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[0:00] Mo Brady: You're listening to Way Down Hadestown, a miniseries from The Ensemblist, the only podcast that shows you Broadway from the inside out. Welcome, I'm Mo Brady.

[0:24] Mo Brady: Welcome to a new miniseries from The Ensemblist, where we speak to the entire ensemble of a Broadway musical. Well, there's only five of them, so it's not that big of a deal. Still, it's the first time we've sat down with an entire ensemble of a show, so it's pretty cool. Over the next five weeks, you'll hear one at a time from the complete ensemble of the newest Tony Award winner for Best Musical, Hadestown, about the characters they've created and the careers that got them there. Afra Hines joined the company of Hadestown fresh off of her performance in the ensemble of Summer, the Donna Summer musical, where she also received the Legacy Robe. She has previously been in the original companies of Soul Doctor, Motown, Ghost, and In the Heights.

Afra has toured the country in one of our nation's companies of Hamilton, and was featured as the show artwork for Shuffle Along, or the making of the musical sensation of 1921 and all that followed. In Hadestown, she plays Worker No. 2, and covers the role of Persephone. Here's our conversation.

[1:27] Afra Hines: Hi, will you introduce yourself and tell us what neighborhood of New York City you live in?

[1:48] Afra Hines: Yes, my name is Afra Hines, and I live in Harlem, New York.

[1:51] Mo Brady: We're two for two on Harlem now, Ahmaud and you.

[1:54] Afra Hines: That's cool.

[1:54] Mo Brady: You guys ride the train together?

[1:56] Afra Hines: I've seen him on the train, but I think we're on a slightly different schedule.

[2:00] Mo Brady: Got it.

[2:00] Afra Hines: Tend to get there a little earlier, I think.

[2:02] Mo Brady: And you play Worker No. 2, which we learned means that you're on the bottom vocal part.

[2:10] Afra Hines: Oh, yes, that's true. Ahmaud told you.

[2:13] Mo Brady: Yes. When did your relationship with Hadestown begin?

[2:16] Afra Hines: So I was doing the Dawn of Summer musical, and my friend Kim was doing a reading of it, and so she was talking about how amazing it was, and—

[2:26] Mo Brady: This is Kimberly Dodson?

[2:27] Afra Hines: Yes.

[2:27] Mo Brady: Okay. She's been on the podcast. She was also in Summer. She's now in Harry Potter.

[2:33] Afra Hines: Yes, she's so great. So she was doing a workshop, and she would come into work and talking about how great it was, and how it's really exciting. But I hadn't heard of it before that, and then I got an appointment to go in. So of course, I started researching, and I heard the Hadestown album, and I was just obsessed with the music.

[2:55] Mo Brady: And when was the audition process for you?

[2:58] Afra Hines: I think we auditioned in December, and it was over... I think it took about a week of... I think I went in probably about five times, different times, back to back. I would do one thing, and they would hand me a packet and say, can you come back tomorrow? So I'd go home, learn three more songs, come back the next day.

[3:16] Mo Brady: Was Persephone, the understudy Persephone, was that part of the audition process?

[3:21] Afra Hines: Yes. I actually learned Persephone material, Eurydice material, and Fate material, the worker material. But Persephone was the one I was hoping for.

[3:31] Mo Brady: Was that when they came with the offer as well?

[3:35] Afra Hines: No. Actually, originally... Well, before the official offer came, they would call and say, are you still interested? And I would say, well, it depends what you're offering. And there was one point where they came back, and it was going to be ensemble with no covers. And I wanted to be a part of the show, but at this point in my career, I wanted definitely to have a cover. So I let them know that. And thankfully, they came back with a Persephone cover.

[3:57] Mo Brady: That's ballsy.

[3:58] Afra Hines: Very scary.

[3:59] Mo Brady: That's so ballsy. But I mean, you have a fantastic Broadway career. We'll sort of talk about that later. But what Broadway number is this for you?

[4:10] Afra Hines: This is number eight.

[4:13] Mo Brady: Who's worker number two? Do you have a name?

[4:15] Afra Hines: I don't. No, it's me, Ofra, worker number two.

[4:20] Mo Brady: You are?

[4:22] Afra Hines: Well, I would say for the first number, I feel like I'm me in that circumstance. So I don't have a name. And I'm really more observing the story and listening to Andre as if my friend was telling me a story.

[4:41] Mo Brady: And is that the first time you've heard the story?

[4:44] Afra Hines: No, I don't think so. I think it's a story, almost like a loved fairy tale that I've heard multiple times. And I love hearing it every time.

[4:54] Afra Hines: And he's such a fantastic storyteller that I get excited to hear it, even though I've heard it before.

[5:00] Mo Brady: It's like story time at the library or something?

[5:00] Afra Hines: When Orpheus and Eurydice meet, I lean forward, because I already know this is a story about them, but I'm excited to see it told again.

[5:11] Mo Brady: So then when you go into Hadestown, and you're a worker, is that also a version of you?

[5:18] Afra Hines: That to me feels much more like a character. Especially once we're in act two, it feels very much like a character. I don't have a name for this person. But I don't think I need one because...

[5:30] Mo Brady: Which of the leading characters would you say that your character in the show identifies with most?

[5:37] Afra Hines: Eurydice, probably. Yeah. I hadn't thought about that question in that way before. But yes, I think she's the one that I'm following through the story.

[5:48] Mo Brady: Talk about the rehearsal process for Hadestown, compared to some of those other seven shows that you've worked on. Was it similar? I mean, I get the feeling that it was sort of more collaborative, but I'd love to hear that from you.

[6:02] Afra Hines: It was collaborative. David Newman, the choreographer, is so open and welcoming, and it really felt like a safe space where you could have a suggestion or an idea and not feel weird about throwing it out there, which is not always the case. But on the other hand, they had already done a production of it, so there was definitely a picture already made. But he was really open to suggestions and input and all of that.

[6:32] Mo Brady: Is there a part of the show that you feel like definitely has your stamp on it?

[6:36] Afra Hines: That's a good question. I feel like that's probably a question for someone watching. I've seen it. I definitely know when my eye was drawn to you. But when in living it up on top, there's moments where we got to, like Ahmaud and I have a little partner section that we were able to put together ourselves, which I love. But like I said, most of it was sort of already formed. So other than those sorts of moments where it's freestyle or problem solving, where we would say, you know, this would feel better on this arm rather than this one, or the spacing is weird, that kind of thing. It was pretty much set. But in Act Two, when we're the underground workers, I feel like that's where you see a lot of our personality come out. Even though zombies, it's really there's less set movement, if you will. So I feel like our personalities come through more in our acting.

[7:27] Mo Brady: What's the most challenging part of the show to perform?

[7:30] Afra Hines: That would be chant one. The reason why is because we're sort of in this bent over position for most of the song. So when we first started learning it and running it, my lower back would just be like on fire. So it's just physically harder than some of the other stuff.

[7:49] Mo Brady: That stuff looks hard.

[7:51] Afra Hines: Yeah.

[7:51] Mo Brady: Like, does the turntable affect it? Or is it?

[7:54] Afra Hines: It does. Yes. There's certain times when depending on where you are in the circle, and you have to, there's one point I'm thinking of where I have to turn over, like backwards, and I'm on the moving turntable, and you definitely feel the force of it moving. Definitely took some getting used to.

[8:11] Mo Brady: And alternatively, what's the most fun part?

[8:14] Afra Hines: I really enjoy the opening number, because it's such high energy, and we're happy versus the other parts of the show where we're sort of, you know, not as happy. But yeah, I love the opening. And it's where we get to like connect with each other. I also enjoy the very end of the show, making our way out of Hadestown. Orpheus and Eurydice are downstage, and we're like in all the workers are walking in the back. I just love, I love the melodies at that point, and the harmonies. I love the idea of us all making our way out together. I just think that's a really beautiful part of the show.

[8:53] Mo Brady: Simpler movement, too.

[8:54] Afra Hines: Yes. Yes. We're just walking and singing at that point.

[8:58] Mo Brady: When I saw the show, my eye was drawn to you, not because there was just five of you, but you felt very present. I think part of it is the way that you're styled.

[9:05] Afra Hines: Thank you.

[9:08] Mo Brady: How much influence did you have on your costume?

[9:11] Afra Hines: Not a ton, but we did get to go in with Michael, and he had like a rack of pants, and a rack of jackets, and we could sort of say, oh, I like this one more than that one, or this.

[9:21] Afra Hines: I think the first time I really felt like I was in the room was during the audition process for Hadestown. I remember walking into the room and feeling this energy, this warmth, and just this sense of community. It was really special.

[9:51] Afra Hines: I had just come off of Summer: The Donna Summer Musical, and I was feeling really good about my work there. But stepping into the Hadestown audition, it felt like something different. It felt like a place where I could really belong.

[10:11] Afra Hines: The music, the story, the characters—they all resonated with me on a deep level. I remember singing "Hey, Little Songbird" during my audition, and it just felt like I was connecting with something larger than myself.

[10:41] Afra Hines: When I got the call that I was cast, I was over the moon. It was a dream come true, and I felt so grateful to be a part of this incredible production.

[11:11] Afra Hines: In Hadestown, I play Worker #2, and I also cover the role of Persephone. Each character has their own unique story, and I love being able to explore that through my performances.

[11:31] Afra Hines: The ensemble is such a vital part of the storytelling in Hadestown. We help to create the world and the atmosphere, and I think that’s what makes it so special.

[11:51] Afra Hines: I’ve been fortunate to work in various productions, but Hadestown feels like a culmination of everything I’ve done so far. It’s a beautiful blend of music, storytelling, and community.

[12:11] Afra Hines: I’ve learned so much from my fellow cast members. Everyone brings their own experiences and perspectives, and it’s been a joy to collaborate with such talented individuals.

[12:31] Afra Hines: The rehearsal process was intense but rewarding. We spent a lot of time diving into the characters and the relationships between them, which really helped to deepen our performances.

[12:51] Afra Hines: I think one of the most important things I’ve taken away from this experience is the power of vulnerability. Being able to share our stories and connect with the audience is what makes theater so impactful.

[13:11] Afra Hines: I also love the message of hope that runs throughout Hadestown. Even in the darkest moments, there’s always a glimmer of light, and I think that resonates with a lot of people.

[13:31] Afra Hines: I’m excited for audiences to experience the show. I hope they leave feeling inspired and uplifted, and that they carry the story with them long after the curtain falls.

[13:41] Afra Hines: It’s been an incredible journey, and I’m so grateful to be a part of this production. I can’t wait to see where it takes me next.

[13:51] Afra Hines: Thank you for having me on the podcast. It’s been a pleasure to share my story and talk about Hadestown.

[14:11] Afra Hines: I really appreciate the opportunity to highlight the ensemble and the important role we play in the theater.

[14:31] Afra Hines: I think it’s essential to recognize the hard work and dedication that goes into every performance, and I’m proud to be part of that community.

[14:41] Afra Hines: I hope that listeners will take away a sense of appreciation for the ensemble performers who bring these stories to life every night.

[15:01] Afra Hines: Thank you again for this conversation. It’s been wonderful to reflect on my journey and share my experiences with everyone.

[15:11] Afra Hines: I look forward to seeing how audiences respond to Hadestown and the impact it will have on them.

[15:21] Afra Hines: It’s a beautiful story, and I’m honored to be part of it.

[15:41] Afra Hines: I can’t wait to continue this journey and see where it leads me next.

[16:01] Afra Hines: Thank you for listening, and I hope to see you at the theater!

[16:21] Afra Hines: It’s been a pleasure sharing my story with you all.

[16:41] Afra Hines: I’m excited for what’s to come and grateful for the support from everyone.

[17:01] Afra Hines: Let’s keep celebrating the ensemble and the magic of theater together.

[17:21] Afra Hines: Thank you!

[17:41] Afra Hines: I hope you all have a wonderful day!

[18:01] Afra Hines: Until next time!

[18:25] Afra Hines: Bye!