Broadway's big, 14-time Tony Award-nominated hit musical Hadestown

weaves together the Greek myths of Orpheus & Eurydice and Hades & Persephone. Ever present as these doomed love stories unfold are The Fates, three sister deities who oversee the destinies of mortals. Jewelle Blackman, Yvette Gonzalez-Nacer, and Kay Trinidad portray The Fates onstage, and they are so magnetic you can't help but seek the trio out in every scene. Scroll on as BroadwayBox gets to know each of the ladies and to see some stunning, exclusive backstage Jenny Anderson portraits of Jewelle, Yvette & Kay.

Jewelle Blackman (Atropos)

1. What attracted you to this project initially, and what was your initial goal with your role?
It was the music that first pulled me in. I found out about it by reading the Citadel Theatre’s upcoming season in Edmonton, Canada and saw it was being directed by Rachel Chavkin, and I was familiar with The Great Comet from 1812. So I immediately listened to the NYTW recording and was sold! Also, as a classically trained violinist, the fact that I essentially got to use all my talents was a bonus. (I played the violin in the Canadian production.)

My initial goal with the role was to keep her grounded with a lil touch of crazy, TBH. As Atropos, The Fate of Death, I am the one that ultimately ends life—that’s heavy, so I try to infuse her with as much life as possible.

2. How did you find the physicality of The Fates?
The physicality of The Fates really was brought to life by our amazing choreographer, David Neumann. In one sense, The Fates are very precise with their movements and hit them hard; and on the other hand, they need to move like the wind. There’s a fluidity and liquidness to their movement. Stillness also plays a major part in them always being around listening and watching—every movement has a purpose. Also as the three of us have been doing more and more shows together, we have definitely found a group synchronicity, which is amazing.

3. What was the most influential or important thing Rachel or Anais said to you about the role of the Fates in Hadestown?
I think it was something to the effect of, “The Fates are not bullies.” Honestly, we’re just telling it like it is, and at times we relish those moments more than others.

4. Which moment in the show are you living your best life?
When the three of us sing “When The Chips Are Down”! I. Am. Living!

5. What’s been the biggest pinch-me moment of this experience so far?
There have been so many: getting the offer for Broadway, rehearsing on Broadway, my Broadway debut, seeing my picture in Vanity Fair—I could go on...

6. Before Hadestown, what was the most artistically filling credit on your resume?
I would have to say performing in the Canadian cast of The Lion King. That was my first professional gig.  I came into the company as a swing, and two and a half years later I closed the show having taken over the role of Shenzi. I had also taken over the role of Nala for about a year—talk about growth!

7. This show has such a huge fan base. What was the gateway show that got you into musicals or the first show you were obsessed with?
As a child I would say it was the movie Annie, The Wiz, A Chorus Line, and then ultimately The Lion King.  After I saw that, I knew I had to be in that show. 

8. What is your pre-show like for Hadestown? Do you three have any rituals?
I try to play “Chance”—that’s what I named my accordion—before every show. 

Yvette Gonzalez-Nacer (Clotho)

1. What attracted you to this project initially, and what was your initial goal with your role?
I first heard about Hadestown back in 2015 when I got cast to do a workshop of it, and then I did another workshop for NYTW in 2017.  The music and story were so beautiful, and I always just wanted to do justice to this very special piece. 

2. How did you find the physicality of The Fates?
We are goddesses, and as such there is a higher status about us. I wanted to make sure to capture a certain majestic quality and an elegance for my physicality.  In Greek mythology, the three Fates are Clotho (spins the thread of life), Lachesis (measures the life) and Atropos (cuts it off).  I play Clotho, which helped me set the parameters for my sass level, both personality wise and physically.

3. What was the most influential or important thing your Tony-nominated director Rachel Chavkin said to you about the role of the Fates in Hadestown?
Rachel told us that we basically push everyone around. That was really important for me to remember, because The Fates were more powerful than the gods. In songs like “Word to the Wise”, we are even pushing around and playing with Hades, the King of the Underworld. So, it reminded me of how powerful we are and that no one can hold a candle to the Fates. 

4. Which moment in the show are you living your best life?
I would say “When The Chips Are Down” is definitely one of those moments. To begin with, the harmonies (arranged by the amazing Liam Robinson) are so great. It is such a fun song to sing! The Fates are always very much in control and in that song we get to show that in so many different ways.

5. What’s been the biggest pinch-me moment of this experience so far?
I’ve had a lot of those moments. Our first preview was one of those for me. This is technically my Broadway debut, so performing for a Broadway audience was a first for me and it will always hold a special place in my heart.

6. Before Hadestown, what was the most artistically filling credit on your resume?
I got to play Vanessa in the First Broadway National Tour of In the Heights, and I absolutely loved being in a show that allowed me to celebrate my Hispanic culture in the way this show does so beautifully!

7. This show has such a huge fan base. What was the gateway show that got you into musicals or the first show you were obsessed with?
The first show that I ever saw was The Phantom of the Opera, and I still remember skipping down the street in my older sister’s emerald green dress singing whatever songs I could remember and thinking, “I could do that!”  Growing up I also used to love watching Turner Classic Movies, where they would play all these old movie musicals. That definitely played a big part in inspiring my love for all this.

8. What is your pre-show like for Hadestown? Do you three have any rituals?
We have so many!  We rush to see who can get ready first; then we try to beat Patrick to places; and then we squish these three little rubber pigs that Alex (one of the sound associates) brought at the beginning of the run. Then I like to stretch, shake it all off a little, and take a deep breath right before we go on.

Kay Trinidad (Lachesis) 

1. What attracted you to this project initially, and what was your initial goal with your role?
The music is epic and the show is magical. It moves you and stirs your soul. I also performed in a trio many times in my career, from concerts to shows. I specifically remember watching the production in London at The National Theatre, and thinking, “I wanna be one of them (The Fates)!” It just felt like a role that really suited me. I have performed in a handful of trios, from Ronette in Little Shop, Bird Girl in Seussical, a Silly Girl in Beauty and the Beast, to lots of trio work in concerts/new music.

My initial goal with my role was to make this god seem just as human as everyone else, yet with that mythical exaggeration of...being a god. I want to make sure that she is colorful, sassy, and powerful, and humanistic still. 

2. How did you find the physicality of The Fates?
It was throughout the process that we grew to discover how we should move individually, and also as a unit. I think upper class, aristocracy, effortless. There are parts of the show where the choreography aided in us finding how we move as gods. For instance, we staged “Chips” first. So, us Fates just dove right in. The incredible David Neumann educated us in how he envisioned The Fates and how their physicality should come across, and that gave us a wonderfully fun, exciting, and creative starting point. The physicality of that number really gave us a great foundation for our movement. 

We also made sure that although we are three completely different Fates, we still operate as a unit. That involves moving as a group in unison when possible and so we make sure to eyeball each other to match and flow together well. A lot of the in-sync moments we found as we learned the show together. Some was instinctual, non-verbal decision making; other times we definitely had to clarify specific movements, counts, etc. 

3. What was the most influential or important thing your Tony-nominated director Rachel Chavkin said to you about the role of the Fates in Hadestown?
Be a cheerleader...then I ran with it. It really helped flesh out intentions and how to interpret 'cheerleader' in so many ways. And hopefully, in the less obvious ways. That simple phrase gave me a picture in which I could fill in, color and add texture to in so many ways.

4. Which moment in the show are you living your best life?
There are so many fun and magical moments in the show. But I bet as a trio, we three will all say, "Chips"! However, we are partying pretty hard together as a company (and also as a trio) in "Livin' It Up" and "Way Down Hadestown". To be honest, I'm just living my best life IN THIS INCREDIBLE SHOW!

5. What’s been the biggest pinch-me moment of this experience so far?
Simply being in this magical show. Booking this show in the role of Fate is a Godsend! I many times think about the likelihood of 1. being a working actor, 2. being a working actor on Broadway, 3. being a working actor on Broadway in a hit show, 4. being a working actor on Broadway in a hit show where everyone is a beautiful human being. So grateful. What a blessing! 

6. Before Hadestown, what was the most artistically filling credit on your resume?
I have been very fortunate to originate a handful of new shows and work with many wonderful artists. Bare: A Pop Opera was the show I got my Equity card in when I was very young—a powerful and artistically fulfilling show. But diving into Tuptim in King and I and Marcy Park in Spelling Bee are two roles—so different from one another vocally and character wise, and from two beautiful shows— that I have found very fulfilling as well. And let's not kid ourselves, I got to be a Disney Princess (Aquata) in Disney's The Little Mermaid...I'm not mad about that. I also recently worked on a beautiful new musical called Lempicka, which was also very artistically fulfilling.

7. This show has such a huge fan base. What was the gateway show that got you into musicals or the first show you were obsessed with?
For me, it was my father introducing me to great music, Shirley Temple movies, watching Fred and Ginger dance, and a lot of movie musicals, like The Sound of Music, Mary Poppins, and many more Disney animated movies. Then once I got into high school, I got into musical theatre and show choir. Our first trip to NYC, we watched Footloose on Broadway and I thought, “I wonder when I'm gonna get to be on stage here?” I mean, if we want to talk obsessions, The Last Five Years was up there :)

8. What is your pre-show like for Hadestown? Do you three have any rituals?
Vocal warm-ups, cracking each other up, tea drinking, eating many a throat lozenge, trying to beat each other at being ready—although we usually are always the last ones to places (if Patrick isn't haha!). I brush my teeth, gargle with salt, neti pot, put my hair in pin curls, put my makeup on, put mic packs on my head, pin them in, and put the (surprisingly) many layers of costume on. We always make sure we travel together to places for the most part. We have these three "squeeze me" stress kitties (courtesy of our awesome sound associate, Alex) near our entrance, and we make sure to poke them before we start the show. Their names are Puccini, Fettuccine, and Porcini –yes, we named them! Then we chat with our awesome head electrician, Vinnie, and high-five our head carpenter, Todd, before walking onto the stage!

Don't miss Jewelle Blackman, Yvette Gonzalez-Nacer, and Kay Trinidad in Hadestown at Broadway's Walter Kerr Theatre.