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BLVD Winter 2020 Pti.Indd 16 16B FEBRUARY 26 - MARCH 3, 2020 • BLVD • GOLD COAST REAL ESTATE & LUXURY LIVING THEATER ANY WAY THE WIND BLOWS Hadestown actresses share their approach to playing The Fates BY KIMBERLY DIJKSTRA n Hadestown, two ancient love stories, “We are defi nitely a unit,” Trinidad said. brought to life by singer-songwriter and “We’re sisters and we are all one and what we actual goddess Anaïs Mitchell, are inter- like to call the ‘hive mind’ together.” twined and presented as one long song. “I think naturally we each bring something dif- It’s an old song, and it’s a sad song, but it’s ferent to the Fates,” said Blackman. “We were Ia good song. encouraged to draw upon those differences and Conceived as a DIY theater project in Ver- let them shine through our movements and how mont in 2006, followed by a concept album in we sing. At times when we have to sing in tight 2010, Hadestown has woven its way around the harmonies, it’s great because we fi nd a way to globe and into the hearts of many, becoming become really cohesive and one mind.” more refi ned with each production, ultimately It’s clear the production has paid immense landing on the Broadway stage in April to a very attention to detail in creating the atmosphere positive reception. The Greek myths populated through sets and costumes, right down to by mortals and immortals—Orpheus, Eurydice, feathers on Hermes’ cuffs, a nod to his role as Hades, Persephone and Hermes—have been messenger to the gods, often depicted as wear- reimagined for modern audiences and given a ing winged sandals. breathtakingly beautiful, rich score. “Our costumes are elegant and timeless, yet Jewelle Blackman, Yvette Gonzalez-Nac- purposefully tattered in places, communicating er (Grease: Live) and Kay Trinidad (The Little The Fates ask, “What you gonna do when the that we are goddesses, but we’ve also been Mermaid) play The Fates, goddesses who weave chips are down?” From left: Yvette Gonzalez-Nacer, around for a while,” Nacer said. “Michael Krass, the tapestry of life and dictate the destinies Kay Trinidad and Jewelle Blackman. Above: Amber our incredible costume designer, did such a of humans and gods. Together, they produce Gray dazzles as “Our Lady Of The Underground.” beautiful job making our dresses a little different stunning harmonies. Photos by Matthew Murphy from each other, and our silk chiffon dresses “We each decided which fates we were,” move like the wind.” said Blackman, who made her Broadway debut The three actresses have been involved in in Hadestown. “Whether we were the fate of Hades (Patrick Page) rules the show for varying amounts of time. Black- death, the fate of allotting time or the fate that over the subterranean man, drawn in by the music and the prospect of creates the thread of life.” factory that is Hadestown working with Rachel Chavkin, performed in the They each naturally gravitated to a fate. while Orpheus dreams of a Canadian production in 2017. Trinidad became “I chose death, and when you think of death, better world. aware of the show at that time and fell in love you often think low, you think deep,” said Black- with the music. Nacer participated in several man, who sings the lowest part, while Nacer workshops of Hadestown over the years before sings the highest part and Trinidad sings the being cast in the Broadway production. middle part. “It’s really interesting that the ar- Hadestown is one of only a handful of wom- rangement Anaïs wrote, in terms of the Fates,… en-led creative teams in Broadway history. Direc- is a spectrum of voices, from soprano to the tor Chavkin has a lot of street cred among the lowest female voice possible.” New York theater community, most recently hav- “Our voices are all so different, but together ing directed Natasha, Pierre & The Great Comet they blend so well,” said Nacer. “There is a lot of 1812, while composer Mitchell is a newcomer of diversity and representation in our cast and Eurydice seeks shelter from the wind, but cannot to the Broadway scene. Mitchell, however, has vocally is no exception.” escape The Fates. From left: Jewelle Blackman, been recognized for years as a prodigious talent Anaïs Mitchell plays with high and low tones André De Shields, Eva Noblezada, Kay Trinidad in the world of new American folk music. throughout the folk opera, using voices as and Yvette Gonzalez-Nacer “It’s a beautiful room,” said Blackman. “There (Photos by Matthew Murphy) metaphor. Patrick Page (Hades) has a voice that were no egos involved. There was a lot of collab- Reeve Carney (Orpheus) once described as oration and they were open to things that worked “from the depths of hell,” and director Rachel for you, and you were allowed to give input Chavkin has called a “freak of nature,” in the rent political climate, by not having it strapped musical genre and it doesn’t try to live in one about what felt good, vocally or stylistically.” nicest way possible. The king of the underworld into one particular locale or time period,” particular space. It’s everywhere.” Nacer said she couldn’t be more inspired. growls entire songs with a sound not heard any- added Blackman. The Fates are introduced by Hermes, played “[Rachel] is so rad, such a visionary and just an where else. Conversely, Orpheus often sings in The musical has political undertones, due in by the divine André De Shields, and through the incredible badass director. She really knows how a high register, lending a heavenly quality to his part to “Why We Build the Wall,” a powerful song “Any Way the Wind Blows” at the begin- to get things done and creates an environment character, the legendary musician who happens protest song that closes out the fi rst act. Only ning, where they establish their role as a force to where everyone wants to bring their best to the to be the son of a Muse. those who lack imagination conclude it’s about be reckoned with, like a strong wind. table every day,” she said. Amber Gray (Persephone) and Eva Noblezada contemporary American politics, despite being “Within Greek mythology and in this story, What do the actresses want audiences to take (Eurydice) give Mitchell credit for writing music written 13 years ago. The haunting lyrics use a we know what’s going to happen already. Your away from the show? that fi ts comfortably within their vocal ranges. perfect circular logic that, like many of Mitchell’s future is already destined by us,” said Trinidad. “It’s human to have doubt,” said Blackman. Both women are sensational in the mythic roles. other folk songs, sound like they could have “Although it may seem like we are Hades’ min- “It doesn’t mean you still shouldn’t try and Noblezada gives a voice to a character who been written hundreds of years ago and apply ions, we are defi nitely in control.” persevere.” traditionally had none and Gray stands out in to any time period. “In this interpretation, we sometimes take on “I want people to walk away with a feeling of her chartreuse dress as the goddess of spring Universal themes inhabit every song in Ha- the role of the wind and push people one way hope,” said Nacer. “That although it might seem and life of the party. destown, running the gamut genre-wise—with in- or another, literally and fi guratively, so they can futile at times, even a single person or a single “Hadestown takes place in an unstated fl uences of jazz, blues, soul, folk, rock and more. fulfi ll their predetermined fate,” said Nacer. song has the power to change the world.” post-apocalyptic time period,” Trinidad ex- “In one word—epic,” said Trinidad. Blackman added that the Fates also represent Winner of eight Tony awards and with an plained. The setting feels like New Orleans “It’s an amalgamation of styles and genres, the voices in our heads that we all struggle with. incredible cast, this musical is like no other. See though and features a jazz band on stage. which makes it different and so catchy and Largely present, Blackman, Nacer and Trin- Hadestown at the Walter Kerr Theatre, 219 W “That’s what’s so special about Hadestown intriguing,” said Blackman. “It’s joyful for the idad drift around the stage, often in unison, 48th St., NYC. For tickets, visit hadestown.com and what helps make it so relevant to our cur- listener because it doesn’t draw on one type of while maintaining a measure of individuality. or call 877-250-2929..
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