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[0:00] Eli Tokash: Hello everyone and welcome to episode 151 of Take A Bow.

[0:05] Eli Tokash: I'm your host, Eli Tokash, and this week, oh, we've got another exciting episode for you. Uh, thank you all so much. If you didn't realize this is a Take A Bow Friday week. Thank you all for letting us have that extra day to schedule and uh come up with some really great high-quality content for you all that we strive for, you know, every week. That extra day really sometimes makes all the difference. And we were able to schedule an episode and record with a closing member of the Phantom of the Opera cast, which I'm gonna get to in a little bit. But it was so fun. We have Sara Esty on the show today. She has an incredible career. Uh, she's got some incredible stories. These stories are ones not to miss.

I mean, she shares everything. She shares some of the secrets and some of the magic of Phantom of the Opera now that it's closed. Um, she shares her story and how all the things that she's gone through in her career and how all of the steps of her career and every kind of little production and everything that's kind of happened has fully led up to where she is today and all of the projects and everything that she's been able to do in her career kind of, you know, just climbed the ladder and just one thing led to the next. It was really cool to talk about. A lot of full circle moments, a lot of reminiscing. It got emotional there during the Phantom of the Opera and talking about the final performance and doing all of that.

So I can't thank Sara enough for coming on the show, uh giving me her time and uh, you know, talking to me about the final performance, which I didn't even think about it, but it is a touchy topic. You know, it's still fresh and still, you know, people are still processing it. And so uh to be able to have that experience and to share that with you all today is so exciting for me. And you all are just gonna love the episode. You're gonna love Sara. Uh she's the sweetest person and has the coolest story. So uh with that said, before we get into that, as always, we gotta talk about some Broadway news because there's some there's been a lot going on actually. Uh we've got a couple big pieces of news which uh I'm excited to share with you all.

If you haven't seen it already, I'm sure you have. Uh, but something that really got me excited. But I'll get to that in a second. So, first off, I just want to extend a happy opening to Peter Pan Goes Wrong and the Thanksgiving play. Uh I can't wait to see uh Peter Pan Goes Wrong. Uh, heard so many great things about Peter Pan Goes Wrong, and of course, Neil Patrick Harris. I mean, why wouldn't you want to go see it? But he's only in it for the next 10 days. So we uh have to go see it while he's here. Uh, and then of course, when he's not here, we'll still support and go see the show. But if you do want to see Neil Patrick Harris on Broadway, um, and in this hilarious show that Mischief Theater Company has, you know, put together as they always do, some great work.

We had Trevor Braun from the play that goes wrong on and uh talked about, you know, what makes those shows just so special. So congrats everyone over there. Congrats to the incredible company. I wasn't able to go to the carpet for this one or the Thanksgiving play. So no carpets this week, which was very unfortunate to me. Um hopefully we'll get on some of the next the new carpets that are coming out next week. Uh there's gonna be, I think three possibilities. So hopefully getting on those. Definitely hoping for New York, New York, which is like the final big musical to do. So uh exciting stuff and something that I will continue to keep my eye on. So, yes, congratulations once again. Oh, and the Thanksgiving play, which opens tonight, uh Thursday, April 20th.

So, yesterday, as it in Thursday, April 20th. If you're listening to this the day it comes out on Friday. So, um, very exciting stuff. Uh, the wonderful cast, both of those shows, and congrats to all of them on opening a show on Broadway. So exciting. And then moving on, we are this is my favorite piece of news this entire week. Uh, we are getting a Waitress pro shot, y'all. It was kind of rumored. I had talked to y'all about it, I don't know, like probably like literally like 50 episodes ago. It was like a long time ago, it was probably like a year ago. Um, it was like still while it was like on Broadway, obviously, because of his set and everything, they had to still use the theater and everything.

But it was rumored, and uh now we got official word that we're getting it, and uh it's premiering at the Tribeca Film Festival this year, which is very, very exciting. So, we're gonna get it sooner than we thought. Um, obviously, sometime this year. Hopefully, like I feel like seeing it at Tribeca would be nuts. So uh that would be uh just a really cool experience to be able to go see that. But I'm just so excited. Waitress, as a lot of you know, is literally it may be my favorite musical. So uh obviously, when I heard this news, I was freaking out and just so excited. So uh can't wait for this Waitress pro shot. Is something that uh we all know that I need uh I need some Waitress in my life.

It's so good. Those songs. Ugh, I the album has just been playing on repeat. It's so bad, but it's so wonderful. I'm I'm here for it. So um, yeah, exciting news there. Uh and more exciting news. This is kind of just like to share with y'all. It was announced that Corbin Bleu is hosting the Jimmy Awards, which is exciting. You know, it's interesting because I'm excited for the year that the Jimmy Awards just say, hey, like, look at what we've done. We've created something so special. We've uh allowed uh this has been like a wonderful portal for young performers to, you know, really emerge and come into themselves and their gifts and become the Broadway performers that you know they believed that they could be.

So with their history and the stars that they've created and the stars that have come out of it, I'm shocked that we have not seen a, you know, an alumni come back and host. I am excited for Corbin Bleu, love Corbin Bleu, of course, but I am saying like I can't wait for the year that we do see an alumni, you know, come back and host the Jimmy Awards as you know, as one of the students that they once were. Like they were literally no one can relate more to those performers who are performing their little hearts out for a night on the Minskoff on the Broadway theater for the first time and showcasing what they can do um more than the people that have been a part of that journey and now have succeeded and gone on to perform on Broadway and get to you know their dreams that they had as those you know high school students.

So just uh wanted to throw that out there. Corbin Bleu is hosting, very exciting. The Jimmy Awards are always a fun time. So Corbin Bleu is gonna do an amazing job. Um, we love Corbin Bleu. So um, yeah, just uh some news out of there. Um, okay. It a little bit of a sad topic here, but I I would be remiss if I didn't talk about it while doing this episode this week. We got the news today when I'm recording this Thursday, April 20th, that Todd Haymes, a wonderful, prolific theater producer who was the artistic director at the Brownabout Theater Company for a very long time. Um, and he passed away today, I guess. And uh he's has almost 40 years of work in the theater. Um, he's been it produced everything.

I mean, really, he's been a part of so many wonderful productions, so many prolific productions. He was one of those producers that took a shot on new works and wanted to get the stories out there that needed to be told, and not the ones that you know everyone wanted to hear, you know, type of things. So, Todd, I mean, he really did make this community a better place. His work, his legacy that he left is quite admirable. I did have the pleasure of meeting him a few times, and you know, just the nicest human being, stood for all the right things. You know, everyone admired him, everyone he you know, he walked in and lit up a room. Everyone would be Todd, and so excited to see him, you know, type of thing.

And uh yeah, so it made everyone around him better, uh, made theater better um in several ways. So just congratulations on an incredible career and legacy that you've left and the impact that you've had on so many performers and productions and what you've done for the theater as a whole. We just can't thank you enough. So uh, you know, rest in peace, rest easy, as you so deserve because your time here was uh spent working nonstop and and taking so many risks, but yet standing for all the right things. So just an incredible career that uh I wanted to, you know, honor and give a little shout out to today here on the podcast. Um with that being said, I I want to turn it over to some of the Phantom talk.

And I kind of saved this Phantom talk for the last bit of uh Broadway news that I talked about so that we could segue into the interview with our lovely Sara Esty guest, who is uh oh, Sara Esty guest guesty. I don't know. It kind of I thought it rhymed, but it did not. Guesty. Bestie guestie. Okay, anyways. So sorry I'm having way too much fun right now. Um yeah, so uh Phantom of the Opera uh is officially closed on Broadway. This is the first week that we have no longer have Phantom on Broadway. Unfortunately, it came out that the current Phantom of the Opera who was set to close out the show and finish the run was not able to finish the run due to vocal health. Ben Crawford is his name. Um he is an incredible phantom and has been I feel like he's done many, many like iterations, many uh, you know, he'd done the show before and come back and all the things, or he's just done it for a really long time because I feel like he's been associated with the show forever.

So Laird Macintosh came in for the final performance, saved the day. He played Phantom. Um his wife was actually in the show uh and during the run. Sara explains it so beautifully, and it was cool to see it uh, you know, a bit into their day. Um, but just wild stuff there. Uh Ben, my heart goes out to you because I can't imagine what that had to how hard that decision must have been, you know, to, you know, risk your health and and your future in the industry and not to close out this historic show and not to be there for the final day. Just heartbreaking stuff. But uh shout out Laird who came in and uh was able to finish off the run as the Phantom, which it had to be really cool and just for like a one night thing.

It was uh it was a pretty crazy thing to to see and to come out. But uh, you know the the show must go on as they say and uh it happened and Laird McIntosh finished the run as the Phantom. Um it's crazy to think that the Phantom has been off uh I mean off of Broadway for a full week now uh pretty much and uh now you know I live in New York so I pass by the theater and I've seen uh the loadouts and everything that's going on with the Majestic theater right now it's just a it's wild you know like it's just something that you never thought of or you never could think of and it's another thing I talk with Sara about uh just wild stuff and it's crazy to think that uh we now live in a world where Phantom is no longer on Broadway but here we are and the incredible performers in the show thought they you know may have a career in the show for you know 50 years because that's what you know some some was going on.

I mean obviously not 50 because it was for 35 years. But like some of it have been with the show like since it opened, you know and so just craziness that uh that this is the case now and this is where we're at. But with that being said, I think we should just turn it over and get to all of the the behind the scenes of it all, the day of kind of thing, the the magic and all the things that we get to talk about with Sara. She was so lovely, you know, came on here and shared so much with us. So we can't thank her enough. And uh without further ado, Sara Esty, curtain up.

[12:42] Eli Tokash: This week's guest is another one of Broadway's true triple threats. You may have seen her in the closing company of Broadway's most historic show, Phantom of the Opera. She was also in the original cast of An American in Paris, uh, the most recent West Side Story movie. So she's she's a Broadway star, she's a film star. She's done it all. Um we love that for her. Uh so welcome to Take A Bow. Everyone join me in welcoming Sara Esty.

[13:07] Sara Esty: Hi, Sarah.

[13:08] Sara Esty: Hi!

[13:09] Eli Tokash: Oh, I'm so happy to be here.

[13:11] Sara Esty: Oh my gosh, thank you so much for coming on. This is gonna be this is gonna be so much fun for me.

[13:16] Eli Tokash: Um we'll start at the beginning. I usually like to go in chronological order, but there's I feel like so much to talk about with Phantom and everything. So we'll we'll get into all of it. But I want to ask you first before we get into any of this, is just like why, like, how are we here? You know, like what made you want to be a performer?

[13:38] Sara Esty: That's a good question. How did that hold?

[13:38] Eli Tokash: Yeah. Let me hear it.

[13:41] Sara Esty: I'm intrigued. The long and the short of it. Um, let's see. Um, so when I was about three years old, my parents, so I'm an identical twin. Um she is in the business as well. She was in the revival of Carousel, and she also did the West Side Story movie as well, which is amazing. So much fun to do it with my sister.

[14:04] Sara Esty: Yeah. Um, her name's Leanne. Uh, so when we were little, my parents were like, oh my god, like two identical twins, like running around like crazy, too much energy. Let's put them into creative movement class. And that was like the best way to channel all of our energy.

[14:23] Sara Esty: Um, so that's kind of where it started. Uh, and I it was like, oh, this works with my brain chemistry. This is how I can like get all the wiggles out and all that stuff. And um, so that part kind of stuck. I I have been dancing since um I you know, grew up through high school, took ballet very seriously, primarily ballet, you know, everything else as well to kind of um inform the rest of you know the skill set and whatnot. Um, but yeah, ballet was really like my first love, I guess. Um, and well, I I I know, I don't guess. I know. Um, but uh yeah, so through high school took it very seriously, but I went to a public high school, so it wasn't like you know anything fancy. I grew up in in a small, small town in Maine.

Um and uh, and so after high school, it was kind of like, okay, well, ballet, you know, the ballet career, you only have so many years, and if you're gonna be serious about it, you have to like go for it immediately when you're young. Um, and so uh my sister and I both auditioned because we both kind of even though we had very like independent choices about like what we wanted to do or likes and our interests, we both knew that we wanted to dance. Um so um where are we? I guess after high school, yeah. We both auditioned for the Miami City Ballet um summer course, got accepted there for the summer course, um, had been to a couple of other summer courses in uh New York City at SAB at the school of American Ballet.

Um and then uh and then tried Miami out for something different, and um both of us got accepted into the school year-round. So stayed there for about a year, and then both of us actually got um accepted into the company um as student apprentices, and then I stayed there. I mean, my career with the Miami City Ballet was about 10 years. Um I worked up the ranks, yeah. I worked up the ranks to soloist, and actually it's funny, you know being in a in a company that long, you get to revisit a lot of the same repertoire or the same ballets. So I still and and do different roles in those ballets, right? So um, which is great, which is really exciting and fun. And um, but but towards the end, I was like, you know, I've done I've done a lot of these ballets like several times and and different parts within the ballets, like I, you know, like just like a little thinking about like well, what could be next?

I don't I don't know, is it here? Am I what am I doing? I always knew I wanted to be in New York somehow. Some way I knew I wanted to do theater. I, you know, ballet is a very silent art form, as we know. Um and I'm a very loud, like vocal resonant person. Like I just was like, okay, I have a voice, I want to use it, you know, whatever. Um and so the ironic thing is is that the around the time that I started hearing about an American in Paris, because they were looking in ballet companies because the lead is a ballet dancer. So they were just kind of like, you know, whatever. Around that time, the our ballet company was getting ready to do West Side Story Suite. So Jerome Robbins back in the day created something called Wet the West Side Story Suite for New York City Ballet.

So it's a 20 minute like it's a 20 minute like uh you know I don't know sampler of West Side Story I guess. And it goes, you know, prologue um into Dance at the gym into America cool or cool America, whatever I forget the order. But um Rumble, there's the dream ballet at the end, you know it's all beautiful and wonderful. But the Anita and the Riff have to sing and then we all sing at the end. And so they were having like you know singing auditions for for us in the company and everyone was like no way. And I was like I'll do it. Like it's like yay singing. So that was really cool. And um it it just happened to be one of the last things that I did in the company. So it was kind of like a segue um I found out about American in Paris as I was doing Anita.

It was just crazy and then like just foreshadowing for much you know bigger things and it's pretty wild. So like no voice lessons no nothing you kind of okay I mean so so throughout high school it's so funny because I still get like I'm not really like I don't know I don't know it's just it's just one of those old like nerve nervous like you know, things that just kind of I don't know anyway. But um, so in high school, I loved doing the musicals. Like it was like I went to ballet after after school was done, but you know, occasionally my you know I would get to be a part of the musical. So we did like little shop, we did fiddler, you know, and I was like, I love this. I was in, I got accepted into the chamber singers, so like it was like the elite chorus, you know, yeah, very fancy.

We had uh uniforms, you know, all the things. Um and I I loved singing, but I was terrified. Like if you had asked me to do it by myself, it would be it would be like throat closed, no, like just air, like this was not good. So I always had to sing either in a duo or a trio. Give me like, you know, the the uh national anthem in a trio, great, fabulous. Oh holy night in a trio, I've got you covered. But by myself, I was terrified. I was like, oh, absolutely not. No, no way. Fascinating. But something happened, I guess it must have been because everyone else in in the company seemed a little hesitant to sing, where I was like, wait a minute, I know I got some pipes, like let me try it. You know, so I I don't know.

I kind of was like, I think my confidence started like peaking a little bit there, and um and so around this around that same time I got a random Facebook message from um a casting director at Telsi saying, Hey, we're looking for ballerinas who like to sing, and I was like, I'm listening. And then they mentioned um it's a project, it's uh Christopher Wheeldon and American in Paris. And I was like, Period. I'm sorry, and brought and the Broadway, like I couldn't even and like I got the email as we had just gone to see Le Miz. Like I was on the ride home and I was like checking my email and it like popped up or my Facebook and I was like, what's happening? Something is going, hey, you're we're we're approaching theater time, you know.

Like so that was nuts. Um, you know, one thing led to another. I knew of Christopher Wheeldon because he's from the ballet world. I mean, like he just he's like he used to be the resident choreographer at New York City Ballet and like Royal Ballet, and like he's just he creates these amazing pieces. Right. So he happened to be working with Miami City Ballet on one of his ballets that I was in. And I went and I like we were in this weird, and we still talk about it today and we laugh. It we were in this weird downtown, like abandoned or just empty high school in Miami, and it was me and Chris Whield and a pianist, and I sang for him. Oh my god. And then like went and performed his ballad. Like it just was so serendipitous that it was like, hey, this is all supposed to be happening to you at this moment.

Right. And um, so that was really cool. Um was going to do the workshop, but you know, timing was just weird, and I was still in the company, and it was just not uh it didn't feel like organic, you know. Like I was, you know, when you just try to make something work too hard and you were like, okay, wait. Um but that's okay because it came back around. I got an offer to do the out-of-town trial and then the hopeful Broadway transfer. The out of town trial was in Paris for two months. For two months I lived in Paris and did a musical. Like it just was like, which had to be the coolest thing in the world. It was so cool. It was so cool. Because you are are in Paris on stage. And then you walk outside and you're like that's literally where we were just sitting on stage, but it's uh it's real, it's here.

Um that was that was that whole experience was unreal. But um, but yeah, I I leaving the ballet company, I'll never forget it. I walked off stage from doing Westside, and one of my friends who was the first Cass Anita, I was the second cast Anita, she was like, Sarah, you have to go to Broadway someday. And I I looked her and I went, I went, I I am. Stop it! Like she was like, What? Because I had my offer, but I wasn't allowed to tell anybody yet. And I was like, Yeah, I was like, Yeah, just I'll tell you more about it later. And she was like, What? And she just like freaked out. And so yeah, that was my final season in Miami, and then I moved right to New York to work on American in Paris, which was a dream, a dream, and uh I you know, now several years later I I fully realized what that was.

Like how much of a gift and how unique it was. Like that doesn't happen all the time. Like you have this beautiful brand new show with uh, you know, based on a movie that you love and music that is so nostalgic and gorgeous. Um I mean it's girlfriend, like hello. Um but I yeah, we lived in Paris for two months. I was the alternate in Paris. Um we did a handful of shows. We were more like standbys because I I was not in the ensemble in Paris, but then when it moved here, I got my own ensemble track and became the alternate. Um, and then eventually when the tour when the tour came around, I got to be Lee's on the tour, and my identical twin sister was my alternate on the tour. So I know it's it's just like it's the gift that keeps on giving.

I mean, it was a part of my life for like three years, and yeah, and it it so many firsts. I mean, Broadway debut, the Tonies, like just like everything that you want in the Broadway package was like, here you go. And it I was like, this is the greatest thing ever. Um sure the adjustment of doing like eight shows of the same thing a week. I was like, this is new. Right. This is different. Um but yeah, and I haven't looked back, you know, like it's just kind of been um finding my voice a little bit more each with each experience and learning a lot because it's it is so different from being in a ballet company. Um, but um, yeah, that's kind of the long way around. This is wild.

[25:55] Eli Tokash: It's wild. It's wild. Like I'm still like, what are you doing? Like, yeah, but that's so cool, like the way that everything's kind of worked out. I mean, you guys are basically like Mary Kate and Ashley Olson on like Fool House, just like swapping all the time.

[25:55] Sara Esty: We literally had this fight literally last night at a birthday party. We were like, Okay, so who's Mary Kate? And and I was like, No, actually she's like, No, I'm Ashley. And we will just because Lee, no, and she's like, There, I get it, I'm Ashley, and I'm like, I'm actually, and then like the pitches in the voice just get higher and higher.

[26:14] Eli Tokash: Yeah, which in truth, we both just really want to be Elizabeth, to be honest.

[26:19] Sara Esty: I mean, hello, but um, yeah, it's funny. That is definitely and you know, it's so yeah, it's been an exceptional road so far.

[26:28] Eli Tokash: That's so funny.

[26:30] Sara Esty: Yeah.

[26:30] Eli Tokash: It must be cool to like do you like perform and even like travel with with your sister and twin, like a lifelong friend.

[26:39] Sara Esty: Like, I don't know what like universally was just like, oh, this is gonna be for you both. Like it just we're so different, but when we're next to each other dancing together or performing together, like it's it's creepy.

[26:56] Eli Tokash: I mean, like it is like it looks like it's it's crazy, but we also yeah, it just it's so much fun and to have like your own built-in best friend and cheerleader, like we are definitely each other's biggest supporters, and um I mean, whenever it's very like emotionally attached too, so it's like whenever I watch her on stage, I'm a I'm a wreck.

[27:23] Sara Esty: And vice versa. Like we can't, I mean, it's just we're so proud of each other, and I don't know what our parents, I have to give them so much credit because growing up, it's like not only do you look the same, but you're trying to be in the same, you know, industry.

[27:40] Sara Esty: So like, you know, easy on the competition because at the end of the day, you're family, and you know, you have to like, you love each other and support each other, and the rest of the stuff is like what's meant for you will happen for you individually, and then you individually. So they were really amazing about keeping us, um, making sure we really felt like individuals.

[28:04] Sara Esty: So that was incredible, and we just happen to love doing the same thing, so that's really cool.

[28:09] Eli Tokash: Yeah, and you had to know that with my next question here, you may have seen coming, but what is this audition process like? Because I'm sure you guys are going for like similar things, if not the same exact things. That's gotta be challenging.

[28:24] Sara Esty: Luckily, the casting directors are kind and they put us at like different times, so we're never, it's like we're rarely in the same room at the same time, so that's great.

[28:33] Sara Esty: Um, got it. But look, I mean, like we've kind of gotten to the point where we're like, yeah, I mean, we look alike, but our vibes are slightly different. So like if they want that vibe, great.

[28:46] Sara Esty: The other one's gonna understand because I'm not not that, you know what I mean? So but it is funny. I mean, like, as much as we all know how competitive, it's like you know who you're gonna see in that room, right? You're like, hey, yep, we went to you here. But it's like there's another level because it's like, oh, you're my identical twin sister. Like, this is right. So, yeah, it's it's it has an opportunity. But it's cool because like higher odds, you know, of like you're cheering for someone. Yeah, I mean, and if it's not me and it's her, fabulous. It's still exactly because I get to like revel in it with her. I get to watch her do it. I get to like be there and your parents, I'm sure, too.

They're like, Great, I got two, and everyone else has one going for the roles. Yeah, yeah, it's so cool. It's such an extraordinary life and has been since day one. And oh my god, that is so freaking cool. Yeah, I mean I would be Yeah, I mean I would I have to say, since we're talking about American Paris, I can't not say a shout out to Max Von Essen. Max Von Essen is literally my like favorite human being. He is the reason I saw that show, and I was I was like eleven or twelve, and I had only been to one ballet before and I had fallen asleep. So I was like, oh no, like, you know, I was like a little kid, you know, like I didn't appreciate all of these things now the way that I do. And um it is it like that was the first I mean it wasn't like a ballet, but in a lot of ways it was.

You know, it was on Broadway though, and it had a little bit more like singing and all the things. And just fell in love with the show, fell in love with everything that was happening. I am a huge American in Paris fan. Yeah, so I saw that you were in it, I was like, Oh my god, like I can't wait to talk to you about it. Um so that's so funny to hear your whole journey through it all and how you've been with it for so long. It's been amazing.

[30:50] Eli Tokash: Well, let's talk Phantom. Um because, you know, there's just so much to talk about and it's something that just happened so recently. Um I don't even want to talk about the final performance yet. Talk to me about um this whole journey because it's gotta be something really cool to be I mean it's Broadway's literally most historic show in production ever. Um so just to even be a part of it had to be so special when you got that call. What was that like?

[31:21] Sara Esty: Yes. Uh you know, it yeah. Like I still haven't I don't think I'll fully ever be able to wrap my head around the enormity and the incredible honor that I that this experience was and that I feel um funny story so my the very first Broadway show I ever auditioned for was Phantom of the Opera and I was in Still in the Ballet Company in Miami and I was up here seeing one of my friends in Newsies and I was I was a fancy I'm sorry I saw that show like seven times and it was I was like I want to do that I want to do that who wasn't a fanzies let's be real I mean honestly sorry now I'm like friends with all of them so I'm like eat like I was that was me um but so he was like Sarah there's just there's an open call for Phantom like just go just go and see what it's like and I was like okay fine and so I went and I didn't know this is so embarrassing I'm just gonna tell the story but I didn't know about like the 16 bars like I didn't know anything I was like you know whatever so I literally for Phantom of the opera I did the dance part okay fine great whatever and then I sang the entirety the entire song of the wizard and I and for Phantom and I was like what am I doing what am I doing and I wimped out on the last note and I was like yeah that's you know whatever yeah I and they were like and they no one saw me I just went I was fully like trying to be alphabet in this call and I was like oh this is ridiculous but anyway that was that was like I don't know 2007 or something like that like really long time and so yeah, isn't that funny?

[33:17] Sara Esty: Um, so I after American at Paris, I kept missing Phantom. Like the call would um the the uh auditions would come around and I would be doing something else, or like it was for the tour, but then something else would come, you know. So kind of I auditioned for the show probably four or five times before they were like they're looking for a Meg. And I was like, well, that's what I would want to do, like if in that show, you know, like that's sure that's the part that I would love to play. Um it was just my time, I guess. I mean, like, I think that that you get onto a list for you know when they when you get on their radar and whatever, and um and so it was just kind of like the call came at a time where I was like, yeah, this is it's this is the time that it feels like right to be in this a part of this show if they'll have me, um, of course.

And so I ended up getting the role, and um I was supposed to start rehearsals April of 2020. So I signed my contract and in like January or something, February, and uh and then um yeah, I was on a bus uh and then yeah, we all know what happened. I was on a bus going home to Maine for a few days before I was gonna start rehearsals, and that was March 13th. It was the day Broadway shut down. Oh and so I was like reading all this stuff on my phone on the bus as I'm leaving the city, and I was like, no. I was like looking back at the city, and I was like, Well, I hope I see you soon. And I was home for four months because you know, all this stuff. My mom got really sick the following week with COVID.

And I I was like, I don't know. I she was the 30th person in the state of Maine to get it. Like nobody knew anything at that. Like it was madness. It was madness. I won't go into all that, but it was nuts. Um but Phantom, oh yeah, thank you. I mean, she's she's doing really well, so we can't, you know, can't complain. Very, very lucky. Um, but it was terrifying. I was home by myself with her, and I was like, I don't know that she had to go to the hospital. It was a whole thing. Um but um but Phantom was incredible, and they made sure that I felt a part of this family that I hadn't met anyone yet, you know. Um, so they supported me and were checking in and and whatnot. And then eventually when it became time, it was like, hey, your offer is still here.

Do you still want to do it? And I was like, Yes, please. So to get to reopen not just Phantom, but be a part of the reopening of Broadway after the pandemic. Yeah. Was I mean, talk about emotional? Holy moly. And the cool thing about that was that Phantom went the whole company, the entire company went back into a month-long rehearsal period, which hadn't happened in 30, 30 years. The whole company. Usually you learn the show in two weeks and they throw you in. That was how how people get into got into the show. Um, so I got firsthand information. I mean, we had Angeloid Weber, we had, you know, our um like Hal's right hand man, Seth. He like he's incredible, and he's like production supervisor.

Oh so we had let me hey uh um production supervisor Seth Squartkin was just like firsthand information, like just had Hal's notes, you know, like just like was uh and it and they wanted like to really inspire and rejuvenate the production so it didn't feel like a museum piece, you know. They kind of they they allowed breath and they allowed people to kind of change it up, which people who had been there forever were like, what you know, like oh my gosh, okay. Um, but yeah, but it was it was a fresh and new take on it, and they redid some of the sound and staging and um and it was so incredible to witness because like I remember learning about Phantom in fourth grade, and like our music, you know, music class, or our teacher was like, Who can hit these notes?

You know, like the Christine notes, and I was like, you know, like I just wanted to like be that kid, you know. Um and and just obsessed with the music. I mean, my gosh, for my whole life. So then to be hearing about the ins and outs of this masterwork from the people who knew. I mean, my gosh, it was it was an extraordinary way. It was such an a specific once-in-a-lifetime way to enter this show. Me and Emily Kawachu, who played Christine, like we went in together and we were like, This is incredible! Like, what's happening? Um, it was amazing. And you don't get that experience, like you said, it's just you know, two weeks, you don't even get to sometimes you don't even meet like Andrew Lloyd Weber, you know, like you don't meet anybody.

You go, hi, I'm the new Meg, great, and they go poop, and you play plop you in, and then it's it's a machine, it just goes, it's just kind of how it is. Um, but I'm so lucky to have had that curated phantom experience, you know. Um and and look, like the road. I mean, we all know the road getting shows back on its feet after the pandemic, it was one of the hardest. The first year was like the hardest because it was like I'm so happy and elated to be doing this, but we are all terrified. I mean, it was like there's that building, there's so many people that work in that building, everyone's getting sick. It was a matter of time. We're just waiting for this thing to, you know, whatever. Um, but but all of that being said, um it's oh man, it was so historic and like just really special, really special.

You you know, there were moments, several moments of clarity that I was like, holy crap, I'm doing Phantom of the Opera. Like, it just you feel like you're doing Phantom of the Opera, you know, and and and what's happening backstage is madness compared to what you see. I mean, it always is, right? It's like a tetra, like with things flying in and out, and like it's dark, and people are screaming and it's scary, and there are traps in the stage, and it's like booby traps. But my gosh.

[40:37] Eli Tokash: Yeah. What just happened?

[40:39] Sara Esty: Yeah. What a family.

[40:40] Eli Tokash: Like oh, for sure.

[40:43] Eli Tokash: Um talk to me about. I'm curious to ask you. I mean, fan of the opera, you know, around our community has always been like what one of like the it's like one of those shows that has like, oh, that that job is gonna give me security, you know, it's gonna be there. Um people have been with the production for 20 years, you know, in some sort of way. Um, and so what was that kind of finding out moment of like, oh, we're closing? Like, was it something that was oh my god we all saw coming that that you all saw coming, or was it kind of blindsided?

[41:19] Sara Esty: Really? It was a bit blindsided, yeah. Um unfortunately, there had been an article leaked um about it. And so we were in, we were actually put in a put-in. So we were all together, which was good. But we were in a put-in, putting in a new principal, a new manager, and he was like, sorry, like it was like May Hall, he felt like he it was all his fault. Um we were like, no, no, no. But so it was like a tutu themed put in. So we're all running around in tutus, you know, like la la la la la, this is fun, la, you know, this new principal coming in, great, whatever. Um and then John Riddle came over to me and he had his phone and he goes, bestie, and I was like, Yeah. He's like, is this real? And I was like, no. I was like, John, please, there's always those rumors, you know, blah blah blah.

But then one by one, people just got like really quiet and they were staring at their phones, and we were all like, um, what's uh what's the deal? And then and then we had like an emergency company meeting at like four. Um and then yeah, we were all in the house, like literally sitting under the chandelier finding out that the show was closing, and it was dev I mean it was devastating, it was shocking more than devastating at first, I think. Um it uh how do you even like digest that you know it was it was a bizarre day, yeah.

[43:00] Eli Tokash: Um and it's yeah that's pretty cool that you guys were all together though, and you guys all were I'm glad because we all were holding hands and everyone was like, Whoa, whoa, and just looking around, like, okay, all right, uh well, look, we have you know, however many months, let's let's do it.

[43:22] Sara Esty: Look, they gave us enough time to get affairs in order, and you know, I just I felt I really and continue to feel for the people who you know when they got in the show, they didn't have kids, and then they started to have kids, and now their kids are in college, you know, like it's like that legacy is so beautiful and and um gosh, uh I have so much respect for the people who dedicated so much of their time to that place, you know, in the show, and and love it and just um you know, have so much just admiration and respect for the thing, the gift that we're all borrowing, right? Um and so yeah, it was a wild day. Um and uh yeah, yeah, crazy. Crazy. I am glad we were all together. Um I'll never forget where I was like personally.

I know. Well, this is the thing for Broadway for the community, it was a huge day. We walked outside, there were news cameras everywhere, and we were like, No way, whoa, yeah, it was nuts. Wow, nuts. Yeah, yeah. It's just one of those days that like you I like I I don't even I wasn't even a part of the show or anything, but like totally that feeling of like this isn't real, and then just you know, playbill, then Broadway, and then we were like, oh my god, like this is happening. Yeah, it was crazy. The show that night was really emotional. Wow and everybody, everybody was like, Wow, you know, what do we whoa whoa whoa whoa, everything's not because it feels like such a machine that just will just go and run forever.

And to be like, wait a minute, this is I thought we would all be gone before the show ended. You know, like we would all have left before it closed, you know. But yeah, it's crazy the time. I mean you never predict these things, or you sometimes you can, but we nobody saw this one coming. Um but but then you know, the extension was great because it kind of gave everybody a little bit more time to get used to the idea. Um, but the emotional roller coaster is just yeah I can't imagine. I honestly like I thought they were gonna extend it again, you know. Like I was like, is this thing ever really gonna close? Is it real? I know, and I'm like, you know it's a good one. I kept refreshing my feed.

I was like, when are they announcing that it's extending though it's a little bit more? I know you you know it's real when the like official actors equity like bulletin two weeks before you close is up and it says your final performance will be, and you're just like, oh gosh, that feels so harsh. Like um, yeah, what a what a ride. What a ride. And what a yeah, like the history behind that show with everyone that's worked on it, like not only like the show itself. The legacy and the and the generations that are in that building, it's unbelievable. I mean, people's you know, dads and then then they're working there, and then their kids are, you know, it's just like it's it's incredible. And then the people that you know continue to come back and would be in different roles or stay in the same role or really.

Oh my gosh. Absolutely. It it really was a very um like once you're in there, you're a part of the family, right? So it's like they just call you up, you come back in, you do beep boop boop, you know. So the the the um the catalog of people that they have within there was pretty impressive. I got to see a lot of different people. Even I've only I was only there for like a year and a half, almost two years, and the amount of ins and outs, but it ran so smoothly because people just it's a part it becomes a part of your DNA as a performer once you do the show, you know, and you just pop right back in and um yeah it was very cool to to experience so many different uh uh points of view of each character and to see you know a million different phantoms and several pristines and like I just I was in awe and I would forget that I was a part of it because it feels to me like two separate things it's the being a fan of Phantom of the Opera and having loved the show since such a young age but so there's that and then there's also like getting to do the actual thing um right is so wild and and feels almost like such a separate thing but I got to watch the show um a few months ago um in Hal's box they have a little like nook where Hal used to sit um they would put a chair there for him right at the top of the um where the mezzanine is uh and I was like this is magical like I hadn't seen the show in like five years and I was like sobbing and just and I'm like but Sarah you're literally gonna do that tomorrow like it just is it's it's when I watch things and this the music and the sound and the oh my gosh everyone was just so brilliant too I like went backstairs I was like I can imagine I mean, in talking about sobbings but we gotta talk about this final one.

[49:06] Sara Esty: Uh, this final one was I know not to get you started. No, it was I will never forget that. Yeah. I'll never forget that. Like, was it like while performing, was it kind of like a high because the support in that room, or was it kind of like every number was just a complete sob? No, so uh so the hardest show that weekend to get through for me was the Saturday, the Saturday afternoon show because it was our Chris our Christine alternates last show, and she's been with the show for a long time. It was one of our um we would rotate conductors, but it was one of like our original three conductors last show. It was one of um our phantom alternates uh understudies last show. So there were a lot of lasts, and I think knowing that, and and it became very real that Saturday afternoon.

Um I'm in like the sunlight. What is happening? Here we go. Okay, there we go. Um, so that was really when it felt like whoa, whoa, whoa, whoa, slow down, slow down, slow down time, slow down. Um, but and then the Saturday night, we had another conductor whose last show it was, and she's just been there since the beginning. Like, it just is it was crazy. But so we got the crying out, I think on Saturday. I did at this Sunday. Well, that's a lie. I cried, I cried a lot. What am I talking about? Like, but like the like sadness, Saturday, I really felt. Sunday was so much fun. We were like, we felt like celebrities. We all looked like, you know, we got to do the guys were in tuxes. Like I was like, whoa, like fall down, you know, whatever.

And it just felt special. Like you were like, oh, I'm a I really am a part of this big epic thing. People lining the streets. I mean, the fans for this show are incredible. I mean, they're incredible. They spend so much time and effort and love and and care and gifts and like flowers and just I I've never experienced anything like that. Um so and Saturday night to back up a little bit, they wouldn't leave the theater. Right. Okay, I have this video that I did I went viral on TikTok with this video, and I I feel like I was like, okay, probably Sarah. I don't do anything on TikTok, but like whatever. Um they wouldn't leave the theater. So our show goes down at 10 30, and they left at like 11 10.

Like they stayed in the audience room and they were screaming and chanting one more song, one more song, one more song. We were all just like so. We had gotten out of wigs, we had gotten out of costumes. I was like, we went back on the stage because we were like, Well, I was in my wig cap and like a robe, and I was like, I look like crazy, but I was like, this is amazing. So they like brought the chandelier, you know, up for people to see, and and we were like so. That was Saturday night. That was Saturday night. Oh my god. So it was the last public performance of the show. So they so we sang Happy Trails because we didn't know what else to do. So that was kind of like a perfect because we were like, I don't know what else to sing right now, like you know.

Um but so we sang Happy Trails, and it was a beautiful, beautiful moment. Um I never in my life have seen that. It was it was incredible. Um, and then Sunday during the show, we all were like, we all started out like shaky, like okay, well, oh, okay, this is the last time this is ever happening, and we made it here, right? Because you never know with with COVID and with everything, you're like, you just you know, you want to make it there, and it was heartbreaking to not have our phantom there. I w I have to say our Van Crawford was sick, and you know, they made the really hard decision of just you know, you don't want to injure your this, you know what I mean, any more than it is if it's compromised.

Um we were all almost there. Um, so that was heartbreaking. Um we had um another uh uh past phantom come in whose wife is our dance captain and a swing on the show, and so it was all in the family still, which was really lovely. Um so so yeah, so the show we all just were kind of like for masquerade, they had all the swings on the stairs too, and like oh my gosh, I was just like happy crying, like it just felt so epic, you know. Um and for so many months, like we anticipated that last show, and I know for me personally, I anticipated that final moment of the show where I'm the last one on the stage holding the mask, yeah, and I was like, this is 35 years worth of history, like literally on my shoulders.

Like in this one moment, that's gonna be oh my gosh. I like it just was so special. The coolest thing. I mean, I I don't think I've ever felt like that before. I mean like pulling the thing and then taking and my I mean I my whole body was shaking, right? Like I can't imagine. Because I was I wanted to hold on to that moment so long, but it's a moment, right? We know how fleeting they are, and I just lost my mind after I mean we were all just like you know, just stopping because it was like we did it and we went, and then we had a huge beautiful party, which was like, okay, if it were gonna go out some some way, if we're gonna exit Broadway, she got a grand finale. I mean, it was that we had an epic curtain call, Sarah Brightman was there, you know, Angelo Weber was there, Cameron MacIntosh was there. I mean, it just felt like a huge epic celebration, and totally was just so wonderful. Um really, really sweet.

[55:43] Sara Esty: Yeah, oh for sure. Um was in be like after numbers, you know, did you have to hold like extra long for applauses and all the things like that? Yeah, the show was long. The show was long. Um, especially I remember after um after Emily sang wishing, after she sang Wishing You were something I'm here again. I mean, people were on their feet, and for Julia the day before, too, for our Christine alternate the day before, yeah, people. People on their feet, and they both just stood there and just sobbed because it was like I mean, literally the last thing that they sing in that song is help me say goodbye. And it's like whoa, like everything in the show is just so loaded. Yeah. You know, one of my favorite parts of the show is uh what we call managers one, and it's pre- Madonna, and you know, everyone singing, singing, singing all together, and then we all come together and sing, sing pre- Madonna once more, and then we have this huge once more, and we charge downstage and kind of go like that.

And I it's my it's like my favorite part vocally to do and to listen to and to like oh my gosh, and just people were going crazy. I mean, it was it was spectacular, and I think a really good show, too, like as far as like you know, um, runs of the show, like it just that performance was really special, and everyone was just having a blast. The collective energy was like, oh, this is fun. Oh, we're gonna do let's do this, you know. Like that it was well, I'm I'm curious because you mentioned, you know, having Andrew Lloyd Weber there and Cameron Macintosh, and and then of course you had all of these like generations of like people that have been in the show, you know, coming back to watch the show for the final performance.

[57:42] Sara Esty: Like, yeah, was there any like added I don't know, nerves because you know that like, oh, this is the last one, we want to honor it the right way, you know.

[57:50] Eli Tokash: Yeah, 100%.

[57:52] Sara Esty: So a couple days before we had a rehearsal for the final curtain call, we were like, What is you know, what's what is what is this? What's going on? And um and we found out that a bunch of the original cast members were coming on stage to take about. And we were like, Yeah, and so we all s like we learned part of music of the night all together, and we sang that with them, and and of course, you know, the show, like there's just and they there were so m like many alumni in the audience that it's like oh my gosh, people that you just admire and have heard stories about and then get to put faces to names and like it was i I had to kind of um turn that off a little bit because I was like, okay, you just do this, just to do that.

And if you just do tell the story to the same show you did yesterday. Um because it so easily could have been like, oh, I can't do that. I can't do this. What do you mean? I gotta be the last one on the stage. Like, no, absolutely not. Um but um oh my gosh, I was like freaking out, but but it it also the biggest thing that stuck in my mind was like, I don't know what I don't know what you did, Sarah, or what the universe like what cosmic power plopped you here at this moment, but it this honor is bestowed onto you and you're you get to be the one and you you're here, and just be present. Just take it in. Feel what you feel in the moment, don't judge it. Just just go with it. And um because I think that we all respect the show so much too that it's like we want to do justice do it justice and and um and carry out the the the original visions and and uh you know a show like that, it's hard to feel like it's like to feel ownership over it, you know, because it is such it is bigger than all of us.

It's um it is this this grand masterpiece that is so loved by so many people and just um it means a lot to a lot of people. So to even have dipped a toe, like you know, it just is like the greatest honor, truly like you know really special, really, really special.

[1:00:30] Eli Tokash: Oh my god. Yeah, I can't imagine. I was literally like I saw those videos, I saw the pictures of the curtain call, the red carpet. Oh my god, yeah. Like as a fan and like uh a theater grower or whatever you want to say, and like someone in the industry, it's like man, you anyone would give anything to like be a part of that, you know, that day and just kind of be a fly on the wall. It's just it looked amazing. It was so cool. Um I I wanna ask, uh like w I don't know if you can give anything away, because I don't want to give out any magic or anything. Um, but like, is there a favorite like secret of yours that maybe the audience didn't see uh that you could like share with us, you know? Even if it's like a little backstage ritual or or something that like the audiences and fans of the show would just wouldn't wouldn't really know about.

[1:01:20] Sara Esty: Let me see. Okay. Hmm. Tough question. I know. I don't know. Yeah. It's okay if you don't want to answer it. And to be honest, like I still don't know how some of it works. And I kind of like at some point was like, I don't want to know. Like, I want to. It's like I don't want to see Disney World with the lights on. You know, like I don't want to see it's a small world with the lights on. Like that, that kind of stuff. But um I'm sure there's a lot of rituals and many iconic uh, you know, like little even pieces like on stage, little Easter eggs of like little bits that you all do. Um I just learned the name of the chandelier in a video of watching you. Um it's yes. Ruthie too. Ruthie one is in London.

So Ruthie, original Ruthie is in London, and this is Ruthie 2. The um the elephant's name is Ilbimbo. I think Il Bimbo. Il bimbo is the elephant. I think that's right. I'm gonna get so like yeah. Um no, that's iconic. I think that's right. And then the monkey's just the monkey. But they have they have named like a bunch of things, and uh yeah, everything's choreographed like down to a science. We all have like you know, silly little dances that we do before this moment, and then like this is it, you know. Um yeah, oh yeah. I mean, like you just form those things with with your friends, and it becomes like you have to like religiously like yeah, have to do it every day, like superstitious-wise.

Just like um a part that was really cool that I loved watching was when um during the title song, um, we would have to go under the stage, and there was this bridge uh right under the stage, and on either side it would drop down, probably like I want to say like 30 feet. I mean, like it was like there was a drop down um where the candelabras would would fly in and out. Um so one of my favorite parts was to go down there and just kind of stand and watch, and it would be like smoky and foggy, and then all of a sudden the candles will go and they would hold for the boat. You could feel the boat going across, and then they would keep going like this, and it just yeah, it was so cool. It was so cool to watch.

Um a million quick changes, like you know, quick rig things here and there, you know. It's uh definitely definitely very cool. Um I never saw talk about superstitions, it became like a thing. I never saw so at the top of the show, you know, Raoul is in like his old man makeup and he's in a wheelchair at the auction. I not once not ever saw John Riddle in that old man makeup, and it became like a like a game. Like if I would hear him before the show, I'd be like, nope. I just never saw him like that. And so yeah, it was pretty funny. I don't know how I mean, I guess we were we started on different sides of the stage, but I only just ever heard him, you know, sing the beginning of it. Um really cool, really cool, really cool.

I love that it became a superstition that you were just like, no, no, go away. I can't, I can't do it. Now it's just I'm in too deep now, you know, like a year went by. Okay. Oh, I love it. That's hilarious.

[1:04:54] Eli Tokash: Yeah, it was funny. Well, that is that's so fun. I love little things like that. I love those little backstage stories and all those moments that uh you create. Um well, Sarah, this has been lovely. I mean, literally talking about the show with you is on the show. So literally, I feel like there's there's so much more I want to ask you. Um I know, but I I don't want to keep you. I mean, we're already like at an hour basically. Um this I mean, literally, this is flown. Um you're fantastic. I I loved everything that was going on. I mean, your performance is ridiculous, and you're so talented in so many levels. Um seriously, you can do it all. Your mood star. I didn't even talk to you about that. You know, like all the things with your twin sisters. We can do a quick West Side debrief if you want to.

[1:05:40] Sara Esty: I do. I do have a couple minutes if you want.

[1:05:47] Eli Tokash: Yeah, because no, because I'm obsessed with like your whole story has been. I mean, in the last hour, we've had like seven full circle moments. Um West Side Story just happens to be like another one of those. I mean, you did the show before, you did it with the ballet and everything. Um, and then you got the chance to do it in a movie, which I'm sure was just like a weird whole world, you know, very different. What was that like?

[1:06:18] Sara Esty: Oh my gosh. So it was I think one of my most favorite experiences I've ever had in my life. Really? Like life and career. Um wow. It uh so I am lucky to have worked with Justin Peck before in the ballet company, you know, for a couple projects in New York. Um and he's he's a good friend, and he's married to one of my greatest friends from Miami City Ballet, actually. Um so when we found out he was doing West Side, I was like, Justin, like and like, all right. Um and so the audition process was amazing. We just got to dance for Steven Spielberg for like hours. And that whole thing I'm still I'm still I can't. I cannot because my sister and I grew up, our our like little girl childhood obsession was like movies and movie soundtracks.

So like Spielberg and John Williams, it just was like that's our childhood. So the fact that like this was even within the realm of possibility to like be near an audition for Steven Spielberg to see him ever in my life, like that would have been enough. Right. So like we got to, you know, we danced and then we got to sing for him, and it just was like he's just like the the nicest man, um, and and just a big nerd himself. Like I just remember him being like, Justin, Justin, you gotta see this. He had his, you know, his iPhone out all the time and like kids come here, come here, come here. We called him Papa Spielberg because he's just we all became his children. And like, look, the Jet Girls, like we're in eight minutes of the movie, and so we, you know, usually when you're on set, they like you do you come in, you do your thing, and you leave.

They included us that entire summer. It was like summer, like summer of dreams for all of us. Like we had this amazing rehearsal process. And then we all hung out. I mean, there were parties. There was like we got to go watch them film America. And like, you know, it was like you just kind of we were, it was all a family. So they like invited us to everything and made us feel as important as like, you know, Maria and Tony. Like it just was like, oh, you're in the family. Oh, okay. And so that's like the family vibe was something that I was like, oh man, this is this is my jam. Like, I this is how I like to work is when you feel like a big family. You're all contributing to something bigger. You know, no but nobody was like letting their ego get in the way.

Like it just was amazing. And um, and and he was so excited, and like we had sawn time for a part of it, and like, you know, like it just and then John Williams was around like I can't even like it, just is so many things. Um and then seeing it on the big screen, like we got to go to a screening of it, and and we were all just like, are you kidding me? Like, this is beautiful, and we're singing and we're dancing and we're doing all this stuff. Like, it just it was really cool to see such an iconic and beloved like musical and film redone in like an epic like Spielberg way, and then Tony Kushner and like just like everything. Oh my god. I can't. I'm still like I sold their love. Just in a room of legends.

Just all together, just geeking out about you know, this shot looks cool, and this shot looks cool. And we're like, yeah, it looks right. Looks pretty cool to me, you know, like hello. I mean, we even they made it, yeah. Whatever you say, Papa, like it's that's great. Um, but like we even he went as far as to like give us all character names, which he could have easily said dancers. No, we had our own names. We came up with our own personalities, we had our boyfriends, we had a photo booth backstage, bat backstage, like our on set at um it at the gym. He got ice cream trucks. I mean, like they went for it and they treated us like it was like get the kids this, uh, get the kids. I mean, like, it was the most generous and wonderful time, so much fun.

Um yeah, just just like so incredible. I mean, like, if I never do another movie again, this is okay, that's great. I mean, hello. This is right, you did it. We did it on a pretty pretty large scale uh too. Like, where do you go? Where do you go from there? We went to the LA premiere, we went to this per the premiere here. Like, it's so crazy.

[1:11:21] Eli Tokash: So cool though. So freaking cool. It was really cool. Um that's so great to hear though, too, because you know, a lot of time we have you know, people on or even m experience for myself, you know, when you do like we love the theater because of the family aspect and the whole you get to do it together, you get to you're a team every night, doing it eight shows a week gets repetitive, yeah, but you're doing it with your fam. You know, with like the movies and everything, it's so blocked, and so you know, you could you could never meet some of the people that we were kind of referring to earlier um on Broadway.

[1:11:58] Sara Esty: So it's interesting um that we say that. But uh yeah, and so to hear that it was kind of a family and that you just felt like a part of the community is so cool to hear. And I even saw like the star uh Rachel Ziegler came to Phantom. She came to see Phantom. I know I love it. That's so cool. It was cool. Um to add to what you were saying right before that. Um the the thing I loved about this process was that we treated it like a piece of theater. So the rehearsal, Justin built something you could have seen on stage. So it was start to finish, end of dance at the gym. It was a continuous, like through stage product production essentially. And so a couple days before we were gonna start shooting, we would just run it and we just run it, and they would film it and they would say, Okay, great, we want to, and that's never how it happens on set, right?

Like you do you know do this section, they do this, and then this right? So it was very much like something we were all used to because it was a bunch of theater kids, you know. Um, and like we were like, great, we have a whole stage thing, and they did it for America, they did it for every number, was built as if it was gonna go on stage. Um so that process was really cool because it felt very very familiar to our processes as as Broadway actors and dancers. Um so that was really cool and helpful and interesting, I think, for Steven to kind of be like, this is new to me. He's like, he doesn't rehearse, but we did. We had a whole like month-long of rehearsals, you know. And then they would sit down, they would run the lines, they would sing through the thing, you know, blah blah blah.

Yeah and then um and then just go for it. But I think he loved it. I think he loved it. Like he just you could see he was so happy and excited, and um so very atypical for film, I think, to a rehearse that much, and B kind of have something built that could uh you know, just translate onto the stage if it needed to. Um, but yeah, and then Rachel, sweet Rachel. So she's been a fan of Phantom for I think she said like 11 years. She used to wait out at the stage door and wait for autographs, and actually, so the phantom that was on the night that she came was like her favorite phantom and the last one that she had seen like 11 years ago. So she was flipping out because she had made him like this like little book.

There was like a bunch of fans who made it uh Jeremy stole this like little book of like how much they loved him and like all this like fan stuff, and she was in the book, and so then after the show, me and Jeremy went out and we just like sat and talked with Rachel, and she was just like um beside herself, happy to have seen the show again, and she's such a sweetheart, um, so supportive, and will always a hundred percent be a theater nerd, like just like true, tried and true, um very loyal friend, very yeah, every everyone on West Side was just so lovely to work with. We got we got so lucky that doesn't happen, you know. It just like it just everybody it was a big love fest, like it just was really um really special.

Uh I will I'll never forget it. I'll never forget it. Yeah, yeah. I love that. It's cool to hear you say, like, you know, Steven Spielberg doesn't rehearse, and you it just like he came to set kind of like eager to learn and find this new way. I mean, it just goes to show you that, like, I mean, Steven Spielberg, come on, he's been around forever for longer than probably we've both been alive. So, like, you know, it's like it's a testament how like in this industry you really can never stop learning. You're gonna be able to do that. And there's always something to I love it. Yeah, speaking of schooling, I'll never this is just like just a fun story that I'll I just will never forget. So we were blocking out, we were in the rehearsal room at Elsie Kirkland, which studios, which are gone now, which is crazy.

Um, but we were we were blocking out Dance at the Gym, and he's up on his ladder, and you know, he's like from above. He's like, kids, oh yeah, I got a story. And we were like, okay, you know, like, sure, tell me everything about everything you've ever done. Um so he said he said, when we were doing Jaws, and I was like, because Jaws is one of my favorite movies, and I was like, I don't like am I okay? Like checking my I couldn't, I was like, mm-hmm, sure. Uh he was like when we were doing Jaws, he was like, you know, no one told us about the tides, you know, we'd set the boats, and then we turn around to set up the camera equipment, and then we turn back around and the boats would be over here.

And then he's like, don't be like the tides, stay on your spot. And we're all like, Yeah, okay, great, whatever you say. I just was like, this man made Jaws. He made ET, he made Jurassic Park. Like, I can't. And he's right there and he's talking to me, and I'm working for him. Like, I can clearly not over it. Like, I'm clearly not over it. Oh, such a geek. Yeah. Anyway. So that was a that was a fun thing. But yeah, such a so cool. Epic thing to be a part of. I uh yeah. Oof. Experience you'll never forget. Wow, like look at the like everything, you know, like all your whole career is so cool and so fun to hear about. Uh with Phantom, American Paris, all of these gifts that uh, you know, continue to give and things that you're it's just so cool to be a part of and and to watch and go through that kind of journey with you is so fun.

Yeah, I'm so fortunate. Uh yeah. So why don't we why don't you uh shout out what is your Instagram? Um so my Instagram handle is at at SP Girl, so it's E S T Y G R L. Amazing, yeah. And then we can continue to follow you on your next journeys and endeavors and all the things we can root you on. Um I love it. I I love seeing like the pictures with you and your twin at the uh red carpet of West Side Story and all these things and the closing night photos of Phantom, all the things. So fun. Thanks. Thank you. It's been such a pleasure chatting with you. I could talk all day, but so this is good. I love it. No, we'll do it again, we'll do it again, and we'll talk and we'll do more in depth, and we'll do your next big thing.

Um, I love it. Sarah, you're I'm so excited. Uh Sarah, everyone, just to not to like put it out there, but ran home from a callback and was like, I've still I'll still talk to you, don't worry. Like, just the sweetest human being. Um, just so graceful and and and so I can't thank you enough for making the time out of your day, you know. You just closed a Broadway show and you still got a million things going on. Look, I mean, look, it's it's I am first and foremost, like a uh theater lover nerd. And so to have an inside scoop to share with people is like yeah, I feel compelled a little bit, like I want people to know, you know, like it's so cool. I don't know. Yeah, I'm I just I just love it.

I love what I do, and I and I love chatting. So yeah, so real. We we relate so much in that sense. Um, Sarah, I can't seriously thank you enough for for taking the time to chat with me and talk to me about your career phantom, all the things, and I can't wait to see what's next, and I can't wait to follow along. So thanks again. And you definitely deserve to take a bow.

[1:19:57] Sara Esty: Oh, thank you.

[1:19:59] Eli Tokash: Of course. Bye, Sarah.

[1:20:01] Sara Esty: Bye.

[1:20:02] Eli Tokash: Take a bow, Sara Esty. I mean, seriously, can't thank her enough for for sharing all of those wonderful stories with us. Uh the fact that she was able to talk to us about Phantom after it literally just happening, was something why like honestly, like if you can watch this on like YouTube or whatever we do to like see this video format, uh whether we post clips on TikTok or whatever, but you could really noticeably see Sarah get really emotional about it all. And and kind of like as she was talking to me, still processing it and still reliving it and visiting those stories and visiting that day and and that journey that she's just gone on and and how grateful she is. You can just see it all um in her eyes, in her expressions, um, in the way that she tells the story.

So um this is definitely an interview, if you can, that is one to watch, uh, to go back and and just see though these reactions. Cause like literally, like she was talking to be to me about Phantom, and I I kind of just like didn't even want to talk or like ask another question because I was just like let her talk because the one thing just led to another and it led to another. And she was just she was having a moment, and it was just so great to see um and and so cool to to be a part of and uh talk to her about all of it. Um so thank you, Sarah, for for being so vulnerable with me.

[1:21:40] Eli Tokash: And uh just to learn a little bit more about her and her career was so cool, so fascinating. Her twin sister in the industry doing the same thing, auditioning, blah, blah, blah. It's just wild. And and touring with her, doing the same show with her as her alternate or understudy standby, whatever it was. Um, but it that's gotta be so cool. And and the stories with Steven Spielberg, just to top it all off. Uh, the cherry on top of the episode, uh, just working with the most legendary film director, creator, uh anything that you want to call him. I mean, just overall, like he is movies, you know, type of thing. Um, and talk to us about her experience, you know, working with him and how he's learning with them, you know.

It's just uh in the stories that he was willing to to share with them and and how their reaction was. It was just so fun, so cool to talk about. Sarah's had a really cool career, um, with so many fun stories that we all heard today. Um, and uh yeah, like I said, if you follow her along, because this is just the beginning for Sara Esty, and uh we love we loved having her on and we loved uh chatting with her about her career and uh and being a geek about theater and all the things.

[1:22:54] Eli Tokash: So um, shout out once again. Thank you all for listening for to this week's episode. Um, thank you all for uh for letting us extend to a Friday and uh continuing the support. As always, we will be back next week with another episode. And uh yeah, until then, sorry like for the craziness. I I explained it on the little announcement last uh yesterday, uh, you know, that we were doing a Friday episode. This week's been wild. Not only did we have the wonderful Sara Esty lined up as a guest, um, and and scheduling that post-closing, with just the scheduling and all the things we didn't know what was going on with with all of the messages that I was receiving and the things that was going on here around school.

For those of you don't know, a building collapsed, a parking garage actually collapsed. So all of these cars and the building itself, the the concrete and the pavement and all the things were falling from the sky, and it was just madness. It was right near my school, right near where I live. Um, so crazy stuff. And I appreciate all of the well wishes and the messages and all the things, the thoughts, prayers. So, yeah, just a wild week. And uh of course, the allergies are still here. So we're we're just going through it right now, and uh just appreciate the support and uh, you know, willing to uh extend another day and uh do all the things. So, um, as always, thank you all. You all are the best.

Appreciate you all listening, and uh let's do this again next week, shall we? Hopefully, it's gonna be uh uh a smoother week and on Thursday, and uh we're gonna have some fun. And hopefully the allergies are gone. I know I'm not the only one dealing with them. Y'all listening are definitely dealing with them too. So uh we'll get through it together though. And uh until then, I hope that you all have a fabulous week. Thank you again for the support and the the well wishes, messages, all the things. Sarah, thank you for coming on, and I will see you all next week. Bye, everyone. Have a great week.

[1:25:02] Eli Tokash: For this episode's current call, I would like to recognize a few people who also deserve to take a bow. This podcast would not be possible without the help of Dori Barenstein, Alan Seals, Kimberly Garrett, and the team at the Broadway Podcast Network. Next in line to take a bow are our fabulous editors, Jessica Gorin, who edits the audio of the podcast that you just listened to, and Tessie Tokash, who edits the videos and visuals for this podcast. And how about a bow for our executive producer, Chris Greiner? And our final bow are extra special to the patrons Brian Thompson, Pat McMahon, the listeners at PCC, as well as all of the other patrons for their continued support. If you're interested in becoming a patron, go to Patreon.com slash T A B. If you enjoyed this week's episode, make sure to subscribe on the platform that you are currently listening to this on, or go check out our YouTube where you can watch the episode.

You can also subscribe, like, and comment on there as well. If you're more into the regular social media and want to follow us, you can do that at take About Podcast across all social media platforms. The music of this podcast was made by Nikki Torsha and Cormac Collinon, and the logo was created by Giselle Bustos. And that wraps up this episode's curtain call. Thank you all again for listening to this week's episode, and I can't wait to see you next week. Bye everyone, have a great week.