Interview: How COST OF LIVING's Katy Sullivan Feels About Being the First Amputee Tony Nominee

Katy Sullivan is making history. After starring on Broadway last year as 'Ani' in Martyna Majok's Pulitzer Prize-winning Cost of Living, Sullivan became the first woman amputee to star in a Broadway show. Now, she is the first amputee to be nominated for a Tony for her role in the play.

In addition to Sullivan's Tony Award nomination for Best Performance by an Actress in a Featured Role in a Play, Cost of Living is currently nominated for 4 other Tony Awards, and earned nominations at the Outer Critics Circle Awards, the Drama Desk Awards, and the Drama League Awards. 

BroadwayWorld previously spoke with Sullivan about making her Broadway debut, representation and disability inclusion in the industry, and more. 

BroadwayWorld caught up with the now Tony nominee about what her nomination means for Broadway, authentic casting, and much more. 

You made history as the first woman amputee to star in a Broadway show, and now you are the first amputee to be nominated for a Tony. You are making history, how do you feel?  

I think when you say “You are the first” anything, that’s sort of bananas, especially in 2023! It’s incredibly humbling, it’s incredibly exciting, but at the same time I feel like it’s so overdue, and so past time.

What were your first thoughts when you learned you were nominated for a Tony?

Mostly just screaming! [laughs]. No, I think when you do a show that has a limited run to begin with, you’re constantly sort of hoping enough people saw it, hoping that you did enough, not necessarily for recognition of awards, but to use this platform, or use the play to do what it is we were trying to do in the world. And so, to me, all the love that Cost of Living has gotten in this awards season is validation that we did enough, that we reached people, and that we made an impact on the Broadway community, which is incredibly exciting.

I spoke with Martyna, and we talked about her note “Please cast disabled actors” in the script. She said that she got lot of theaters asking her whether she really meant it. How do you feel about having been a part of a play, and a company, that through notes like that one is helping to move the needle about authentic representation in the theatre industry?

First of all, how incredibly brave of Martyna, and I know for a fact that there have been productions across the country, and in different places in this world, that it didn’t happen because she said, “You have to cast authentically.” And so, at the end of the day, she’s missing out on opportunities to have her work heard, and her play produced.

But ultimately, the impact that it has to have authentic bodies represent these characters, and the impact that’s possible for people to go on a ride with people that have some similar lived experience, there is such a huge reward in the end of that. I know it was not the easy thing for MCC to do, I know that there were so many logistical, challenging hurdles for them to overcome, but the fact that they heard her, and said, “Yes, and,” is extraordinary, and I applaud all of them for doing the difficult thing, not the simple thing.

Cost of Living is getting a lot of awards love. We still have a long way to go, but how does that feel for you knowing that this play is receiving tangible acknowledgement, that people are taking note?

I hope that this is sort of a continuation of more. But, we do have a long way to go. Individuals that live their lives with disabilities are the largest minority in this country, it’s almost a quarter of the population. And we’re the least represented in movies, TV, and on Broadway stages, big stages.

Now, you can point at a few theaters where there are performers with disabilities on Broadway right now, there’s a couple in Camelot, Michael Patrick Thornton is in A Doll’s House. I think people are starting to realize that including someone who lives their life from this perspective, they can add a richness to a production without ever opening their mouth, who they are as a human being, rolling out on stage, or walking out on stage on a prosthetic leg, makes an impact without ever having to put anything on, or do anything extra. And I think if people start to see the effect of that, we’re going to see more and more performers in our community working. Because there is talent out there, there is a ton of talent. And people are dying to work. And to be a piece of that is humbling, and exciting.

What are you most looking forward to with Tony night?

This has just been such an incredible experience to go through the parties, and the galas that are happening, and events, and junkets, to really start to feel like part of this community. Where you’re seeing the same faces and they’re recognizing you and saying hello, and there’s that mutual respect of what everyone accomplished this season on Broadway. So, that’s what I’m looking forward to, that continuation of that camaraderie of this community that I‘ve gotten a glimpse of this spring.

Do you have any final thoughts?

I was born a kid without her legs, and all I’ve ever wanted to do, and ever wanted to be, was an actor before I even really understood what that meant. And I think this work is not about accolades, and it’s not about awards, but what those opportunities afford you is hopefully the continuation of a career. And it’s moments like this that you get to pause and take stock on where you came from and where you hope to go. I’m really trying to be present in this moment and enjoy it, and know that all of my hard work has paid off and is continuing to pay off. I’m really excited for what’s to come, not only for me, myself, but for the community of performers that live their lives with disabilities as well.