This transcript was automatically generated and might contain errors.

[0:02] Eli Tokash: Hello everyone and welcome to episode 185 of Take A Bow.

[0:08] Eli Tokash: I'm your host, Eli Tokash, and this week we have such a wonderful episode on uh for this week's podcast episode. Uh we have none other than MITCHELL SINK on the podcast today, who is one of my best friends.

[0:23] Eli Tokash: We literally grew up together, literally. Um, and uh, you know, we have a really candid conversation about what it is to be a child on Broadway. So, yeah, we talk about our careers and we talk about being in a show together, and uh, you know, he has three Broadway credits, so we talk a little bit about that as well.

[0:42] Eli Tokash: Um, but we also talk about the impacts of uh, you know, the industry as a child performer. Uh, we talk about how grateful we are for our parents and what it means to be a child performer that you literally aren't able to do it without your parents.

[1:01] Eli Tokash: And uh we have a raw conversation about how uh adults and being in professional shows with adults uh affect us as human beings and performers throughout the time and uh as we grow older, um, and how it kind of shapes us and for better or for worse.

[1:20] Eli Tokash: So uh it's a wonderful discussion, and I'm so excited to share it with you all today. Uh, but before we get into that, we gotta talk about some Broadway news.

[1:28] Eli Tokash: Uh crazy stuff going on. We had Sir Andrew Lloyd Weber, yeah, the legend himself, calling out Broadway.

[1:39] Eli Tokash: And I mean, I don't usually like to like talk about it, but with it being Andrew Lloyd Weber and him calling it a vanity project at the moment, uh it gagged me.

[1:52] Eli Tokash: Number one, because and this is no knock to Bad Cinderella or anything, but it was crazy uh for him to call it a vanity project when I feel like Bad Cinderella was a vanity project.

[2:06] Eli Tokash: But that could also be him, you know, I don't know, leaning into that, I guess a little bit, and you know, adjusting his shows according to what's like being successful on Broadway right now.

[2:21] Eli Tokash: Uh so wild statement. I absolutely loved it. I couldn't agree more.

[2:26] Eli Tokash: Um I miss the original, you know, old time news stories with classical music and whatever.

[2:33] Eli Tokash: We're getting very poppy with remakes of movies or books or whatever it is. Nothing is like super original nowadays.

[2:43] Eli Tokash: Um, but you know, I I I it's I still Broadway and it's still entertaining, so we go see it and we we support and uh you know it it it was wild to hear that, and I was my jaw hit the floor when I saw that uh article and Instagram posts and everything in between from people talking about it and everything.

[3:04] Eli Tokash: I was just like, go off Andrew Lloyd Weber. Um, so uh yeah, that that's that, and then we got exciting news uh for Take A Bow guests, I guess, of the family uh here at Take A Bow. Taylor Trench is going to be replacing Take A Bow uh fellow Take A Bow family member, Andrew Keenan Bulger for a week in Dracula off Broadway for a week in Dracula off Broadway.

[3:37] Eli Tokash: Um, so excited for this. Love Taylor Trench. Love me some Taylor Trench.

[3:42] Eli Tokash: Uh he's fantastic. Andrew Keenan Bulger is fantastic.

[3:47] Eli Tokash: So uh shout out to both of them. And I've yet to see that uh Dracula musical.

[3:53] Eli Tokash: So I'm very excited to go see it. I I may have to go see it with Taylor, but then I'm I have to go back for Andrew too.

[4:01] Eli Tokash: So uh I've heard great things about it though. I've heard it's absolutely hilarious.

[4:04] Eli Tokash: So uh great things uh coming over there.

[4:10] Eli Tokash: Uh Shrek the Musical is reuniting for a national tour, which is super exciting.

[4:16] Eli Tokash: Shout out uh Timmy Lewis, who is a friend of mine from Vermont.

[4:21] Eli Tokash: Uh well he he's from Vermont, not from like how I know him.

[4:25] Eli Tokash: But uh nonetheless, he's gonna be going out on the road uh playing Lord Farquad.

[4:31] Eli Tokash: So I'm so excited for it. Uh obviously Shrek, you know, it's a great musical. No one can deny that.

[4:38] Eli Tokash: Everyone's watched it on Netflix, everyone sings Freak Flag and every other song. They're all great.

[4:44] Eli Tokash: Uh Janine Tessori wrote an incredible book.

[4:47] Eli Tokash: Uh just happy to hear that literally the entire creative team is like reuniting and coming together to to spread, I guess, some more Shrek around the world.

[4:57] Eli Tokash: Uh super exciting, and uh maybe they'll be coming to a city near you.

[5:02] Eli Tokash: So check that out if y'all are interested.

[5:05] Eli Tokash: And then last bit of news I will say, uh I it was just uh uh the it kinda is like Broadway news, but kind of not.

[5:15] Eli Tokash: It wasn't in like the Broadway, like um the Broadway headlines, I guess you could say.

[5:22] Eli Tokash: But uh they were there were seven people arrested due to fights breaking out over pro-Palestinian protests uh during the tree lighting this year.

[5:31] Eli Tokash: Um and I heard that that uh protest actually was disrupting several Broadway shows because they heard both uh the screaming of the protests and the chants and whatever inside of theaters and also the eventually the ambulances coming to uh you know either save or arrest or whatever it was, uh the people involved in the protest and most notably um it was the theater uh by uh Rockefeller Center, which happens to be the Belasco Theater, is pretty close to that.

[6:08] Eli Tokash: And uh it was very disrupting to How to Dance in Ohio.

[6:12] Eli Tokash: And for those of you who like listen every week, y'all know what How to Dance in Ohio is. I talked about it last week, and it's full of neurodivergent casts and um the audiences and everything like they are trying to make it super accessible.

[6:25] Eli Tokash: So having a disruption like that, uh was quite notable, and I just can't believe that more uh I don't know, like the playbills and the Broadway worlds or whatever aren't talking about it because it did affect the show uh and performers were affected and um it's just so sad to see and I think it's something that we need to be uh more mindful of.

[6:47] Eli Tokash: Obviously it's it's pretty hard to like stop that. Um and usually it's uh our community causing these things.

[6:54] Eli Tokash: Uh, but it's just crazy to see and hopefully uh, you know, everyone is is safe and and okay to continue to you know, like not have like that affect the future of the run or anything like that, I guess I was what I'm trying to say.

[7:09] Eli Tokash: So um, yeah, that's that's all the Broadway news I have for you folks this week.

[7:14] Eli Tokash: And uh with that being said, I think it's a great time to turn it over to MITCHELL SINK.

[7:20] Eli Tokash: So Mitchell Sink curtain up.

[7:25] Eli Tokash: This week we welcome a two-time Broadway performer, kind of three-time, let's be real. Um, known for his performance as Michael in Elf, Bruce in Matilda, and my personal favorite for no bias reason whatsoever, Scott Farcus in A Christmas Story.

[7:44] Eli Tokash: Uh this guy can do it all, and you can also see him on Apple TV's star-studded cast of The Crowded Room and Extrapolations.

[7:52] Eli Tokash: I definitely didn't pronounce that right. Extrapolations, is that right?

[7:56] Eli Tokash: Um there it is. Uh everyone, welcome to Take A Bow, MITCHELL SINK.

[8:01] MITCHELL SINK: Hi, Mitchell.

[8:02] MITCHELL SINK: Oh my god. Hi, Eli.

[8:04] MITCHELL SINK: How are you?

[8:05] MITCHELL SINK: Oh my god, I'm so excited.

[8:08] MITCHELL SINK: This is a guest. You're someone that I've wanted to have on for quite some time.

[8:13] MITCHELL SINK: So I'm so excited too. I'm I'm just a fan.

[8:16] MITCHELL SINK: I feel like I always tune in on a big that's this is this is exciting for me.

[8:22] Eli Tokash: Absolutely not. Um no, this is gonna be so fun.

[8:25] Eli Tokash: And uh, you know, a big reason of why I wanted to have you on, you know, December 1st.

[8:31] Eli Tokash: Uh it's a 10-year anniversary of A Christmas Story, which is disgusting to even say yeah.

[8:40] MITCHELL SINK: It's wild.

[8:41] Eli Tokash: It's wild.

[8:42] Eli Tokash: So it this is a great uh opportunity to have you on and great timing after uh you know wanting to have you on.

[8:50] Eli Tokash: So uh the way I usually like to start these is just asking you, you know, what was it that started all of this?

[8:57] Eli Tokash: Uh I mentioned all the Broadway shows that you've done and now the TV and everything.

[9:01] Eli Tokash: Like, when did you get into performing, entertaining people, not just musicals, but also you know, the TV world.

[9:09] MITCHELL SINK: Yeah, it's that's like it's a crazy question because we're originally from Texas.

[9:15] MITCHELL SINK: Yeah.

[9:15] MITCHELL SINK: So like getting here was such a journey.

[9:18] MITCHELL SINK: Um, and like some people can't believe that like I don't know, it took a lot of sacrifice, like for my family to get here, but it like worked out in the end, so I'm like super grateful.

[9:29] MITCHELL SINK: Um, but yeah, I would say I think my first like show that I was in was like Suicle in Texas by Jojo.

[9:39] MITCHELL SINK: Yeah.

[9:40] MITCHELL SINK: That was like, or that was one of my first roles, and that was the role that like sealed the deal.

[9:45] MITCHELL SINK: I was like, okay, I want to do this.

[9:46] MITCHELL SINK: Like I want to go on stage.

[9:49] MITCHELL SINK: Um, and uh my sister Sadie was also like really into theater, and she did um Annie at Tuts.

[9:56] MITCHELL SINK: Uh so we were both just sort of like doing shows, doing like community regional, and then I think my mom had a friend who suggested we go in for like the Matilda open call in the U.S.

[10:09] MITCHELL SINK: And we that was so foreign to us, we were like, we have no idea.

[10:13] MITCHELL SINK: Like that's so like yeah, it's it was just such a different world, like Broadway open calls, like what is that?

[10:19] MITCHELL SINK: Um, but we made the trip in, and I think Sadie and I like our first audition was for the original Broadway cast of Matilda.

[10:27] MITCHELL SINK: Wow with one of our in the city.

[10:30] MITCHELL SINK: Um, yeah, and that was like a long process.

[10:34] MITCHELL SINK: I was I went in a lot for the original Broadway cast of Matilda.

[10:37] MITCHELL SINK: Yeah, those auditions were like 10 at a time.

[10:41] MITCHELL SINK: Yeah, and that season that season was crazy because it was like I mean it was honestly everything happened at once because I think A Christmas Story was going on Broadway that year.

[10:51] MITCHELL SINK: Yeah.

[10:51] MITCHELL SINK: And then Matilda was and um and Elf was too.

[10:57] MITCHELL SINK: And so it was like everything happening all at once for kids, at least.

[11:01] MITCHELL SINK: Like it was just like madness.

[11:03] MITCHELL SINK: Um but yeah, we like I went through a lot for Matilda, like for the original Broadway cast, and then Sadie and I eventually signed with a manager who got us an agent, and that's how I got an appointment for Elf.

[11:17] MITCHELL SINK: And interesting.

[11:18] MITCHELL SINK: I think it was like it was like towards the end of the process, but they kind of like were searching for Michael, they were like, uh, they couldn't find him, and they were like, you know, come on in.

[11:29] MITCHELL SINK: It's like a callback, but like it'll be your first appointment.

[11:32] MITCHELL SINK: Um I think I went in like I maybe sent in a tape, but I think I like went in person like once or twice for Elf.

[11:39] MITCHELL SINK: And Casey Nicholaw, the director, he was I think in London.

[11:44] MITCHELL SINK: Yeah, it was Casey.

[11:46] MITCHELL SINK: Um I think he was, yeah, I think he was in London, so they sent him a tape of my like audition.

[11:52] MITCHELL SINK: And sorry, there's like silence going on.

[11:54] MITCHELL SINK: No, you're dead.

[11:55] MITCHELL SINK: Um yeah, and and after that, they were sort of like, yeah, they love you.

[12:01] MITCHELL SINK: They're just like, you know, making sure with Casey, but like Casey loves you.

[12:06] MITCHELL SINK: And I got the call probably like a week later while I was in Texas, and that was like the first like gig that like brought us to New York.

[12:14] MITCHELL SINK: Um, and then while we were in New York, Sadie, I think, had worked on a couple workshops with Casey for Tuck Everlasting.

[12:20] MITCHELL SINK: Uh-huh.

[12:21] MITCHELL SINK: Um, yeah, and then she got the call to she had also been in callbacks for Annie on Broadway.

[12:27] MITCHELL SINK: Um, and then they called her and asked if she wanted to be a swing on the Broadway production while we were there.

[12:32] MITCHELL SINK: So we were like, while I was in Elf, she was in Annie.

[12:35] MITCHELL SINK: We were like going around crazy.

[12:37] MITCHELL SINK: My mom was like siblings.

[12:39] MITCHELL SINK: Broadway siblings, she was like dropping us off at the stage doors.

[12:42] MITCHELL SINK: It was it was nuts.

[12:43] MITCHELL SINK: Um but yeah, that's sort of like how the transition happened.

[12:48] MITCHELL SINK: And like uh even like while I was in Elf, I was like still going in for Matilda.

[12:52] MITCHELL SINK: Like the Matilda process was like insane.

[12:55] MITCHELL SINK: So like on a dinner break in like a five weekend, I would be like going to the dance hall for like Matilda on Broadway.

[13:02] MITCHELL SINK: It was it was really nuts.

[13:04] Eli Tokash: Time to do Revolting Children.

[13:06] MITCHELL SINK: Uh okay.

[13:07] Eli Tokash: Um craziness.

[13:09] MITCHELL SINK: But uh, so so it wasn't until you like booked Elf that you you moved.

[13:15] Eli Tokash: Is that right?

[13:17] MITCHELL SINK: Yeah, I think that was like that was the move.

[13:19] MITCHELL SINK: We moved like it was my at first.

[13:22] MITCHELL SINK: It was just, you know, we thought we were staying for like three months because that was my run in Elf.

[13:26] MITCHELL SINK: It was like January.

[13:27] Eli Tokash: So we had like a sublet in Queens, I think.

[13:31] MITCHELL SINK: Oh my gosh.

[13:33] MITCHELL SINK: It was my dad was still, you know, working in Texas, and like my brothers were going to high school.

[13:38] MITCHELL SINK: Um, yeah, crazy.

[13:41] MITCHELL SINK: And then so it was just like my mom, Sadie, my little sister JC, and me.

[13:46] MITCHELL SINK: Yeah, and we were just in Queens, like had no idea where we were.

[13:49] MITCHELL SINK: It was so it was like honestly like really scary for a while, but we figured it out.

[13:54] Eli Tokash: Yeah.

[13:54] MITCHELL SINK: Um, opened Elf, Sadie was in Annie.

[13:57] MITCHELL SINK: It was and it was all working out.

[13:58] Eli Tokash: And then our plans to like sort of go back to Texas fell through because we kept like booking real.

[14:05] MITCHELL SINK: Yeah, exactly.

[14:06] Eli Tokash: Not a big deal.

[14:07] MITCHELL SINK: Wow, no, right.

[14:09] MITCHELL SINK: It was really like we didn't really know what we were getting in for, like what we were what we were signing up for.

[14:13] MITCHELL SINK: So like it was it was crazy because we just like sort of kept doing things.

[14:18] MITCHELL SINK: Um then I guess the next yeah, Sadie did Annie for like I think a year.

[14:24] MITCHELL SINK: Um that's when you did A Christmas Story.

[14:28] MITCHELL SINK: Yeah, Christmas Story was next, right?

[14:29] MITCHELL SINK: So the next uh winter was A Christmas Story, which was like a tour, but like also Broadway.

[14:35] MITCHELL SINK: I don't know.

[14:36] MITCHELL SINK: Yeah, yeah, yeah.

[14:41] MITCHELL SINK: Um let's be so for real. Um, yeah, that's crazy, because like I didn't realize how like I don't know, I guess similar journey I I I had to you guys, just because I was West Virginia, like I vividly remember those like car rides, those you know, bus rides overnight or whatever it was to come to New York.

[15:05] Eli Tokash: Is that what was kind of happening? You know, like Matilda was calling you in eight times, you know, for their callbacks, and you guys were literally going back and forth, like day trips and whatever.

[15:16] MITCHELL SINK: Yeah, I mean, for a while it it was like that. I mean, Matilda, there was there was such a commitment to like, okay, they want they want you guys for a callback, like we gotta fly back, and like it was just sort of uh yeah, it was just kind of that kind of thing happened all the time until we realized like you know, we can't keep this up. We're probably gonna have to never we never made the move until like there was an actual like job.

[15:41] Eli Tokash: So that was so was your audition for Broadway or or you know uh uh whatever it was just to audition to New York. Was that your first introduction to New York?

[15:53] MITCHELL SINK: Yeah. And it yeah, it was. I'll never forget like just being like attached to my mom, literally clinging to my mom and Times Square, like where are we? It was so exciting, but it was also just like you figure out being from like that's your life, you're in this bubble, and then you go into like the the biggest thing in the world. I mean it was it was crazy. It was like and why don't I know anybody, you know, like type of thing, right?

[16:19] Eli Tokash: Yeah, yeah. And oh, it was it was nuts. Um, but I think I saw like on one of our first trips, I saw Wicked, and I just I'm like, or I think Mary Poppins was actually my first probably show.

[16:31] MITCHELL SINK: Slay mine too.

[16:32] Eli Tokash: Yeah, and so like I I was like, Whoa, this is like a hole. Like, we had seen Tuts shows, like, and Tuts like amazing, that's an amazing regional theater, but like it really like just seeing the magic of Broadway, like at that I was like, this is insane.

[16:48] MITCHELL SINK: Yeah, no, yeah. Um wicked ended up being like my favorite show, still is. But yeah, that was like that was sealed the deal. Okay, I want to do this. If I didn't know before, I knew that. I love it.

[17:02] Eli Tokash: I I love all of that, and it's so interesting. I guess we'll talk about that when we get into the Christmas story world because it it correlates, but you know, like Dan Loria, I'll never forget like pulling me aside and being like, listen, kid, you either gotta be all in or you gotta stop, like right now. Cause he was like, because he I he knew that like after Christmas story, I was going back to West Virginia to go play hockey, and he was like, What the hell are you doing? Like, figure your life out. I'm like, I'm 10 years old. Why is this 80-year old man like coming to talk to me? No, I'm just kidding. Uh, but I'll never forget that.

[17:42] MITCHELL SINK: Yeah, yeah, yeah. And and it's so real, because like now reflecting on it and like noticing those journeys that those kids and parents have to take to like just come to the city to audition, like that is crazy. And I didn't even understand it at the time. Like, I like continue to have more of an appreciation as I get older of like what both my parents and I like what we did and how they made it work.

[18:11] Eli Tokash: Uh and to do it two at a time, I had to be crazy. But I'm sure, like, I guess not to like talk about both of you, but like with Sadie and you like, did that kind of help having someone that was kind of going through it at the same time, whether it was uh you know, just going through the same things literally, but also like meeting new friends and having those kind of like I don't know, friend groups and making that adjustment any easier.

[18:41] MITCHELL SINK: Oh, totally. I I mean it was like yeah, we were I I'm so like glad that like we went through that together, and like it's it was just like such a great experience, and I couldn't have imagined doing it like on my own, like it was just great having like her through it all. Um, and yeah, the friend group thing, it was like I I knew all the anti cast I knew the Anticast, she knew like the elf cast, right? Like there was just and the like the Matilda cast eventually. Um so it was like, yeah, there was this sense of like community with with her, and like um I don't know, it was it was really cool to it was crazy for women.

[19:17] Eli Tokash: I mean, my mom was obviously thrilled, yeah.

[19:19] MITCHELL SINK: Um brain for her, but like for us to both be doing what we love and like you know, beyond Broadway was like huge.

[19:25] Eli Tokash: Right.

[19:27] MITCHELL SINK: It's also like dropping, you know, dropping us off at stage doors and like you know, time management, like all that. I'm like, I can't even wrap my head around how she did that while taking care of each other. It's it was it was wild. Proped her to that that's crazy.

[19:42] Eli Tokash: Shout out, shout out to my mom.

[19:43] MITCHELL SINK: Yeah, that that is shout huge shout out. Cause I'll I'll never forget like Chris's story, like literally like staying longer, like after the show, or like delaying a little bit. I mean, there were a lot of kids, so it took a while for us to even leave the stage door as is, but like I'll like just seeing your mom running with Sadie like every night, it was like, oh my god, this poor mother with these children that she has to wrangle.

[20:11] Eli Tokash: It's like, oh my god.

[20:13] MITCHELL SINK: It was crazy, yeah. And then on the flip side, like my dad and my brothers like eventually moving here.

[20:18] Eli Tokash: Yeah, the second place was crazy.

[20:20] MITCHELL SINK: Like, and like you said, like I, you know, as a kid, I was sort of in this world of like la la law.

[20:26] Eli Tokash: Yeah, like you know, Broadway, like my life.

[20:29] MITCHELL SINK: No, you sort of like in your own world, but like I have started to like appreciate it as I've gotten older, and like yeah, as it's it was a huge move, so like I'm super grateful.

[20:39] Eli Tokash: Yeah, and like worked out for all of us in the in the long run.

[20:42] MITCHELL SINK: So yeah.

[20:45] Eli Tokash: New York, the the land of opportunity.

[20:48] MITCHELL SINK: I don't know, that's so weird.

[20:50] Eli Tokash: Um, but it's so true. Um so let me talk talk to you about elf. You know, you you talk and say like you'll never forget your first time seeing Wicked on Broadway and your first Broadway show or Mary Poppins, whatever it was.

[21:04] MITCHELL SINK: Um, and then you know, you you get to do it, you know. Like, is that like what was that moment like for you? Do you feel like as a kid that you like I don't know, like do you feel like you remember it even? Like, do you feel like you were really able to bask in it? I guess.

[21:24] MITCHELL SINK: Yeah, I feel like it's like yes and no, because like I was 12 when I did elf, and like that seems like an age that like you like should remember like a lot of, and like I definitely remember like most of it, right? But like there are a lot of blank spots of like I you know what I mean. Like, I just think like looking back, it's like I I don't remember like some of it, like and it's it's crazy to think about that. I don't yeah, there are definitely some missing spots, but for the most part, I remember being there. Like there, it was just like a magical moment. Elf is like I don't know, it's everyone's favorite Christmas movie, like truly, and like the Think family. Like, we love Elf. We always love yeah.

[22:08] Eli Tokash: Um, so when I got this audition, I was like, I okay, so I have to do this. Like, I don't I don't care what it takes, like I have to do this.

[22:16] MITCHELL SINK: Um yeah, I it was just it's a great show. I think this was the second time they did it on Broadway when I stepped in.

[22:23] Eli Tokash: So it was like most of the same cast.

[22:24] MITCHELL SINK: Um and they just obviously needed to replace Michael because Matt Gumley, who did the original, yeah, his voice had changed they needed.

[22:35] Eli Tokash: Um, yeah, because you know, you were railing your face to Buddy the Elf.

[22:39] MITCHELL SINK: Uh Jesus that was the update. That is that remains like one of my favorite Macy's Thanksgiving Day Parade performances. Like, I was dying. I watched it on YouTube just like yesterday to like prepare for this. And I was like, Mitchell was singing. Like he was bouncing his face off.

[22:57] Eli Tokash: It was hard.

[22:58] MITCHELL SINK: I mean, that's like a that's when I feel like one of the hardest like singing tracks for a kid.

[23:02] Eli Tokash: Yeah.

[23:04] MITCHELL SINK: It was so difficult. I mean, it was nine show weeks. We had like five show weekends because of the holiday schedule.

[23:10] Eli Tokash: Yeah.

[23:10] MITCHELL SINK: And like I I for some reason, like had this thing of like I can't call out. And I always think about this because I feel like I've talked to Jason Testa, who was my understudy about this. Like looking back, like I can't believe I didn't call out like more than I did. Like I definitely should have and like could have used a break. And also like Jason would have loved, like I'm sure like more opportunities to go on, but I had it in my mind where I was like, you know, I can't call out, like, I have to go on every single show.

[23:37] Eli Tokash: Um, which like you know, it wore me out for sure.

[23:42] MITCHELL SINK: Um, but Beth Level, who was my mom in the show, she was my idol, like honestly, and like and like truly, like I looked up to her so much, I still do. Um, she was like amazing to have as like a stage mom and like honestly, like a real mom. Like, she was always looking out for me.

[24:02] Eli Tokash: Um yeah, I just like I always look back to like you know, we sang There is a Santa Claus Together, which is like this huge like 11 o'clock number, um, and so high, and like we were like harmonizing and like belting. Um, and like, you know, if there was ever a night where I'm like, oh, I'm like not really feeling it, like I don't know if I can like hit the note at the end, like I forget what note it was, but um, I was like, I don't know if I can do it. She's like, Oh, I'll take it. Why don't you just do the do do my training? I'll go I'll go up. Like, I'll I'll like legend. Just offered to take my note, like this is it's like a pinch meeting.

[24:34] MITCHELL SINK: Yeah, um, and I didn't even know it. I was so I was 12 and like I can't even imagine a little southern accent. Like, I would love to like yeah, it's it's crazy.

[24:45] Eli Tokash: Um Yeah, Beth was so great.

[24:48] MITCHELL SINK: I I I love that. Well, I mean, there were a lot of you know, now Broadway veterans. I mean, at the time, I don't know, because I don't know much Broadway before I moved to New York, but like Leslie Kritzer, Beth Level, Mark Jacoby, like you had like vets in your show.

[25:07] Eli Tokash: And you know, you continue to have it through, you know, your time at Matilda and a Christmas story with Aaron Dilly, and and uh, you know, you had Chris Sieber and and all of those wonderful people.

[25:19] MITCHELL SINK: I mean Leslie Margarita, like, hello. Um, but you had so many people that you you know were kind of able to like watch and and just kind of like sponge up the the their talent of like what they were giving and their process and everything.

[25:35] Eli Tokash: Like, do you feel like uh you know what were you able to learn, I guess, uh from those guys, and uh did you I don't know, happen to like lean on any of them throughout your process as it was like your first time?

[25:49] MITCHELL SINK: Yeah, for sure. I mean, like, like I said, just like watching like Beth Level like do her thing every night was so inspiring, and like um that was huge for Elf, but even like I don't know, like I think even like subconsciously it was just like like you said, like soaking everything up and like Yeah, yeah, it just it taught me everything, and like you know, a Christmas story, yeah, working with Aaron was crazy because full circle moment, she was one of my professors at the case.

[26:16] Eli Tokash: Um, so such a crazy thing.

[26:19] MITCHELL SINK: Um, and she was so great on the show. I feel like we never like the kids, like you know, minus like the Ralphies, like we never really interacted with like John and Aaron, like as much, like some of the adults just kind of like lived in a separate world, but like for the moments I had with Aaron, she was like so sweet and like self-supportive.

[26:39] Eli Tokash: And then for her to be so sweet and so supportive as an adult, like um at school at college, like when I'm studying musical theater, like that was huge, yeah.

[26:48] MITCHELL SINK: Um yeah, and then for Matilla, I mean, obviously, like all those names you said, like Leslie Critser was crazy and elf, like it was great, but like you know, Christopher Sieber is another person I'd say like had the most impact on me as a kid.

[27:01] MITCHELL SINK: I yeah, I think like he came in like probably like three or four months into my run, maybe not even that. I think it was like just like three months into my run as Bruce.

[27:13] Eli Tokash: Um, and I was such a fan, like I was such a fan.

[27:18] MITCHELL SINK: I like had watched his Tony performance of um Shrek.

[27:22] Eli Tokash: Yeah, come on.

[27:23] MITCHELL SINK: I had watched that like a million times and like was totally geeking that he was gonna be like my scene partner and like on a Broadway stage. Like it was it was crazy.

[27:32] Eli Tokash: Um, but Christopher just like took me under his wing and like just he's like a comedic genius, and like I just have always like sort of wanted to be just like him, like as a kid.

[27:44] MITCHELL SINK: Like I admired him so much. He was so like supportive of me, and like yeah, I just like soaked it all up, just watching his bits, watching like he is the blueprint.

[27:54] Eli Tokash: So like I'm and I could totally see that, like as someone I worked with Chris very briefly, uh for like literally like two days, probably.

[28:05] MITCHELL SINK: Uh and he just seems like someone that like loves kids, you know, and that's not like always the case uh on Broadway, you know, like some people are here experiences of that.

[28:20] Eli Tokash: Like I I mean, there's yeah, sorry to cut you off, but I know exactly what you're saying. Like it's yeah there were some I mean, all the names that you just said, like are I will say like people I looked up to and admired and like were so great.

[28:35] MITCHELL SINK: Um, but yeah, it's not always the case.

[28:37] Eli Tokash: It's just not some people just gel with kids and like working with kids, but it's like I don't know.

[28:45] MITCHELL SINK: Right. And so, but like, you know, when it when you do come across, you know, a performer who is so receptive and so loving, you as a human, like, because you know, we're humans, but we're also like playing humans, so like that's har easy to forget, but like as a human, not just as a performer, like having that kind of like reassurance of like, oh, I see you as like an equal, like does so much for you as a performer, you know, and just at cause you as a human don't feel like you have to shell up, you know, you feel like you belong in the room.

[29:27] MITCHELL SINK: So, like, what is that kind of effect, I guess, of having like a Christopher Sieber and that just to play with, not even to like watch and learn, but having that you said you were so excited to have a scene partner, like what did that do for you in a rehearsal space? How does that affect your performance, you know, etc.? Yeah, I think it's with Christopher, especially. Like, like I think about Matilda was the show I did for the longest on like Broadway, and I, you know, did it with him for the most of the run. And like with him, he always kept me on my toes. Yeah. He would like the lines that like a different way that would like surprise me. And like it's easy to go on autopilot sometimes and just to sort of like space out when you're doing a show that's such a machine.

And you know, the Matilda kids, we got notes every single night. Like at every or before every performance, we would get like we would get notes from you know from Sarah Bryans, who actually was one of her my professors at Pace too, who's so incredible, and also like someone I looked up to and admired on Matilda, and then ended up being someone I still look up to and admire, like as an adult. Um and she's she's just been so great. Um, but yeah, she would get we would get notes from her, like one of our dance captains, like every single performance. So in a show that's like such a machine and such a like you have to be on your mark, you have to do this, you have to say the same every night. There's like I didn't feel like there was like a ton of room for play, like at times, like in our scenes, except for like when I was with Christopher and when I was doing the scenes with him, I felt like I could like do something different.

And like even like Ali Lough, who was like our Miss Honey, like she would also like in our scenes, like she would like do things differently and like just be really like present. Yeah. Um, and I think that's so important. And like as a kid too, you know, your mind is in a million different places when you're doing this show you've done a million times. You're like, what am I gonna what am I gonna get for dinner? What am I gonna like it's literally like you're so scatter brain, and it's like it seems, or at least I was, I can't speak for all, but like oh that's I you're a kid, and like you're just like kind of all over the place, and then you have to like you know, do a Broadway show and like you're I don't know you're it's kind of hard harder to stay present I would say absolutely but it's also like it could also be like terrifying like Matilda especially like you said it's a machine there's so many moving parts the stage itself is just crazy the swings all of that so like literally if you are out of position you are screwed essentially like like more so you know yeah like you're you're screwed so it's like very like you have to like hit your mark or like you know you can Which can be very like intimidating for a kid especially with how grueling the schedule was you know like you were there like I mean I may be exaggerating but you were there like four hours before performance you know like it was crazy we're called like at the I think the actual time was two and a half hours before the show wild is insane yeah it's insane so like you know having that constant like I guess that little reminder of just like we are here and we're playing like it is called a play or a musical you know like we're we're allowed to have fun and you know having that kind of influence i i is huge for for a kid um so shout out to to those guys the leading the way for for us kids you know Chris Sieber included um well I mean I I I feel like I'm bouncing all over the place here but uh I guess we'll we can move on a little bit to we we're not even talking about a certain show.

[33:16] Eli Tokash: Um, but I was gonna say uh we can move on to a Christmas story since that's how we know each other. But um so I'm curious because a Christmas story, you know, that was I don't know if that was like your first show ever, but like going from Elf to where you're the only kid with an understudy to going to a Christmas story, you know, with a lot of children, you know. What was that kind of experience like for you? Did that kind of take any sort of adjusting, or was it kind of like, oh, I have experience from like you know, theater in Texas that like this is reminding me of.

[33:54] MITCHELL SINK: I just remember having the best time on that show. I like I I don't know, I'm sure you can relate, but like it was for me at least coming from Elf with you know, just Jason, love Jason so much, we had the best time backstage at Elf, but like how I hadn't had that experience that Sadie had already had with like you know, she was with like a dozen girls backstage Annie. Um I just think it's like a mixture of just like so much fun and pure chaos, like especially for us, like being on the road, sort of in our like mini tour, just like being in the hotel, and like you know, it was it was at times just like madness, but like from what I remember, like we were, you know, we we weren't in school. This was our school, this was our social outlet, yeah.

[34:43] Eli Tokash: And as kids, like you kind of like have to have that. So, like, um, yeah, I was homeschooled like throughout all of this, so like I don't know, this was kind of like my like middle school or like my you know what I mean, like you guys were like my castmates and like people I work with, but also like I looked at you guys a little as like you know class classmates, yeah.

[35:05] MITCHELL SINK: Like I think about like touring and stuff, like it was so so much fun. Like, I just I just had a blast.

[35:12] Eli Tokash: I love that.

[35:14] MITCHELL SINK: We're our classmates and we're doing a show for our drama club that's like how that's how I looked at it and like honestly like it it there were times where it just became like so much because we're kids and like you know it's just like absolutely it is like school it's like just like we're on a playground but the playground is Madison Square Garden.

[35:33] Eli Tokash: Like I don't like it's it's madness.

[35:36] MITCHELL SINK: But um yeah I it was definitely so much fun and it was also like my second like Christmas show I was like it's all these Christmas shows and like these iconic from these iconic Christmas movies it was just it was so cool I had a blast the most wonderful it was pretty fun uh I mean like you said it like to me this was like everything you know like I had never ever like done a show with a lot of kids in it um and it was like an adjustment because like first of all I like I did pop ins so like I had a Wrangler before but like in Pittsburgh never had a Wrangler like what is what is that we just we just free ball whatever we yeah that term is so wild to me it's like I a child wrangler like that's crazy and I guess like we like Matilda they were more the guardians like it was like John.

[36:32] Eli Tokash: But y'all were also a little older so like it made sense to be like guardians we were babies like little Noah he was like eight yeah like Charlie Babbo my king.

[36:46] MITCHELL SINK: Um yeah, so like you know, I I get like they became our parents, and like I was like, what do you mean there's rules backstage and blah blah blah?

[36:56] Eli Tokash: Like I can't go talk to Aaron Dilly or whatever at this moment.

[36:59] MITCHELL SINK: Like, yeah, that was kind of what I was saying before, is like I I have memories of of Erin during a Christmas story, but like, you know, I only saw her a couple times. Like, I didn't really see I didn't like consistently like hang out with her backstage like I did with like Christopher and like Ali and like I yeah, so it was crazy like reconnecting with Erin and just sort of being like, hi, like yeah, but like it was wild.

[37:26] Eli Tokash: Yeah, I mean, like I loved a Christmas story.

[37:30] MITCHELL SINK: It taught me how to, you know, like kind of be a professional.

[37:34] Eli Tokash: Like it was my first show I did in New York, and so I like saw, like, oh, this is like a job, you know.

[37:45] MITCHELL SINK: Like, oftentimes the answer was, oh no, they have to prepare for their show.

[37:50] Eli Tokash: And I'm like, oh, you have to do that?

[37:53] MITCHELL SINK: Like, should I be doing that? Like, I don't know, like you know, so like it was a big eye-opener for me for so many reasons, and like, you know, learning the city and everything, you know, like going to Union Square or whatever, and climbing the globe or whatever at the dinner breaks.

[38:12] Eli Tokash: Yeah, so like so it was nice, and it was nice to go through that with kids, like my age.

[38:20] MITCHELL SINK: Like, I didn't want to be in New York without friends, you know.

[38:23] Eli Tokash: So um, I loved it, and I I I loved that tour.

[38:28] MITCHELL SINK: Um I I was just thinking about this.

[38:33] Eli Tokash: I'll there was like some rehearsal that we were uh called for.

[38:37] MITCHELL SINK: I think it was just to like run um what's the tap? What's the tap one?

[38:41] Eli Tokash: It's like shy out.

[38:43] MITCHELL SINK: Yeah, yeah, yeah, yeah, yeah. I think it was just like we were running the beginning part with like maybe our dance captains.

[38:49] Eli Tokash: Um and then I think we had some extra time.

[38:52] MITCHELL SINK: So they were like, hey, like Eli, do you want to run Red Rider?

[38:56] Eli Tokash: And I was so excited.

[38:58] MITCHELL SINK: I had never seen you do it before.

[39:00] Eli Tokash: And like that song, it's just it's so iconic.

[39:03] MITCHELL SINK: It like literally gives me chills like every time I hear it, even today.

[39:06] Eli Tokash: Yeah.

[39:06] MITCHELL SINK: Um I had I'd honestly heard it a thousand times.

[39:10] Eli Tokash: Like I like was in Callbacks for Ralphie like the year before um when I did Hell.

[39:16] MITCHELL SINK: And so like it was ingrained.

[39:18] Eli Tokash: It was one of those songs that was like, yeah, like everyone knows those time is like, but when you did it, I don't mean to sound cringy or cheesy, it was like watching it like for the first time.

[39:26] MITCHELL SINK: Like you were incredible as Ralphie.

[39:29] Eli Tokash: I was like, and did you you did the show twice a week, right?

[39:32] MITCHELL SINK: Yeah.

[39:34] Eli Tokash: Okay.

[39:34] MITCHELL SINK: I would always like, oh my god.

[39:36] Eli Tokash: Like you just knocked it out of the park.

[39:37] MITCHELL SINK: I would always look for a delicious.

[39:41] Eli Tokash: I don't know.

[39:42] MITCHELL SINK: That I mean that is one thing that I wish I was able to do a little bit more of the show.

[39:49] Eli Tokash: Um you know, because I was backstage a lot, but those backstage moments with y'all, like I was able to just hang out with you all a little bit more, play I've arrived more, um, you know, which is the little backstage game that we would play.

[40:06] MITCHELL SINK: It's like an improv game.

[40:08] Eli Tokash: Um that our Wranglers, I guess, kind of made up, or guardians, I guess.

[40:13] MITCHELL SINK: Um and uh, you know, they they made it fun for us, man.

[40:17] Eli Tokash: They really did.

[40:18] MITCHELL SINK: Um, and we would literally play it behind the stage as the show was going on, you know.

[40:23] Eli Tokash: We would be like giving performances to each other backstage.

[40:28] MITCHELL SINK: There was a full show going on backstage.

[40:30] Eli Tokash: Yeah.

[40:31] MITCHELL SINK: Yeah.

[40:32] Eli Tokash: I it's crazy.

[40:33] MITCHELL SINK: I think about that, and I also think about like especially in my Matilda days, and even like you were talking about the park um in a Christmas story, like we would go to these parks as kids, like on our dinner breaks, or like on our lunch breaks, and we would wear ourselves out.

[40:46] Eli Tokash: We just need to run it on the playground.

[40:49] MITCHELL SINK: And then we would go do another show.

[40:52] Eli Tokash: And I'll I'll just never understand how like that even happened because I was so exhausted from the matinee and then going and like eating dinner and then just like playing the game on the playground and then going like how did we keep that up?

[41:05] MITCHELL SINK: I wow, that's a whole who knows.

[41:07] Eli Tokash: But that's also just being kids, you know, with crazy energy.

[41:12] MITCHELL SINK: You know, but like even Jake like taught me how to be a professional.

[41:17] Eli Tokash: Like Jake was Jake was not often there.

[41:20] MITCHELL SINK: Like he was like, no, I have to like save my voice, or I have to, yeah.

[41:25] Eli Tokash: Like he was eating certain things and couldn't eat certain things.

[41:29] MITCHELL SINK: Like, you know, like that we were just surrounded with professionals during that show.

[41:34] Eli Tokash: Um and it was just like such an eye-opening experience.

[41:39] MITCHELL SINK: Uh, but I loved it.

[41:40] MITCHELL SINK: I have every moment of it.

[41:41] MITCHELL SINK: I still go back to it all the time.

[41:43] MITCHELL SINK: And working with like Justin and Bench, Pazic and Paul, um, like though those that opportunity, John Rando even, Warren Carlisle, like I know that they had done this.

[41:55] Eli Tokash: I know, like, not a big deal.

[41:58] MITCHELL SINK: Um, but like these are like legends in our industry, and they are uh it was interesting to because they had done a Christmas story like at the Love Fontaine, so like on Broadway uh the year before, but then they did it at MSG, and they were like still making changes to the show, which I thought was like the coolest thing.

[42:19] Eli Tokash: Cause like we weren't originating a show or anything like that, but there were like I felt that was the first time I felt like I was a part of the process.

[42:28] MITCHELL SINK: You know, like they were rewriting songs as it was happening, they were rewriting lines, you know.

[42:35] Eli Tokash: Jake and I had different lines at times because it was like, oh, that doesn't work for you, or that like the way you're saying it makes sense to do it like word it this way, you know, whatever.

[42:45] MITCHELL SINK: Um so you know, like to be a part of that was also an eye-opening experience.

[42:49] Eli Tokash: Did you kind of have that same experience with Elf at all?

[42:53] MITCHELL SINK: Yeah.

[42:54] Eli Tokash: I did.

[42:54] MITCHELL SINK: I think like I was just about to say actually, like it's they were very similar experiences because they both had a life before you know Elf opened in 2010.

[43:05] Eli Tokash: That was their first installment on Broadway, and then they came back two years later and it was like the revival.

[43:11] MITCHELL SINK: Um that we know with mostly the same team.

[43:14] Eli Tokash: And I think I was just thinking about this actually.

[43:16] MITCHELL SINK: I think the composers um of Elf, um, Chad and Matthew, I think, um, they wrote a new song for like they wrote a new opening.

[43:26] Eli Tokash: Oh for Buddy and like for Santa.

[43:29] MITCHELL SINK: Like it was I think Christmas All the Time.

[43:32] Eli Tokash: Or no, Christmas Town was the first song in the original company.

[43:37] MITCHELL SINK: And then they changed it to like Happy All the Time for us.

[43:40] Eli Tokash: So there were a lot of rewrites, even though it was a show they had just done with the same team.

[43:44] MITCHELL SINK: Yeah.

[43:44] Eli Tokash: There were so many like new things.

[43:46] MITCHELL SINK: And the same thing for a Christmas story.

[43:48] Eli Tokash: Like, even though they were like revivals in a sense, it felt like we were creating something.

[43:54] MITCHELL SINK: And it felt like we had like liberties, and like it it it felt like we were, you know, I don't know, we were creating something new, even though it was something that I've already really cool.

[44:05] MITCHELL SINK: And that's like that's yeah, and that continues to happen. I think that's just like a really cool part of the process when you revive something or when you you know do a tour, it's like unique in its own way.

[44:16] Eli Tokash: Yeah, and it's so huge to just be a part of that process instead of like you know coming in cold and kind of doing like a blueprint version of it, you know.

[44:25] MITCHELL SINK: Totally. Um you know, which happened to both of us in our next shows, Matilda and Pippin. Um so uh, you know, talk to me about Matilda.

[44:38] Eli Tokash: Okay, so first of all, now that we've talked about like all three of your shows, I am curious to ask you, you know, a Christmas story, Elf, Matilda. Those are three iconic movies. So, like for your audition process, were you watching those movies at all as like a research thing, or like what what was your process behind all of that?

[45:05] MITCHELL SINK: Yeah, I think for Elf, I guess since that was my first one, I'll start there. For Elf, it was um just sort of obvious. I mean, I'd seen that movie a million times, so it was just sort of like obvious for me, like where to take the character and like what to do with it, and like listening to Matt Gumley on the cast recording, like I was like, this is it was to me sort of there was like a blueprint, but like I think what's interesting about Michael is like in um the movie, he's just a little bit more jaded at the beginning, and he's just a little bit more like not into like buddy shenanigans, and in the musical, we sort of jumped to him just being like a little bit more innocent and a little bit more just like excited by like Buddy's presence, and it's he's more excited to have a stepbrother.

Um like a half brother, yeah. Like I I think I like leaned into that more, and because I did like I was 12, I think I like even looked a little bit younger. I sort of leaned into that as opposed to like the jaded like tween, like that sort of energy.

[46:03] Eli Tokash: For sure. Um so but yeah, that was pretty easy because that was just sort of like laid out for me. Um Christmas story, like Scut was Scut's pretty iconic. Like playing that role was so funny. I mean, you slayed as a bully, you're you're a very nice person. And the fact that you were trying to bully us was crazy.

[46:23] MITCHELL SINK: Again, like I had been in for Ralphie like so many times. I think I originally went in for what are the kids is it flick and who's the flat book, whatever their names are. I'm so bad. I think Flick is why no. I think it was Flick or something, and then uh I think like Benjamin Justin, like while I was doing like the flick material for like the original broader cast, they were like, Do you have Red Rider? And I like definitely wasn't supposed to know Red Rider, right? But I was like, I do, like I know, like in a true like Diva fashion. I was like, yeah, like just like I can do it. Like, I'll yeah, just play it. I got Red Rider. What I was 10. Um like in the same behavior, but I was like, Yeah, like I I can probably do it.

And then I did, and they like called me back for Ralphie, whatever. What a but I could have never imagined playing Scut. Like when they called me, I think that was because the next year I was just like a little bit older. Like that was the role I like fit the most. I was like a little bit taller, like I would be Scut.

[47:21] Eli Tokash: Yeah.

[47:21] MITCHELL SINK: Um I think like for the callback, I don't know what happened, but one of um the casting assistant like came out, I forget her name. She was amazing. She came out and she was like, you know you're the only one here for Scut today, Mitchell. And I was like does that I was like, does that mean something? I was like, what is that? I mean oh my God. Um but like when in the room it just felt like a work session. It felt like they were like sort of just like offering it to me right then and there, which was so cool. Um but yeah create I mean creating scut what was that? Yeah right the documentary.

[47:53] Eli Tokash: Um no that was just fun. I mean it was just like you know it's it's in iconic movies like that that like transfer to the stage it's the balance of like doing an impression of the character because so many people know and love those characters and like making it your own. And I was thinking about this a lot this is all back to the future and I feel like they do a lot of that like in the cast like I feel like there's a lot of like impressions to live up to the expectations of audience members but there's also like you know room for freedom and like room for you know make it your own right yeah um so that was that sort of came to mind. Of course I was you know 13 and probably wasn't doing too much thinking I probably was just like doing the scene but it's cool to like think about um and then for Matilda I I honestly had been such a fan of the show um I had I'd seen it like probably like five times on Broadway before I like actually did it.

Oh maybe even more like I just like kept going back. I couldn't get enough. Um, and so seeing Jack Roderick do Bruce was so like I think I was just like mentally like taking notes for myself, even when I wasn't like in callbacks and like it they weren't bringing me up. I like was sort of like okay, like, you know, just taking notes just as a performer because I looked up to Jack so much.

[49:22] MITCHELL SINK: Um and it ended up, you know, coming in handy when I when they actually were ready to replace him, I think like a year after his run. I don't think they really knew when what they were doing with the kids. They would like measure us to see like you know how tolerable it's like a really intense. Yeah. Um and you're like trying to be shorter. I mean, I could write a book about the insane like realities of being a child of breath, like that's that's insane. So like try to like and like no, my voice isn't changing. Like I can sing this material, even though it definitely was. Like that crazy. Um, but anyways, I think like Jack had like reached his point where like it was the end of his run, and they finally like brought me and like a couple other kids in for for Bruce.

And you know, I had been in so many times, and like I I think I knew the show so well by that point that it was just like just second nature for me, and that like came in handy. But yeah, Bruce, like the movie like is so or the original movie, I guess, um the Danny DeVito one. Um that's such an iconic film, but it's so different from the book from the um and from the musical. It's just so like it's just a very, very different take on it. Right. Um so I I don't know. I didn't like watch that movie a lot. I really just drew inspiration from the actual show and like just went back to that.

[50:49] Eli Tokash: I love it. But yeah, that's sort of like yeah, for sure. I just like kept running up.

[50:55] MITCHELL SINK: For sure. Um, well, I mean, one of the Bruce's most iconic parts of the show, I I just gotta talk to you about it with that cake. Um that that was crazy to watch. I remember like being a kid that like watching that and I was like that has to be the coolest thing ever. He gets to eat cake on stage.

[51:17] Eli Tokash: Um but like now I'm an adult and I'm like I feel like I'd be tired of eating chocolate cake every day. You know, like what was that? Were you ever tired? Like were you kind of like oh my god I have to do this.

[51:30] MITCHELL SINK: Yeah. That's like yeah. It was so exhausting. Like and the thing was like I think when I first went into the show, I think Jack had like used like a certain kind of frosting um for the top of the cake. Because it was mostly frosting that we had to like eat. I mean you know put it on our mouth. This show is closed so like I think when it was open we would always say well it's Matilda magic like we had tell you I I don't know who's gonna like come after me if I if I talk about this on this podcast. Laura Brennan's gonna call you right like I I don't think that's an issue. I think like we're I I don't know. I mean I guess it's on the West Ever I will I I will say like it was just like mostly like frosting it was it was a lot of whipped cream.

Um and I was surprised at like how I could do like I mean I definitely couldn't like stand chocolate cake and chocolate icing after a while. Like I couldn't eat. Like it was ruined for me for like a good like even like all throughout high school I couldn't eat chocolate cake or chocolate ice like it just wasn't I've since like you know found a love for it again. Thank you. Thank you. Thank you so much. I was so um yeah. But at first it was just like nauseating. And but I there were a couple nights where like I would be like slurping up that whipped cream on the cake because that was the most obvious you had to like get rid of it. In order for the you know magic to work. Um and I would literally just have to like stop and be like okay I can't I can't do that. I'm gonna literally get sick on stage. Um so the answer is yes I did get sick of it.

[53:12] Eli Tokash: Wow.

[53:13] MITCHELL SINK: It was hard.

[53:13] Eli Tokash: Yeah. I can't imagine that's crazy.

[53:17] MITCHELL SINK: Um but hey you all like every Bruce that I saw like everyone did a a great job fake in that one. Uh you know making it look enjoyable. But also like it was nice that like at the same time like the show is that you're like struggling. So it's good to have that you know real experience.

[53:38] Eli Tokash: Yeah.

[53:38] MITCHELL SINK: Like I was experiencing was that's kind of method acting it was so matter. It was so matter. Let this be a lesson.

[53:45] Eli Tokash: Yeah.

[53:49] MITCHELL SINK: Oh my god hilarious um well I mean let's just I I wanna I'll let you go here soon because I know we're running a little long. But I I just want to talk a little bit more about just like being a kid on Broadway. I mean like Yeah I w I don't know now as we become adults in this industry, you know and and we get to like connect with our former castmates and whatever it may be, you know, like is there almost a feeling of like re-establishing yourself in this industry. You know, you've done three Broadway shows basically and and you kind of have to like prove your talents again as you have new talents as an adult.

[54:35] MITCHELL SINK: Um, you know, what's that experience been like, or do you feel like that is something that you're currently like going through?

[54:44] Eli Tokash: Yeah, for sure.

[54:46] MITCHELL SINK: Um I think there was like a decision that I sort of made right after Matilda when I was going into high school.

[54:53] Eli Tokash: Yeah.

[54:53] MITCHELL SINK: Um and it was just sort of like, do I wanna keep going with this? And I think it's sort of a decision that like every like child actor like has to make, sort of we're sort of like in this world for so long and it's all we know, and then it's like you get a chance to like take a breath and you're like, do I wanna do this, or do I want to maybe like see if I enjoyed something else?

[55:15] Eli Tokash: And like, you know, um I don't know. Like it's it was just a it was a hard thing for me because I it was something I loved so much, but like doing it on that scale, doing it professionally and then growing up and like sort of not getting the opportunities that I used to because of my height, because of my voice changing.

[55:37] MITCHELL SINK: Um it was like it was so like I don't know, it was it was difficult because going and also just experiencing high school because after I was homeschooled for so many years, um I went to public high school. So that it was just like a big little wake-up call for me.

[55:53] Eli Tokash: Um But luckily, like when I got to I went to Summit High School, um I think I I set out and I'm like, I'm not gonna do performing arts here. I might like, you know, just keep auditioning, like see what happens, and maybe theater, but I'm not gonna do like school theater. Like that was like my decision.

[56:10] MITCHELL SINK: Um, so that was definitely not what happened. I was like, yeah, I I didn't know videos. Summit has like an amazing theater arts program.

[56:25] Eli Tokash: Yeah.

[56:25] MITCHELL SINK: And we just kind of ended up in this town in New Jersey by chance. Like, we just you know, my dad got a job here, and like we just moved here. It was but so it was just like I I was so lucky.

[56:35] Eli Tokash: Like the team at Summit, like everyone is so amazing at what they do there and like produce really good shows.

[56:41] MITCHELL SINK: So I just had great outlets to like sort of express myself as like you know, someone coming into a new voice and like you know, playing adult roles, and like, you know, I did how to succeed, I did legally blonde, I did Pippin, like I did like shows that like really taught me like a little bit more about like myself as a performer and like who I was like growing up to be as opposed to like a kid performer, so um that was really like informative for me and like just the best experience.

[57:12] Eli Tokash: Um and then the second decision was do I want to do this in college?

[57:16] MITCHELL SINK: So I think going like you know, junior senior year, it's like well, yeah. I was like, I don't wanna I I never wanted to like leave this world, like I definitely like have always wanted to stay in the industry to like do something creatively.

[57:30] Eli Tokash: Like, I I love you know, I love musical theater, I love this.

[57:34] MITCHELL SINK: I yeah, I love the entertainment industry, but like I didn't know if I wanted to keep up acting.

[57:39] Eli Tokash: So for my decision to go to pace, like I knew that Annalise Carpacci had Matilda with me, she was there, and she um, you know, she was loving it, and face is so great with like allowing you know, kids who have worked who are working to like continue that.

[57:57] MITCHELL SINK: Um so I I was definitely interested, and just like being in the city, um, and the faculty, you know, my voice teacher Chris York was already there. So it was perfect, like he um, yeah, and then like Aaron Dilly, Pat Goodwin, who I yeah, known for years from being a kid, yeah. He was like a teacher at pace, like all of these things were just like so like oh pace is a given.

[58:19] Eli Tokash: Um yeah, uh throughout especially my time at Pace, it was sort of just about like re-establishing myself and like coming to terms with who I am like as an adult, like in this industry, and like it's it's just um it's like a it's a process, but I think it's yeah, it was a it was a cool one, like, and I think just like reintroducing myself to people who knew me as kids was just yeah as a kid, like it was it's just it's so crazy.

[58:47] MITCHELL SINK: That's the craziest experience. It really is like, you know, Pat Goodwin watching me do like a pop song, and like he's like, I just know you can do that. It's like, yeah, because you've seen me sing like there is a Santa Claus, and that's it, like you know, whatever. I don't know. Like, yeah, so I'm like it's it was a really cool experience to be like, yeah, this is what I've been doing since my time as a child. Yeah. Um yeah, it's it was a great experience. I'm that's awesome. I'm so glad that you're having that experience too, because like that one I mean, I think when you're an adult, reality kind of sets in, and it's like, okay, this is no longer for fun. Like you're not doing this because you're just having the time of your life.

This is a career, this is a job, and this is how you are gonna like support yourself. Um and I think that that's kind of like the most terrifying thing, you know, of okay, I actually have to get serious, you know. It's not about just another audition. No, like this could like, you know, be the rest of my life, you know, like this could you know, it just has so much more weight, and I think the reality sets in for that. Uh but the what you said at the end with like reintroducing yourself to actors, that for me has been I don't want to say like the most challenging part, but the strange parts, right? Yeah, it's so crazy. I think we talked about this a little bit, but like um like reintroducing yourself or like people who don't recognize you as like it's and how why would they?

Because we look like different humans, but it's sort of it's this awkward thing where you're kind of you kind of have to be like I like I'm that kid that you worked with, like obviously you have to do it, but like it shouldn't be like who am I? Like, look at me. It's like right. Um, it's crazy being like, hey, we uh shared a Broadway stage, and you were like the most pivotal person of my life when I was 10 years old. Yeah, and while click is so fun, like I saw I saw Beth Level in the film. Like I had like I'd sort of like I didn't really like keep in touch with her like since Elf, like I didn't like I wasn't like all the time. Um, but I did I did keep in touch with Josh Laman and Christmas. Oh my god, stop yeah, so I was going I was going backstage to see um Josh and Christopher and like also like ha you know had a feeling I'd see Beth too, but I wasn't like oh my god, Beth, like meet me at the state.

Like I wasn't doing that, like yeah. Um but I I saw her and I was like, like, oh like you know I'm Mitchell like we did metal or not Mental we did Elf together she literally like it took her like two seconds and then I just saw her like eyes just sort of like explode and she like hugged me and it was just like the best feeling because it was like nothing had changed and like it was it was but that sort of like awkward reintroducing yourself thing is so funny. It's like it's very hard to yeah and it's totally that the amount of times I've had that decision in my head of like do I text this person? Like how do I reintroduce myself? You know like how do I just go about it without it being like so awkward.

Oh my god so real I love that um glad I'm not the only person sorry oh my god you're not alone I think we speak for like every yeah like it on Broadway who's like still sort of like around and like doing this it's like it's it's so uh it's like awkward but like necessary you gotta like just like break the idea like you know we weren't together yeah yeah absolutely especially because like literally like when we were like 10 years old you were like a parent to me you know or you were like my funkal or whatever thank you that's like literally I think kind of what I said with Beth or like would like to say is just like thank you like you're you're an icon you like inspired me to like keep doing this honestly like you were such a role model for me so I love that really cool.

[1:02:55] Eli Tokash: Well one last question for you and then I'll let you go. I just gotta ask this is like a whole other like being a kid and like shifting into adulthood, you know, as you continue to grow, how has your perspective of the industry? I guess kind of changed as you continue to grow as an artist, you know. Like, do you I don't know, still do still think of like musical theater, or like do you still want to do or do you want to go into TV alone, or like what like how is it just you know, as you have you done it, like you are a veteran, but uh I don't know, how's it kind of changed, I guess for you?

[1:03:32] MITCHELL SINK: Yeah, that's a good question. I think it's there's such a balance between being like, you know, yes, I have Broadway credits under my belt, yeah. But you know, I was very different. I was a child, and like different human beings, like it seems like another life. I think there's a balance that like isn't like really talked about enough where it's like those were valuable experiences and shouldn't be like discredited at all. They shouldn't be like, oh, you were you know, that doesn't count because you were like a kid, and I sometimes will like feel that energy, and on the flip side, it's like no, but yeah, we were I mean we were children, and like it's it was a you know, I was a different person, yeah.

Um, but I think what's even more like I think what's even more noteworthy about having these experiences, like, and you know, saying like I've done three Broadway shows or like whatever, like it's more just about the experience and more about like I was in this world at such an early age and was able to like soak up all this knowledge and like I've been around since then. So I feel like that that alone like stands out to me as like important of just like being in the industry and knowing how things work. Just things that like we don't even have to think about that, like you know, some people learn in college when they go for like a BFA in musical theater, like stuff that we might already know, like as a given because we did this as kids, like people just start to learn as they like move to New York when they're like 18, 19, you know what I mean.

Like right. It's so I think that experience is like really like I don't take that for granted at all. I don't like yeah, but it's it's a balance of being like, yes, we were kids, but also like it was a you know experience that was like noteworthy and like you know, relevant. Um but um yeah, I would say that's like that's like the biggest thing. And then like as I as far as like film and TV stuff, like I'm never like closing myself off to any opportunities at this point. I'm not like counting myself out. Um just like as an actor, I don't think like it depends on like what you want to do. Like if you're like I only want to do filming TV, that's where like my passion is go off. But I just don't feel like I'm in a position to be like, nope, I don't do that.

Like I'm not right. I'm strictly musical theater, like I'm still it's like I'd love to like you know, do whatever opportunity comes my way and just try everything right now. Um I'm also like never counting myself out for like behind the table stuff, like I'm coaching kids right now.

[1:06:09] Eli Tokash: Real, I love that.

[1:06:10] MITCHELL SINK: Yeah, so it's like that like directing is definitely like something I want to do. Like, that's that's huge, but um, yeah, and then like the film and TV world, like I feel like I sort of like dipped my toes in like right before the strike. Um, I got you know, these two like I was a glorified extra, but like you know, just being just being on a set with like these, you know, amazing people, and like you know, stretching my legs as an actor in that, like um in that like with those surroundings, like it's just like it's really it was like eye-opening to me because I was like, Oh, I like really like this, and like I think I could like really enjoy doing this if I were given an opportunity, so yeah.

I'm not like I'm not closing myself off to any opportunities at this point. I just like I'm auditioning and just think yeah, no, for sure. It's been interesting for me, like as a kid. I thought plays were the most boring thing in the whole wide world, like it could not keep my attention at all. But now, like I've never been more interested in doing a play.

[1:07:19] Eli Tokash: Wow, okay.

[1:07:21] MITCHELL SINK: Cause like I don't like that I wouldn't do, I don't do straight plays.

[1:07:25] Eli Tokash: You wouldn't.

[1:07:26] MITCHELL SINK: No, I mean I totally would, but like it's such a funny thing.

[1:07:31] Eli Tokash: That's so funny that you like really enjoy it because I feel like that's like you know, stereotypes, like uh play, you know what I mean.

[1:07:38] MITCHELL SINK: Well, listen, I love live theater because I love the audience, yeah. And not having to sing while doing that, like now my voice is changed. I'm like, oh what? Like, this is a whole new world. Act and be on a stage at the same yeah, and I get to hear people liking my acting, like what the nodes from tracking, yeah. And not have to like stress about can I even hit this note that they wrote for me or audition for a singing mode? Like, okay, sign the on. Science. Some musicals are just not like human, like they're not for humans. Like, I just feel like this is whatever crazy. It's crazy, and the people who are cast in these crazy roles are like, I'm convinced they're not human. Like, why don't you know?

Ben Platt is not a human being, and that way. Like how those at least your vocal cords a great example of like there't new. Like how are you doing that? I mean, it's like it's its own merit. It's like its own thing. And like in the same way that like I don't I mean I don't consider myself to be on that level, but like I you know, doing a straight play, like I did a couple in high school, but like even so, like I just sometimes I feel like I need to sing or like I feel like I'm not, you know what I mean? I have to make up for maybe like some not great acting for that long. You know what I mean? Like I get just acting, you know, so I don't know.

[1:09:08] Eli Tokash: Right.

[1:09:10] MITCHELL SINK: But that's interesting. Like that's that's I'm so into it right now. It's crazy. Um because I love like TV and film, but like that's always been my number one thing of like I crave the audience. Like I there's something about theater and being in a theater, because like also it's just like you have that you know, team in musical or just theater in general, where like film is so much more divided, I feel like where you don't even know some of the people's name that you're like did a TV show with. Like that's crazy, you know? Whereas like it's theater, you know the stage hands, you know, like you know everyone, wardrobe, you know, like everyone. It's more of a names.

[1:09:57] Eli Tokash: Yeah.

[1:09:58] MITCHELL SINK: And I like I'm certainly not in the pos I'm not Jessica Chastain, I'm not like I prefer theater. Like I've I haven't done enough of like but you know what I mean? Like I but I will say like this for theater, like it's it's more of just like a family. It's more just like yeah, it's it's more of it's more of that, and then film and TV and just like Hollywood is just its own world. That's obviously appealing, and obviously everyone's but yeah, but it's just it's so different, and like I I think whatever I end up doing, whatever opportunity comes my way, like if it does, like I theater's like my home base. It's like it's what I'm always passionate about.

[1:10:36] Eli Tokash: You'll always come back to it.

[1:10:39] MITCHELL SINK: I'm never gonna not love musical theater. Like, that's just like the the nerd in me, but yeah.

[1:10:45] Eli Tokash: Hey theater kid, me uh theater kid.

[1:10:48] MITCHELL SINK: Hi, it's me.

[1:10:50] Eli Tokash: It's me.

[1:10:50] MITCHELL SINK: I'm the theater kid.

[1:10:52] Eli Tokash: I can't.

[1:10:52] MITCHELL SINK: Oh my god, so good. Well, Mitchell, I mean, I this has been amazing, and you literally have so much to take about for three Barber shows a big deal. You're doing the TV, you're you're doing it all, and uh it's so impressive, and I can't wait to see you know what's next, and continue to follow like the journey. Like it's crazy what everyone's up to.

[1:11:17] MITCHELL SINK: Oh my god. Yeah, who knows? You know, like life can change overnight, and I think that's the most exciting thing about being in this industry. So uh, you know, congrats to you and shout out to to your mom and your family for you know doing what they did to make it all happen.

[1:11:33] MITCHELL SINK: Yeah, yes, absolutely huge thanks to them, always um yeah. Well, thanks for thanks for having me, Eli.

[1:11:42] Eli Tokash: Of course, always down memory lane. I uh so great. Take about MITCHELL SINK. I am so thrilled to have him on the podcast. This is literally someone that I've been trying to get on the podcast for I would say probably like a year now. Uh, but it it never worked out with you know scheduling or whatever it was. Um there are always things going on. So I appreciate Mitchell for coming on this week's episode. I appreciate him for just like down to being candid with me about just the child and adult dynamic on Broadway, I guess, um, as well as his career and uh, you know, starting it with his sister and having someone to to go through that journey with him and uh kind of provide some insight as to like how they got so close and everything like that.

So um it was a great it was a great conversation and I appreciate it. So uh shout out to Mitchell for coming on and shout out to all of the like theater parents, uh theater moms and dads, I guess, for uh allowing your children to live their dreams. Uh just huge shout out to um um you know both our families and uh and I hope that you know everyone listening is is fortunate enough to have that support as well and um really live your dreams. So with that being said, that's all I have for you folks for this week's episode, and uh come back next week for another great episode. Until then, bye everyone.

[1:13:22] MITCHELL SINK: Have a great week.