewhere. The opportunities are endless.

[7:22] Jayke Workman: And I feel like there's such a – it's so exciting to know that you can set down roots as a person who's a performer, but then also know that your flexibility is such that you could go to tour or go wherever and still have somewhere to call home. Or also, like you said, if you're going to rent it out, that's so cool.

[7:38] Sarah Sigman: I've spoken to a lot of people on the pod about Broadway people who have been in the business forever and then want to create families.

[7:53] Jayke Workman: Yes, of course.

[7:54] Sarah Sigman: And they're like, I have to move out of the city and whatever. But I feel like there's something really cool about being like –

[7:58] Jayke Workman: No, no.

[7:59] Sarah Sigman: No, no. She's staying right here.

[8:01] Jayke Workman: Yeah.

[8:02] Sarah Sigman: She's definitely here. She's in New York.

[8:04] Jayke Workman: She's here to stay.

[8:05] Sarah Sigman: Yeah. I do think – I mean, I am not at that very moment in my life yet.

[8:09] Jayke Workman: Oh.

[8:10] Sarah Sigman: And I'm like, I'm going to need to be extremely wealthy for that, to stay in the city, just because I see these moms –

[8:18] Jayke Workman: I'll go up to them and I'll help them with their carriages and stuff if there's no elevator.

[8:22] Sarah Sigman: Yeah.

[8:23] Jayke Workman: There's no elevator to stop.

[8:24] Sarah Sigman: Yes, up the subways. I'm like, dang.

[8:25] Jayke Workman: Dang, you really have to have some arm strength and –

[8:28] Sarah Sigman: You are hoping.

[8:29] Jayke Workman: I don't know. Jesus. That's a lot.

[8:32] Sarah Sigman: I know. I would need a car. Maybe a driver. I don't know. I need a black car.

[8:36] Jayke Workman: I need a black car. Thank you, babe.

[8:40] Sarah Sigman: Oh, my God. Well, I'm so, so excited to chat with you, but before we dive into the MJ of it all, I would love to – I mean, we have to talk about how we met, which is –

[8:47] Jayke Workman: Oh, my God, yes.

[8:51] Sarah Sigman: Chicago, the music gal.

[8:52] Jayke Workman: Yes.

[8:53] Sarah Sigman: On tour.

[8:54] Jayke Workman: On tour.

[8:55] Sarah Sigman: Wow.

[8:56] Jayke Workman: The non-union tour.

[8:57] Sarah Sigman: Non-act tour, which feels like a million years ago.

[9:00] Jayke Workman: It sure does. But also, no time has passed.

[9:03] Sarah Sigman: Exactly. I think back and I'm like, oh, no, I remember exactly where we were when we were doing this, that, and the other thing.

[9:07] Jayke Workman: Yeah.

[9:08] Sarah Sigman: I knew what I was wearing. And also because it was right as the pandemic was starting.

[9:12] Jayke Workman: Yes.

[9:13] Sarah Sigman: And I will never forget, my mom called me or sent me a video or something about COVID. I had no idea what it was.

[9:18] Jayke Workman: Right.

[9:19] Sarah Sigman: Because also, we weren't sitting around watching the news.

[9:20] Jayke Workman: No.

[9:21] Sarah Sigman: We were on a bus. Either at the gym, on a bus, at the theater. On stage. In Yakima.

[9:26] Jayke Workman: I love that.

[9:28] Sarah Sigman: Whack-a-ma.

[9:29] Jayke Workman: Whack-a-ma.

[9:30] Sarah Sigman: Crack-a-ma.

[9:31] Jayke Workman: Crack-a-ma, Washington. Is what they called it.

[9:33] Sarah Sigman: And you can take that to the bank.

[9:34] Jayke Workman: You sure can.

[9:35] Sarah Sigman: Yeah.

[9:37] Jayke Workman: And I was like, just be careful. Use your hand sanitizer. There's this really crazy thing. People are sneezing on each other and dying, basically.

[9:41] Sarah Sigman: And I was like, girl.

[9:42] Jayke Workman: Girl, it is not that serious.

[9:43] Sarah Sigman: It is not that serious.

[9:44] Jayke Workman: And it sure was.

[9:45] Sarah Sigman: Cut to.

[9:46] Jayke Workman: Mom was right.

[9:47] Sarah Sigman: Cut to years later. Mom is always right.

[9:49] Jayke Workman: Mom is always right.

[9:50] Sarah Sigman: Yeah. That was insane.

[9:52] Jayke Workman: Woo.

[9:53] Sarah Sigman: It was insane. Was that your first national tour?

[9:55] Sarah Sigman: Yes.

[9:56] Jayke Workman: That was my first national tour.

[9:57] Sarah Sigman: Okay.

[9:58] Jayke Workman: I remember it. We were all so young.

[10:02] Sarah Sigman: We were so young.

[10:03] Jayke Workman: But it was a fierce cast.

[10:04] Sarah Sigman: It was a fierce company.

[10:06] Jayke Workman: I was so over the moon, apart from it being Chicago, this legendary show. But also, I booked the show with my best friend, Michelle.

[10:14] Sarah Sigman: Yeah.

[10:15] Jayke Workman: You sure did.

[10:16] Sarah Sigman: Yeah. So we –

[10:18] Jayke Workman: It was so funny. All through the audition process, we were like, wait. Okay. I got a callback. Did you get a callback? You're coming back? Am I worth it? You're in for –

[10:25] Sarah Sigman: That is the best.

[10:27] Jayke Workman: Okay. Great. But we were – she was in for to swing and be in the ensemble and be dance captain. So our auditions never overlapped. So I never saw her throughout the entire audition process. And then we both were like, I got it. You got it? We got it. And then I got to her.

[10:40] Sarah Sigman: Yeah.

[10:41] Jayke Workman: So that was crazy. But what was your road to that show? Did you start from the very beginning of just open auditions for ensemble?

[10:51] Sarah Sigman: I don't actually remember. I remember going in a few times for the Broadway show.

[10:59] Jayke Workman: They would have the ECCs.

[11:00] Sarah Sigman: Right. No, I guess not because we did the –

[11:04] Jayke Workman: Yeah.

[11:05] Sarah Sigman: So it was before it was Equity. So I was still going to these ECCs and putting my name on the unofficial list.

[11:09] Jayke Workman: Yep.

[11:10] Sarah Sigman: As we did. That gets ruined in the rain.

[11:12] Jayke Workman: That gets ruined in the rain.

[11:13] Sarah Sigman: They don't even take it sometimes. They end up typing, which honestly I love to type.

[11:16] Jayke Workman: Yeah.

[11:17] Sarah Sigman: If you don't want to see me, it's totally fine. Don't waste my time. I will take my headshot back too. I will save that $2.99. Thank you.

[11:22] Jayke Workman: Exactly. But it was the same team as Broadway, right?

[11:28] Sarah Sigman: Yeah. It's the same team.

[11:30] Jayke Workman: Same casting.

[11:31] Sarah Sigman: Same casting, yeah. So I remember –

[11:33] Jayke Workman: Don't get short.

[11:34] Sarah Sigman: I don't know if it was an appointment at first or whatever. I had just gotten an agent as well.

[11:38] Jayke Workman: Right.

[11:39] Sarah Sigman: So the timeline might be – I might be messing this up, but I'm pretty sure I got an appointment or I submitted on Actors Access or something like that. And they were like, come in. And I came to the first one, and I just kept being asked back. They gave me the little monologues.

[11:52] Jayke Workman: Oh my god.

[11:54] Sarah Sigman: I didn't know what I was doing. I never said words on stage really.

[11:57] Jayke Workman: Yes.

[11:59] Sarah Sigman: I'm like a throwaway line here or there. So I was like, oh wow. I have to say all these words. That's kind of nuts. Okay. Sure. Okay. I'll do it. So yeah. That was kind of it. And then I remember getting the offer. I can't remember if my agent sent me the offer or if I got it in my own email. It is such a blur. But I was like, oh wow. This is great. I have an agent now. I have a show. It's going to be great. 2020 is looking bright. It's January. 2020, we have a year of work, baby.

[12:24] Sarah Sigman: Of work. We were like – a tour. A national tour. A new company.

[12:28] Jayke Workman: Yes. Nar.

[12:31] Sarah Sigman: Nar. It didn't happen like that. But that was – I mean, throughout the rehearsal process and everything, it was such a whirlwind because we were working – we were rehearsing in New York, which felt like Broadway.

[12:43] Jayke Workman: It did.

[12:44] Sarah Sigman: I was like, wait, we made it. I know that we're leaving and we're going to Washington State, but we're –

[12:49] Jayke Workman: Yes.

[12:50] Sarah Sigman: But we were rehearsing with, I mean, the team.

[12:53] Jayke Workman: Yeah.

[12:54] Sarah Sigman: Tonya Nardini, resident director.

[12:55] Jayke Workman: Yes.

[12:56] Sarah Sigman: Gary Crist, iconic –

[12:57] Jayke Workman: Iconic.

[12:58] Sarah Sigman: Resident choreographer for the show. Queen.

[12:59] Jayke Workman: We love her.

[13:02] Sarah Sigman: Crazy. Queen of all queens.

[13:04] Jayke Workman: Yes. Mr. Gary Crist.

[13:06] Sarah Sigman: Literally. When we got to our first – when we got to Yakima to tech the show, I think my first feeling of being like, oh, this is real –

[13:14] Jayke Workman: Yeah.

[13:15] Sarah Sigman: Was Ken Billington, who is the lighting designer for the original show –

[13:21] Jayke Workman: Yes.

[13:22] Sarah Sigman: Who won the Tony for it in 1997 or whatever. Was there. He flew out to Washington to set the exact lighting plot on us. And I was like, oh, shit.

[13:33] Jayke Workman: Oh.

[13:34] Sarah Sigman: Like, you can say what you want, say what you will about –

[13:35] Jayke Workman: Exactly.

[13:36] Sarah Sigman: But like, we're kind of eating.

[13:37] Jayke Workman: A Miss Non-Ect tour.

[13:38] Sarah Sigman: Oh, we were giving the Broadway show.

[13:40] Jayke Workman: We were.

[13:41] Sarah Sigman: We sure were. So it's just wild to me that like, you know, you can use the term like non-ect or non-union or whatever.

[13:48] Jayke Workman: Of course.

[13:49] Sarah Sigman: But it's like, we were still doing it.

[13:52] Jayke Workman: No, we were still doing it. We did that shit.

[13:54] Sarah Sigman: Yeah. But like, more than anything, like, we were young. We were all like very eager and very ready to do it and very excited.

[14:00] Jayke Workman: Yes.

[14:01] Sarah Sigman: So I think that it brought a nice, like, youthful –

[14:04] Jayke Workman: Freshness.

[14:05] Sarah Sigman: Fresh energy to the show.

[14:06] Jayke Workman: Yes.

[14:07] Sarah Sigman: And we were all like, I think we all had a really good time. Like, yeah, it's a tour. Like, we're always going to have our thing. We're tired. But like, we're tired. We're on a bus. We like, we're all together all the time. But like, it was good. Like, I was like, okay, great.

[14:20] Sarah Sigman: And it had its moment. And like, then we were done.

[14:24] Jayke Workman: Yep.

[14:25] Sarah Sigman: And pretty instantly.

[14:26] Jayke Workman: Yeah.

[14:27] Sarah Sigman: They were like, okay, we're going to see you in Canada in like a week. Don't worry about it. It's going to be fine.

[14:30] Jayke Workman: No.

[14:31] Sarah Sigman: Cut to six months later.

[14:44] Jayke Workman: Literally. We're still on Zoom.

[14:54] Jayke Workman: You still don't know what we're doing?

[14:55] Sarah Sigman: Yeah.

[14:56] Jayke Workman: Oh, I could have told you that.

[14:58] Sarah Sigman: I sure could have.

[14:59] Jayke Workman: Exactly.

[15:00] Jayke Workman: So then after COVID, for you, where were you during COVID?

[15:05] Sarah Sigman: So I was in Florida for a little bit of it. And then I went back to Indiana. I grew up in Indiana. But yeah, I went back to Indiana for a good, like the good, like middle chunk of the pandemic. Pretty much like towards the end, like middle to the end.

[15:21] Jayke Workman: Yeah.

[15:22] Sarah Sigman: And I ended up tearing my meniscus, actually, not even dancing.

[15:25] Jayke Workman: Oh my God.

[15:25] Sarah Sigman: I forgot about that.

[15:26] Jayke Workman: Yes, I'd be forgetting too.

[15:27] Sarah Sigman: And then my knees remind me. They're like, hello, you can't be doing all this. Um, owie, owie. So I had surgery, but it was honestly, I mean, there's not really a perfect time to get injured, but like, if there were to be a perfect time, that was it, like we didn't have, there was no work to be had.

[15:41] Jayke Workman: Right.

[15:41] Sarah Sigman: And as like a dancer, primarily, it's like, oh my God.

[15:45] Jayke Workman: Right.

[15:45] Sarah Sigman: So I really like during that time, like I, I have never taken physical therapy so seriously, because I knew I was like, if I don't get this together, I'm not going to have the career that I have always wanted. And I'm at the beginning of it.

[15:59] Jayke Workman: Yeah.

[15:59] Sarah Sigman: Like I'm at the very beginning of it. So I had the surgery. I was on crutches. I could not walk. Like it was, it was vile. I had never been injured like that before. Um, it was like six months of intense physical therapy. I was there like three times a week, at least. Um, when I could, when I was cleared to do it. Um, but at the same time I was like, okay, well I can't dance. I can't even take these like class, like masked classes in Indiana that I was taking.

[16:22] Jayke Workman: Right.

[16:23] Sarah Sigman: Um, literally six feet apart with masks on and like hand sanitizer everywhere. And so I was like, you know what? Let me try to focus on, let me, let me focus on like my voice and my acting and really do everything I can there. Because when something's taken away, it's kind of like, okay. Like, yeah, I've considered myself a dancer for so long, but I am multifaceted. I can, I've just never really had the guts to just like, okay, let me go do this now. Let me go take these private acting classes like once a week, let me take these voice lessons and really take it seriously, really make my book something that I enjoy singing and not just something that I'm like, oh God, I'm going to see the night. Like, do I have something maybe even a 32? Like, so I really kind of focused on that and just like focus on being a person and really put a lot of energy towards healing and strengthening my knee.

[17:13] Jayke Workman: Right.

[17:14] Sarah Sigman: Yeah. And then towards the end of that, like one of my friends that I did a regional contract with Diego, he was like, Hey, are you in Indiana right now? And I was like, yeah. Like why? Cause we'd met on a contract. And he was like, um, my partner is, um, choreographing the little mermaid for a high school there. Um, and he's really busy. So he was wondering if you wanted to take it over, just like polish it off, like put it on stage, you know? I was like, sure. I mean, I'm on crutches, but like, I don't, that doesn't mean that I can't like teach at a high school. I don't have to be the little mermaid. I do not. Right. I'm not Ariel right now. I will be at some point, but like not right now.

So I said, okay, sure. So I took over it. It was fun. Like it was a new experience for me. I've never like taught in a high school before like that. Um, then I'm getting towards my, the end of my like healing process. That's not really, there's no end, but like the end of the rigorous initial, initial, you know, and I got a call from William, who was the choreographer, my first partner. And he was like, Hey, what are you doing this summer? And I said, nothing. What are you doing? Nothing. And he was like, do you want to be my dance captain at the Muni? And I said, yeah, absolutely. I didn't even ask him what show it was. I was so excited. I said, hopefully my knee is good. We're going to figure it out.

I don't really care. I'm it's going to be great. Thank God. I have like a job to look forward to. And I was like, oh, by the way, like what show is it? He said, on your feet. And I said, huh? Um, never sells it in my life ever for real. At least I was like, oh, dance captaining and teaching other people that like definitely know how to salsa, how like the glory. Okay, sure. It's going to be great. It's going to be so good. And then that kind of like, that was my intro to the next part of my career.

[18:57] Jayke Workman: Yeah.

[18:58] Sarah Sigman: Insane.

[18:59] Jayke Workman: Yeah. So from, from Muni to your initial for MJ, which we must talk about.

[19:07] Sarah Sigman: Oh, yes. I've actually, so you did Muni and then were you like, I'm ready to be back in the city. I need to get back and live there. Or were you like, I was kind of like going where the wind took me.

[19:22] Sarah Sigman: Yeah. Um, I ended up getting an email from my agent while I was at the Muni and they were like, Hey, we have an appointment or a video submission for you for MJ. Do you want to? I said, absolutely. So me and my dance partner, like he was in there recording my submission video. We did smooth criminal. We did the Fred Astaire solo, which is funny because a man does the solo, but naturally they're like, you should be doing this for the audition. Yeah. Because that makes sense. Yeah. I think we did. I think that was the video submission. And then I got a call and he was like, Hey, they want you to come in. Can you be in the city next week? I said, sure. So we had this one week in between Kansas city or Muni and then the Kansas city starlight.

[20:05] Jayke Workman: Yeah.

[20:05] Sarah Sigman: So I was back in the city for a week. Yeah. Cause you guys did like a co-pro Muni and starlight, which I performed in when I was 12 years old.

[20:16] Jayke Workman: Wait, a kid.

[20:17] Sarah Sigman: One of the Kansas city kids.

[20:18] Jayke Workman: Kind of.

[20:20] Sarah Sigman: Yeah.

[20:20] Jayke Workman: Yeah.

[20:21] Sarah Sigman: But anyway, anyway, those kids are so talented. Um, yeah. So then I came back here. We did the initial thing. It was like 20 of us in the room. There was another group before me. I got a call back for the next day and there were only four of us. And you know, when you're like in for a certain, like certain shows, you see people that look like you, you see people that you see all the time.

[20:40] Jayke Workman: Right.

[20:40] Sarah Sigman: All like the other three girls. I know the three girls very well.

[20:43] Jayke Workman: Yep.

[20:43] Sarah Sigman: And so I was like, Oh, work. This is going to be like class and we're going to have fun. So we did a couple of different combinations from the show. And then we got, we took one step out of the, like out of Ripley and my friend Michelle got a call. And it was like, Hey, you have a zoom call with Christopher Wilden tomorrow. And the other girl and me were like, Oh my God, you just booked it. And it was also her birthday. So it was like really fierce. I was like, Oh my God, this is literally the coolest thing ever. I'm so happy for you. And like, it was just cool to be in the room. It was cool to make it that far. And I was like, okay, great. So I ended up booking a couple of things and I had to choose, which we could talk about later, but like saying no to things. Girl, it is so scary.

[21:28] Sarah Sigman: It's scary. But like, you know, ultimately what you want to do, you find, you figure it out for yourself and you're kind of like, okay, I think that this is going to do what I need to do for me. And like, I heard something the other day, my therapist told me, she was like, it's a really good, like, I kind of want to get it. Speaking of tattoos, I want to get tattoos. Um, I was like, don't worry about making the right decision, but make the, Oh, I'm, I just messed it up. I just messed it up. I should have had it written down. Don't be so like worried about making the right decision, make the decision and make it right.

[22:01] Jayke Workman: Work.

[22:02] Sarah Sigman: Yeah. Woo. Make the decision.

[22:06] Jayke Workman: Right.

[22:06] Sarah Sigman: Yeah, exactly.

[22:08] Sarah Sigman: So I ended up doing beautiful.

[22:11] Jayke Workman: Yes.

[22:11] Sarah Sigman: The Carole King musical on tour. And our first day was the same first day as MJ.

[22:15] Jayke Workman: Whoa.

[22:18] Sarah Sigman: It's crazy. For Broadway.

[22:19] Jayke Workman: For MJ, Broadway.

[22:20] Sarah Sigman: And then like beautiful for tour.

[22:22] Jayke Workman: Tool.

[22:26] Sarah Sigman: So I get in the elevator the first day of school and I see Christopher Wilden in a mask, I was like, and I had a mask on too, cause you know, it's, we're still it's 2021. Right. So I was like, this was October, 2021. I think I said, Oh my gosh. Hi. And he was like, Oh my gosh, Sarah. Hi. Like, it's so good to see you. I said, congratulations on your first day. Like, I know this is your first day of rehearsal and stuff. And he was like, thank you. Like, what are you doing here? And I was like, I'm doing beautiful. It's crazy that we're rehearsing in the same space. Anyway, that was the last time I talked to him. I like meet everybody, like the cast, cause we're all on lunch break at the same time.

It's really cool. We all go to our respective, respective shows. So like they go on to preview and tech and preview and like open the show on Broadway and I leave for the tour. Six months later I ended up on a layoff and I saw the show. It was life-changing. I was like, Oh my gosh, this is like the beginning of March, end of February, beginning of March of 2022. I said, this is so incredible. And I, in my head, like whenever you see shows, at least whenever I see shows, I'm kind of like, could I do this? Could I be in this show? Who would I want to be? And you know, it was just an incredible, an incredible show. So a couple of days later I get a call from my agent. Again, mind you, I have not been in for the show in six months.

My agent calls me and he was like, Hey, do you want to leave beautiful for MJ? Like they just offered you a swing contract. And I said, what do you mean? I haven't been like, they haven't seen me. What do you mean offered me an offer? It's like a direct offer.

[24:01] Jayke Workman: Oh God.

[24:01] Sarah Sigman: Not even, but I'm offer only. Come on. Offer only. Oh God. That would be hopefully not one. Anyways, I'm speaking that into my existence, but yeah, I was like, what? Like you have a con he said, yeah, I have a contract for you. You're Christopher Wilden's top pick is what they said.

[24:14] Jayke Workman: Wow.

[24:15] Sarah Sigman: Wow. Wow. Wow. Okay. Absolutely. Yes. Like, I didn't necessarily want to be a swing, but like, I was like, you know what, if this is going to give me my Broadway debut, this seems like my, like, this seems like my journey. And I love the show. I just saw, I literally called him. I was like, I saw the show two days ago.

[24:30] Jayke Workman: Yeah.

[24:30] Sarah Sigman: Like it was so fake. It was fake. That is crazy. And had you ever swung before? Like I technically swung at the Muni. I never had to go on.

[24:40] Jayke Workman: Okay.

[24:40] Sarah Sigman: Okay. I never had to go on. But it was like, the Muni is that it's, you kind of know you're not going to go on a dire circumstance because it's fucking seven performances or something. Seven performances, eight tracks.

[24:52] Jayke Workman: Wow.

[24:53] Sarah Sigman: It was eight tracks. Yeah. But okay. So you book the show.

[24:55] Jayke Workman: Book the show.

[24:57] Sarah Sigman: You book MJ.

[24:59] Jayke Workman: Yeah.

[24:59] Sarah Sigman: I put in like four weeks.

[25:00] Jayke Workman: Okay. Great.

[25:01] Sarah Sigman: Four weeks. You're like, I'm out. I'm going to go start rehearsals.

[25:03] Jayke Workman: Yeah. Were you, I mean, I feel like I would be shitting my pants.

[25:07] Sarah Sigman: I was shitting my pants. I sure was.

[25:09] Jayke Workman: Oh my God. I mean, I remember like just being over the moon for you when I saw your post of like, I'm making my Broadway debut. We were like, what the fuck? I was like out of nowhere. From our non-act tour of Chicago to now, in like two years.

[25:23] Sarah Sigman: I mean, Charlie, you too. Come on.

[25:25] Jayke Workman: But, but crazy. Like MJ is one where it's like, like you said, you see the show and it like is a life changer. It is so insane.

[25:31] Sarah Sigman: Yeah. Like, do you, where do you even begin to learn the vocabulary and the style and the language of that choreography? Especially as a swing, because you're not, you're not originating a track and sort of like settling in and making it your own. You're honoring all the people who have come before you.

[25:55] Sarah Sigman: Oh, I love that. And still, you know, being yourself and, and, you know, hitting the moves that the way that you do it. But like, was there a point in the rehearsal process with the team where they were like, this is what you need to hit and this is what you can finesse? Or is it like, it's by the book, you hit every move. It's just so stylized and specific. I'll never forget watching it the first time. And I was like, Jesus Christ, how did they learn this?

[26:25] Sarah Sigman: No, it was actually, I'm not gonna lie to you. And I didn't technically, obviously like swings don't really originate tracks. I did not replace anybody. So by default, this was my track. I like, this was my Sigmund Sigmund swing track that they added because they had more coverage, but, um, oh my gosh. And I got a text and I'm on tonight.

[26:49] Jayke Workman: What?

[26:50] Sarah Sigman: Wow. In real time.

[26:52] Jayke Workman: That's so cool.

[26:55] Sarah Sigman: Wait, literally checking your Apple watch right now. Hello. Girl, do you need a pause?

[27:01] Sarah Sigman: No, it's okay.

[27:04] Sarah Sigman: Oh my God. It's funny. Cause I also talked about today. I was like, y'all, I'm probably not gonna be on tonight. Like have a good time.

[27:09] Jayke Workman: So I'm so fucking dead that that just happened literally live on the podcast. Here we are.

[27:14] Sarah Sigman: Yes. I want to come.

[27:16] Jayke Workman: Oh my God.

[27:17] Sarah Sigman: Okay. So, so I cover three tracks in the show. There's only five women on stage at a time, which is kind of crazy.

[27:25] Jayke Workman: That is kind of crazy.

[27:26] Sarah Sigman: Yeah. But most of the tracks are male tracks because we have the Jackson five. We have like very Gordy and, um, you know, gosh, I'm blanking Tito. Uh, Quincy Jones. That's it. Yes. He does. Um, but yeah, also I'm excited to not do that anymore and excited to be one person.

[27:43] Jayke Workman: Yes.

[27:43] Sarah Sigman: Um, have one brain, have one brain instead of three plus.

[27:50] Jayke Workman: That is so funny. I really thought I was not going to be on.

[27:54] Sarah Sigman: Here we go.

[27:55] Jayke Workman: Yes.

[27:58] Sarah Sigman: Okay. So what are we saying?

[27:58] Jayke Workman: Oh, stylized.

[28:00] Sarah Sigman: Oh yeah. Yes, yes.

[28:02] Sarah Sigman: So they, I mean, obviously through the audition process, you learned some of the movement, but like it is so different doing it now, especially like when I debuted versus what I do now is completely different. Like it took me a long time to get into the pocket.

[28:16] Sarah Sigman: Like my debut, I didn't tell many people about it because I was like, I need to just have this because I'm nervous. I never had use it as like a trial run. Yeah. I didn't have a put in. It was kind of an emergency. A girl has had COVID and then, um, our dance captain was injured. So they're like, you're on. And I said, Oh, fierce. I didn't learn the end of the show.

[28:35] Jayke Workman: Oh, fierce.

[28:36] Sarah Sigman: I don't know what I'm doing. I literally was like, I blacked out, but my friend took one of my best friends took a video of finale. And when I tell you, I was a count ahead the entire time I said, I really wanted to be done because I sure was rushing it. I was not in any pocket. I was on a call. I don't know where I was. I was not in a pocket though. Maybe a belt loop, zipper, zipper button. It was bad.

[29:02] Jayke Workman: No pockets to be found.

[29:03] Sarah Sigman: No pockets to be found. So it took me a second to like settle in and like feel like, okay, I can make this my own because it is very difficult and it's a very specific pocket.

[29:12] Sarah Sigman: Yes. But now I find places where I can like, I don't know, add a little bit of myself into it while still like honoring the choreography and not doing, trying not to do too much, but, um, yeah, but because it's funny because every single person in the ensemble moves completely differently. Like dances completely differently. I can't think of two people that actually have a similar style of movement, but everybody naturally, exactly. But everybody works. What they have together so well, like it just blends. But if you watch individuals, you're like, Oh wait, this person does this like this. And this person.

[29:48] Sarah Sigman: And like it's fierce and I can take that and I can take that and I can make it my own.

[29:51] Sarah Sigman: Oh my gosh. I've been doing that all the time. I'm like, ah, they kind of ate with that. Let me, let me, let me try it today. Let me see. Let me like borrow. Let me try that on. Yes. I'll cite my sources any day. I sure will. If someone comes asking. If someone comes asking like, honey, I said, I'll be like, yep, I got this from this person. Sure did. And they do it really well. Yeah.

[30:08] Sarah Sigman: Yeah. That's so cool. It's, it's so cool to me. Like, I mean, of course, friend of the pod, Mr. Jamal Fields Green. I, the first time I saw the show you were on and Jamal was on.

[30:18] Sarah Sigman: Oh yeah. And it was like this crazy, like, you know, was it his debut? No, no it wasn't. It was like his around that time. Yes. It was very, it wasn't his very first performance, but it was certainly like early on in his time.

[30:36] Sarah Sigman: So it was like this crazy like worlds colliding moment because I had known Jamal before I had known you because we went to school together. But then of course I felt so like, like happy and excited for you to be on stage and to finally get to see it.

[30:50] Sarah Sigman: But seeing you guys dance this show, I was like, there, sincerely, there is no show that I have seen ever like this. It is not only is it a concert because it's Michael Jackson. It's like, you know, musical theater aside, it's just entertaining by itself.

[31:05] Sarah Sigman: But then like the fact that there's storytelling and you guys are doing things that were originally created to be danced by Michael Jackson and his people. Like how do you even, how do you day to day make sure that you are maintaining it? Is it based on notes? Is it based on dance captains and, and you know, associates watching and making sure that you're hitting the steps?

[31:38] Sarah Sigman: I mean, I think I asked him all this, you know, because playing someone like MJ is so specific and insane, but there are multiple people who do it. It's not just Jamal. It's like tons of, well not tons, a roster of these incredible people who have been taught specifically how to do it. But like for you, do you change things day to day? Or is it like regimented? You have to, like you feel like you have to hit exactly the step for it to be like the show.

[32:09] Sarah Sigman: Um, I think it kind of depends on the number and what we're doing because we do have a lot of different, like there's pretty much every style of dance in this show at some point or another. Um, not, I mean not every, but like all of your run of the mill like basic styles of dance and like technique and technique wise. Yeah, for sure.

[32:29] Sarah Sigman: Um, I do think that we do get a lot of notes that are very helpful. Um, just maintaining the integrity of the movement and like specificity when that's the focus. Like, I mean there's like a lot of specificity in all of the choreography and in general. But, um, yeah, I think that like the dance captains very much like have the show now.

[32:54] Sarah Sigman: Like it's, we don't really have like an in house. I mean now we do actually, like Callie McGrinder is now our dance supervisor. Oh yeah. She is our like in house supervisor.

[33:08] Sarah Sigman: And then we have two other dance captains right now. So I guess we do have an in house person. Um, but it's kind of just like them maintaining the show until I'm like an associate comes back for a second. At first we had, um, everybody was here. Like Chris was here. Baldy was here. Um, we had a lot of the original people from the original workshop that were in the show and just like still are in the show.

[33:35] Sarah Sigman: Um, or involved in some capacity. But yeah, so we just had a lot of original things and rich in tone. Tallulah are two of them were two of MJ's dancers and they are consultants with us. So they come here and there. They mostly just work with like the middle, Michael, the, um, adult MJ. And I think the kids, I think the kids work with them too.

[33:56] Sarah Sigman: Um, but they sometimes like drop by, tell us a story about like what it was like being a backup dancer. Like it is insane. Like their stories are, yeah, they're so cool. It's just so cool. And they're great storytellers too. But yeah, so we have like a lot of elements of like original people and like we were very much, especially like year one because I joined like before the Tony's, like right after they opened, I feel like I got a lot of the same things that like the original cat, like everybody was original except for like me and then another vacation swing.

[34:26] Sarah Sigman: But by default we're like kind of, yeah, we're there, we're there, we're in the room.

[34:31] Sarah Sigman: You performed on the Tony's. I sure did. It was so cool. That was definitely a high, like not even just a career highlight, a life highlight. But, um, yeah, I think that back then we were very much more like attached to like the, um, the estate and like all of the, like the rules and the, yeah, just like the, we're trying to just uphold this iconography.

[34:54] Sarah Sigman: Yes. Yeah. And like we, I think that we still do, we still do a good job, but I feel like just because the time has passed, we do, I do feel a little bit more removed from that.

[35:03] Sarah Sigman: But I think that's the whole point. Like we do change a lot of things because they're opening up so many companies and they're finding like, Oh, we think that this would look really good. Let's try to incorporate this now. Um, yeah. So we're, we are constantly like changing things, trying to make things a little bit more visually appealing.

[35:21] Sarah Sigman: Yeah. Um, but like updating, updating it. Yeah. Yeah.

[35:26] Sarah Sigman: Wow. Yeah. So as a swing, how do you specifically you, Sarah, um, navigate having bad days or bad performances? Because I feel like there's this weird, um, sort of like unspoken expectation for like, if you're a swing, you better, you better be on it. You better hit it.

[35:50] Sarah Sigman: Yeah. And like, there's like this weird stigma about like, if you're a swing, you are not at the level of the performer.

[35:58] Sarah Sigman: Yeah. Which I think is actually hilarious. Oh, it's ridiculous. It's like, Oh, sorry. Like you didn't book the onstage track, but you could be a swing girl. But like, actually I'm doing your job and eight other jobs at the same time.

[36:11] Sarah Sigman: So when you have a bad day, when you don't hit the step, when you are like, man, I really messed up that show, whatever. Yes. Are there, does that affect you or? Yes, absolutely.

[36:23] Sarah Sigman: Okay. I mean, like I definitely, now that it's been like two years, I've been there for two years. I, I'm not as anxious going on. I mean like, yes, there can be times where I haven't gone on for like a track, like a specific track for like a couple of weeks.

[36:35] Sarah Sigman: And it feels like a lifetime honestly at that point. Um, but I mean, I literally malfunctioned the other day. Like I, again, have done the show at least, I'm not even exaggerating, probably at least 300 times at this point.

[36:50] Sarah Sigman: Yeah. Yeah. And different tracks. I would say more. I would say probably maybe like around the four or 500. Yeah. Yes. I agree with you. It was probably around that. Actually. I need to ask them for my little tally, but I mean, I definitely have had moments like recently where I'm just like, Oh my God, who am I? Like, what am I doing? Where do I go?

[37:10] Sarah Sigman: Because it's just, it gets me a lot, especially when people are interchanging all the time. And there's yesterday, this person could have been in this track, but now they're in this track and you're kind of like, okay, I'm here, but you're, you're there, but you were just there yesterday. Right. Who are you?

[37:27] Sarah Sigman: And also if you're in a number where everybody's in the same costume, Oh man. You're like, I can't even base it off of like, well, this person's in yellow. So I know that if that person over there is on my left and they're in yellow, I have to be over here. Like everyone looks the same in the same wig, in the same costume and shoes.

[37:44] Sarah Sigman: It's also a little different too, because with the swings, I think they were trying to do something that was like making us individuals and not like copying off of like the tracks that are there.

[37:56] Sarah Sigman: But it makes it harder because I can't look and be like, okay, yoga pants. She's this person today because we all have different, you have your own, we have our own costumes.

[38:04] Sarah Sigman: So I can't do that even when we're in our individual costume. So when you do make a mistake, do you just have to let it roll off?

[38:12] Sarah Sigman: Oh, I gotta let it go. I gotta let it go. Cause if I think about it too much, I'm going to make more mistakes because I'm harping on something that happened. And I'm like, you know what? Chances are the only people that saw it were the people that know the show.

[38:22] Sarah Sigman: Oh, of course. The ensemble or the, the audience has no idea. Literally no doubt. There was one day, this was kind of early on. I'm not even early on. Maybe it was, it was within my first year.

[38:35] Sarah Sigman: And I definitely did something on the wrong side because I have to reverse it for like, depending on what track I am. Right. And, but we're in rehearsal for most of the show. Like I would say like 65% of the show, like we're in a Michael Jackson rehearsal.

[38:48] Sarah Sigman: So there are choreographed mess ups sometimes. So I like, I did something wrong. And then I was like, I looked at our like court, the person that's playing the choreography and I was like, oh my gosh. And then they showed me the right way to do it.

[39:00] Sarah Sigman: And I said, oh yeah, thank you so much. Like I better act. I said, come on, let's make a little bit. This is good. Like I sure did the wrong thing, but it worked. It was fine.

[39:08] Sarah Sigman: I mean, that is so fierce. And I love the pre-show too, of like you guys coming out and like warming up.

[39:13] Sarah Sigman: I'm actually warming up. I have not done a damn thing until I get on the stage. And I'm like, let me put my leg up over here. Let me go over the things that we just changed.

[39:22] Sarah Sigman: Oh my God. That's so cool. Well, I would also love to just hear a little bit about your experience as a person of color in this show, because this is the type of show where it's so intrinsically celebratory of the black experience.

[39:38] Sarah Sigman: I mean, Michael Jackson, obviously one of the most iconic like black artists. Yeah. But you have been able to or from what I've gathered, you know, just like from talking to you and also like seeing all of your photos and videos from the show and everything like they they have elevated you on stage in a way like that honors your blackness.

[40:00] Sarah Sigman: And I think it's amazing just even with like your wigs and like the costumes.

[40:04] Sarah Sigman: The wigs are cunty. They really are like baby hairs laid in that wig. I don't have those anymore.

[40:11] Sarah Sigman: Oh, I have a bang and then a ponytail now. Oh, I used to have a baby hair wig. It's the same wig, I think, but they changed it. So it looks more like my normal hair.

[40:18] Sarah Sigman: Yeah. When it's like when I have my bangs, my little party pony. But yeah, no, but still like I love it. People still ask me like if I'm on that day and I'm like, you don't see that I'm wearing a wig.

[40:30] Sarah Sigman: They're like, they're like, oh, oh, right. Yeah. But it looks so much like hair that people are like, are you on stage? Like, you don't see this mic?

[40:37] Sarah Sigman: So what is like, what's the you don't see right in the middle of it?

[40:42] Sarah Sigman: So can you speak to the difference of doing a show that is so clearly clearly by and for people of color, like as opposed to, you know, being put into a show where the hair and makeup and costume people may not have that frame of reference?

[41:00] Sarah Sigman: Absolutely. Yeah. I mean, it's definitely a blessing. It's definitely like.

[41:05] Sarah Sigman: Yes, being in a black show is so nice and it's very it feels. I mean, it just like feels like you're at home with your family.

[41:14] Sarah Sigman: I mean, like, yes, we are all like coworkers, but especially straight out of the pandemic, like joining when I did, it was very much like, OK, we are hanging out like we hang out on Mondays. We hang out on Sunday night like we're doing.

[41:26] Sarah Sigman: Yeah, we're at work, but we're also like we really enjoy each other's company. And like, well, and then it was like you're like a pod. You're like a pod.

[41:33] Sarah Sigman: Like we can only hang out with each other. We didn't want to get sick. We like wanted to just, you know, so that like intensified the whole like we're all in this together, truly.

[41:39] Sarah Sigman: Yeah. But just being in the show now in general, it is. It's very it's very nice, like having my wigs actually match the texture of my hair and like different capacities.

[41:54] Sarah Sigman: So like I have the bangs with the ponytail, which looks exactly like my actual hair. Yes. And then for the Studio 54, I want to be saying something. Remember, I have this Afro that looks exactly like my hair when it's picked out.

[42:05] Sarah Sigman: And then for Smooth Criminal, I have finger waves, which I. It's so like there's good. But I just I feel so well represented on the stage.

[42:19] Sarah Sigman: And I mean, that doesn't say that there it's not the same that there's not like issues like there's inherently like we need all of the swings have to be black. Because you have to cover roles that are black.

[42:29] Sarah Sigman: So it feels at least coming out of the pandemic. I think that it was definitely a like it. You kind of think like, OK, I feel like they are working us very hard. And it's just us. Not fair.

[42:48] Sarah Sigman: You know, so like it's there are like little things that are like, OK, like yes, I understand why this is the way that it is. But like also, oh, like we feel overworked and underappreciated.

[42:57] Sarah Sigman: Yeah. Yeah, that's normal, especially for swings. And oh, my gosh, I don't even think I answered your like being a swing, being expected to do all of this stuff, but it's all encompassing.

[43:08] Sarah Sigman: It's all encompassing. Yeah. I mean, like it's it's hard and it's it's very hard.

[43:13] Sarah Sigman: It's very hard to like do everything perfectly. Like I'm never going to do everything perfectly. Nobody is not even the original people. Right.

[43:19] Sarah Sigman: Like there's always things. But no, it's definitely a lot about. Like seeing where you're at that day, giving what you have, if you have 70 percent, you can give 100 percent of what you have and like everybody is probably like whenever I go on stage, I do end up getting an adrenaline boost.

[43:38] Sarah Sigman: I'm like, OK, like I do love this. Like, here we go. Here we go. Yeah. And I love being on stage with all of you.

[43:42] Sarah Sigman: And like, I love what we're doing and I'm so passionate about the show. And that being it being a black show at that is so like it does make me very proud.

[43:50] Sarah Sigman: Yeah. There we do have like a lot of our creative team is white. So like that is also another interesting.

[44:01] Sarah Sigman: Yeah. A weird like element. Yeah. Weird element of it. But I mean, it is like it's a black show. Yeah. Like we the people on stage, like the people that are carrying the show.

[44:10] Sarah Sigman: We're like, yeah, most of us. And like, yeah, it's so it's very fierce. And it's so good. It's just so good.

[44:18] Sarah Sigman: Yeah, it is. It feels nice to be like seen. And especially like in the ensemble, we all have. Times that were featured or were in like there, everybody has something we're on stage the entire show.

[44:31] Sarah Sigman: Yeah, there's no real downtime for us. Right. Not even an intermission. We're changing, getting our wigs changed and everything.

[44:38] Sarah Sigman: But no, it's it's like it's really nice. I do. It's going to be interesting.

[44:43] Jayke Workman: So, tell me about your experience doing what we call in the biz double duty, which is, girl, you were on stage at MJ, yeah? And you did the workshop slash lab or whatever you want to call it of the musical. What, even you auditioned for that show, they're like, "Okay, great, you're gonna do it," and then you're like, "Well, shit, yeah, I have to do it now. I have to do it every single day for what, eight hours or whatever until you then go to the theater and do your other job?" So, tell me, how did you maintain your stamina? Were you losing your marbles? I feel like I would have fallen apart.

[45:50] Sarah Sigman: Yes, so the first two weeks was just a lab. It was six weeks total, technically eight with the two-week lab, but okay, six weeks of the actual workshop with everybody. The first two weeks were just the dancers, so we were kind of just like figuring out musical numbers, right? And that was exhausting because we would run things over and over again, and I was like, "Oh my goodness, I wonder what the show is gonna be like?" So then we get to the actual workshop, and in the six-week workshop, all cast is there. Like, oh my gosh, just being in the room with some of those people, and most of them, not most of them, but like a good amount of them were involved in the TV show, which is so cool, insane!

And again, like I do, I love being like one of the younger people in the cast and like people not knowing because I like call myself a millennial rising, but I did like being one of the youngest people again because we have some young people in MJ, and I'd be feeling like middle-aged, right? But no, it was really great. It was very challenging. I was exhausted. Like the first week or two, I mean the whole time I was exhausted. Like I very much would have to like conserve my energy. Like, yeah, I would have to conserve all of my energy, like my physical energy, my mental space. Yeah, it was a lot. But it was very rewarding in the end. Just the first like two weeks, I was a shell of a human. I really was like sleeping if I wasn't on stage.

I would be knocked in my dressing room napping. Like it was because we were there from 10 to 6 pretty much every day, and then I would have to run to the theater if I was on that day. Lift calls at 6:10, I'd be sprinting, literally sprinting to the theater.

[47:46] Jayke Workman: Oh my god, yes! But you were working with people like Joshua who had already clearly established this sort of canon of choreography that, like, you know when you take it from TV to the stage, it's gonna be different, but there is this like already established style and, yeah, just like set of moves that you're gonna hit. So, were you excited to be like thrown into that world? I mean, it's just so rich. Like the TV show is so good. It got canceled. I actually cried.

[48:23] Sarah Sigman: Yeah, my little homosexual heart. I was like, "Well, it's over!" No, literally, it was so interesting. It's funny 'cause my parents watched it. Both my parents are entertainment people. Yes, they met doing Dreamgirls. I was born on the Cats tour. Like, it's just like, yeah, it's just like in the family. But, um, so they watched the TV show when I was growing up. Like, I remember that. I never really sat and watched it with them, but I remember like getting my homework done and seeing like what they were watching, and they will be watching Smash, and I was like, "You guys are nerds!" No, literally, I was like watching this like singing songy thing. But it's funny that like here I am now, and like since then I've watched like obviously the YouTube clips and everything because we are taking a lot of the songs from the show, right, putting them in the musical, and the musical numbers are giving very much like similar vibes, if you will.

Yes, and it's wild because for the TV show, they're not singing and dancing. They recorded the song, of course, and then they played it, like they put it on to the, you know, the speakers, yeah, did it on the sound stage.

[49:31] Sarah Sigman: I might sneeze. I might actually sneeze.

[49:32] Jayke Workman: I wish you would!

[49:46] Sarah Sigman: Yeah, but we're singing and doing it, and also like Robin was singing and like doing it, and Miss Robin heard it being thrown around upside down. Yeah, I had to catch some baseballs in that number or baseball bats. Worse, harder, scary! I got hit in the face a lot. Probably not.

[50:16] Jayke Workman: Wow!

[50:22] Sarah Sigman: And then we did five performances at the end. They weren't, nobody paid to see it, so technically like we didn't need, like we didn't get performance pay, right? It was really just like a workshop and then presentations that the general public could enter a lottery to come, which is kind of fierce, yeah, because it's not just a presentation where you have people who inherently are going to understand, right, what this is exactly. You have people from the general public who are like, they will tell you if they liked it or they didn't, right? And if like something's not working, they're like, "Huh?" Yeah, and there was a survey at the end, which I think was a very good idea. Apparently, it was very long, but warranted extensive, extensive, extensive survey.

But yeah, hopefully people really gave their true feedback, and we can make some edits and figure out like and bring it to be way better. Yeah, I'm excited for it. I think it like, it was really funny. It was really funny. It was really enjoyable. My mom got to see it and come up to see it. A couple of my friends ended up winning the lottery, which is great.

[51:24] Jayke Workman: Oh my god, that's so fun!

[51:29] Sarah Sigman: Yeah, and you're obviously like no doubt dancing.

[51:34] Jayke Workman: Oh yeah, I'm kind of dancing down. Like, but I'm not doing even half as much as I'm doing in MJ right now. Like, and what? It's kind of fierce. I feel like I know literally, cigarette to the ground, princess is giving you princess ensemble like love comparatively.

[51:42] Sarah Sigman: Yeah, yeah, yeah. Other shows, maybe not. Maybe people are like, "Oh my god, you guys are dancing so much." I was like, "Yes and no." Like, I'm sitting, you know what I mean? Like my little bevel, my bevel, you know? Just, it's kind of nice. Like, amazing. I'm excited. Plus, like that's an ensemble track that would be mine, and I would end up taking me, which would be amazing. Like, I would be so great. Definitely manifesting that. But truly, well, Sarah, I could just freaking talk to you forever. Thank you so, so much for being on the pod. Before I let you go, I have a series of musical theater rapid-fire questions I ask every guest.

[52:24] Sarah Sigman: Oh, nervous!

[52:25] Jayke Workman: Are you ready?

[52:26] Sarah Sigman: I sure am!

[52:33] Jayke Workman: Sondheim or Andrew Lloyd Webber?

[52:39] Sarah Sigman: Honestly, oh my god, work! She's a, she's a, she was born from Cats. I love Jesus Christ Superstar.

[52:45] Jayke Workman: Oh yes!

[52:46] Sarah Sigman: Yeah, I'm a hoe for Phantom of the Opera, and I don't care. I'm not gonna lie to you.

[52:50] Jayke Workman: Sweatpants or jeans?

[52:56] Sarah Sigman: Low-key jeans.

[52:59] Jayke Workman: You have some?

[53:00] Sarah Sigman: I really have a lot of them.

[53:08] Jayke Workman: Do you have a favorite musical?

[53:15] Sarah Sigman: Um, I don't know if I have a favorite musical. I hate, I hate, I'm gonna say this. I really like Hamilton.

[53:20] Jayke Workman: Oh, that's actually basic.

[53:23] Sarah Sigman: I know it's basic. No, it really, this music, this podcast is literally called Oh My Pod, You Guys. Do you think that I'm gonna judge you for being a musical theater lover?

[53:27] Jayke Workman: Okay, maybe not him. I like, I like him a lot. I think that it's, it's not rapid-fire 'cause I'm thinking too hard about it.

[53:33] Sarah Sigman: Who cares? I do love, I do love Hairspray.

[53:39] Jayke Workman: Oh, I love Hairspray!

[53:44] Sarah Sigman: And that movie musical was truly one of the best. I can do a one-woman movie musical of it. We'll break, begin the problem in this family, Wilbur!

[53:50] Jayke Workman: I love that!

[53:51] Sarah Sigman: Is really good.

[53:52] Jayke Workman: Thank you! Um, do you have a least favorite musical?

[53:56] Sarah Sigman: I know you do.

[54:02] Jayke Workman: I have a least favorite musical.

[54:04] Sarah Sigman: Um, I minus Footloose.

[54:08] Jayke Workman: Oh my god, I really have not actually seen it.

[54:12] Sarah Sigman: Count your blessings! Okay, do I have a least favorite musical ever? I don't, I don't know. I don't think more. I need to, some people just have like a very like, like yes for sure. If I do, I can't, it's not coming to me right now, but I probably do.

[54:23] Jayke Workman: Would you ever like to do a Broadway play?

[54:32] Sarah Sigman: Yes, at some point, yes. I think I need to get back in my acting class, but I don't know if there's a play right now that I would be like dying to do. Yeah, but 'cause I also don't necessarily go see plays as often as I see musicals, just totally. I love, I love a big production number.

[54:46] Jayke Workman: Me too! I sure do!

[54:51] Sarah Sigman: Guilty of that, but I could, I could get into my little straight play moment.

[54:56] Jayke Workman: You're like, "No dancing, I have to stretch!"

[54:58] Sarah Sigman: Exactly! Love it. Um, are you a morning person or a night owl?

[55:01] Sarah Sigman: Depends. I think I'm more of a morning person. Wow, not really so much anymore. Like the show is turning me into a night person. Yeah, maybe I'm just in limbo. I like the afternoon. I really do.

[55:11] Jayke Workman: Golden age or contemporary?

[55:34] Sarah Sigman: Do you have a favorite role that you've ever played?

[55:38] Sarah Sigman: Hmm, not yet.

[55:39] Jayke Workman: Okay, work!

[55:40] Sarah Sigman: Not yet. I think to be determined.

[55:45] Jayke Workman: I love that!

[55:46] Sarah Sigman: Yes, and yeah, coffee or tea?

[55:54] Sarah Sigman: Coffee.

[55:55] Jayke Workman: Same!

[55:56] Sarah Sigman: Yeah.

[55:59] Jayke Workman: What is the hardest show that you've ever done?

[56:02] Sarah Sigman: I'm doing Musical Work. Never heard of it.

[56:05] Jayke Workman: Um, what's your favorite costume in MJ the Musical?

[56:09] Sarah Sigman: I do, does that have to be mine? No, honestly, Callie Mae Grinder's costume in Smooth Criminal is great. Is there another one that I really, really love? Well, what's your, what's the favorite that you wear?

[56:19] Sarah Sigman: I wear, I do, I think that my, I love that! I love my Studio 54 want to be said with the afro and the little sparkly dress I wear and my little red pump. Oh, and another really good outfit is Dancing Machine. I love all the five purple, yes, and Karina K Lucia's denim overall full rainbow platform. Love that costume work!

[57:02] Jayke Workman: Okay, last one. Ryan Vandenboom has these like, like these cowboy boots in this bright orange suit that has tassels on his sleeves, and it's like, it's—

[57:07] Sarah Sigman: Oh yeah, like fringe!

[57:09] Jayke Workman: Oh my god, yeah, there's like a couple really incredible, incredible costumes. You have to come see it again!

[57:18] Sarah Sigman: Yeah, come back!

[57:19] Jayke Workman: Um, who is the silliest cast member of MJ the Musical?

[57:26] Sarah Sigman: Silliest? Oh my gosh! Um, also, and not to think multiverse because I have done everywhere.

[57:33] Jayke Workman: Yes, yes, we didn't talk!

[57:34] Sarah Sigman: Oh my god, it's okay! I'm pretty funny. I wouldn't call myself like silly, silly. Everybody's kind of silly. Like, everybody's the silliest. MJ silliest in our company right now? Silliest? I think Elijah is really silly. Like, our main MJ is actually so silly.

[57:51] Jayke Workman: Does he say like making jokes?

[57:53] Sarah Sigman: He's making jokes, but also like he's just a character in general. Like he like talks like that. Like he's giving me a cartoon energy a little bit. Yeah, yeah, like so much energy, and he's just funny. Like everybody has a great sense of humor in the show.

[58:19] Jayke Workman: My god! Well, Sarah, my last question for you is a question that I ask all of my guests, which is, what is one thing that you would tell baby Sarah?

[58:28] Sarah Sigman: Oh my gosh, I think I would tell her keep going and that life is going to be good.

[58:42] Jayke Workman: Well, Sarah, thank you so, so much for being on the pod. Would you tell the listeners when they can follow you on social?

[58:47] Sarah Sigman: I really just have an Instagram that I use daily, but @sarahwithanHsigman_ that's me.

[58:58] Jayke Workman: With an H!

[58:59] Sarah Sigman: With an H! Love y'all. The series with me without an H, I'll be looking at y'all sideways. I'm like, "Are they weird? Do we know?" With an H!

[59:07] Jayke Workman: I just adore you. Thank you so, so much for doing this. You guys, that's it for another episode of Oh My Pod, You Guys. Don't forget to rate, review, and subscribe anywhere you listen to the pod, and you can follow the show on Instagram at @ohmypoduguys. Thank you so much for listening. Talk soon!