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[0:00] Alan Seales: Welcome to the Theatre Podcast. I'm your host, Alan Seales, and this episode continues our Hadestown Takeover. If you didn't hear the last episode with Tara and Shio, go back in time and, you know, just scroll back in your podcast feed and check it out because all of these episodes that are in this clump right here this month, they're all going to be about Hadestown. So, our guests today, Kay Trinidad and Malcolm Armwood, a fate and a worker respectively. Kay is one of the original fates from the original Broadway cast. Malcolm Armwood has been with the show for a little less time, but as a worker, he gets to do all of the roles. He has a swing for many different tracks. We get into that. And just the energy and the love they have for each other is so much fun.

And actually, skip to the end or stay till the end of the episode because they're actually doing the interview from the dressing room. And we get to 30 minutes before curtain, you get to hear the stage manager come over the loudspeaker as we wrap up the episode. So, you want a little insight in behind the scenes, stick around for that. It's actually somebody's birthday, too. So, you get to hear a little cast camaraderie when they sing Happy Birthday. Spoiler alert. Find me online on Instagram and Twitter, Theatre Underscore Podcast. Leave a rating and a review wherever you are listening. And now, everybody, please enjoy this episode with Kay Trinidad and Malcolm Armwood. Our two guests today take us way down under the ground.

First up, making his Broadway debut in one of the best shows he could have ever imagined being a part of. I'm putting words in his mouth. Thank you. Malcolm Armwood has starred in the national tours of Motown, The Musical and Smokey Joe's Cafe and has additional credits including Grease, Ragtime, Kiss Me Kate and Showboat and is now one of the Hadestown workers on Broadway. Our second guest is Kay Trinidad who made her Broadway debut in The Little Mermaid and has a bazillion additional credits including the world premiere of Lempicka, the Children of Eden concert at the Kennedy Center, Spelling Bee, The King and I, Little Shop, Beauty and the Beast and so many more. We'd be here all night. She was in the original Broadway cast of Hadestown and has now reprised her role post-pandemic as one of the phenomenal fates. Welcome Kay and Malcolm to the Theatre Podcast. And I love that you guys are in the same, literally the same dressing room like back to back right now talking to me on different cameras.

[2:34] Kay Trinidad: It's true. Thank you for having us.

[2:38] Malcolm Armwood: Yes. Thank you so much.

[2:45] Alan Seales: Oh, oh, oh, we got, we got Crying Kid out there. You hear that?

[2:51] Kay Trinidad: Crying Kid.

[2:51] Malcolm Armwood: Crying Kid.

[2:51] Alan Seales: Oh no. Yep. Crying Kid.

[2:59] Kay Trinidad: Crying Kid. My breasts are milking. That will be explained later. I'm just joking. They're not.

[3:07] Alan Seales: Oh my gosh. Um, yeah, he's, he's okay. He's fine. I love, I love that, that biological response that we're like here crying, a crying kid and like as a dad, I don't even have milking teats, but as a dad, I'm like, I want to hug something. I need to hug something. Comfort, comfort.

[3:18] Malcolm Armwood: Right.

[3:18] Alan Seales: All right. So, so we're going to talk about Hadestown and I, well, first off, let's back up again. Let's start with, with you, Malcolm. You're the newest, one of the newest to the cast, I guess. So talk me through when you first got your, your bug. When did you decide that performing, dancing, singing, when was this your life?

[3:35] Malcolm Armwood: Yeah. So this probably started when I was 15 years old. I was doing community theater, knew little about musical theater. And I was like, I really liked this. I enjoyed this. So I want to, you know, study this in school. And so I applied to a few universities, only got into one, but you know what? It's all good though, because I'm where I am supposed to be. But at the time I was so butthurt about it. I was like, oh my gosh, nobody wants me. I'm not talented, like all of these things. So, but you know what, you know, God had a plan for me. So yes, I went to East Carolina University for musical theater and then I went to NC State.

[4:27] Alan Seales: I know, I know the area. North Carolina.

[4:33] Malcolm Armwood: Okay. Well, but you know, you see you, baby.

[4:40] Malcolm Armwood: And so, yeah. And after that, I went and did a cruise ship for six months and that's how I saved up money to get to New York City. And after two weeks after the ship, I was like, I'm moving. And so I came one up and I was here for six years before booking my debut.

[5:00] Alan Seales: So at what point then were you, I mean, you said like in high school, then you, you decided that you wanted to do theater or, or was it before that? Cause you said you were auditioning and whatnot, or you applied to a couple of schools, but like when you were a kid, did you see this, where did, where did you first start seeing performing?

[5:17] Malcolm Armwood: Honestly. Yeah. I started, well, I grew up singing in church. So all I, all I knew was like church and like, um, church plays. But then after that I started taking voice lessons. Um, this teacher, she had saw me at a competition and she was like, I would love to work with you. And so she took me under her wing and was like, Hey, this community theater is doing The Wizard of Oz and I think you will be great in. And I was like, okay, cool. So I went to audition and do what I needed to do. And, um, I booked the role of the scarecrow and I was like, oh my gosh, I just, I've always been like a performer, like standing in front of the TV near the fireplace in front of, you know, parents and they're like, yo, get out of the way. Like we're trying to watch TV right now. Um, and I was like, no, but look at me, I'm a star, you know?

[6:10] Malcolm Armwood: Um, so yeah, like, so performing has always been in my nature. Um, I was never like afraid or, um, nervous to be like, be in front of crowds or anything. Um, so yeah, that's how that all started. But then like musical theater started when I was in high school.

[6:32] Alan Seales: Wow. Okay. You, you were, you just dropped your mouth when he said that he wasn't afraid to be in front of crowds. Were you, were you afraid to be in front of crowds?

[6:39] Kay Trinidad: Not like, so when I'm in my element and not thinking about it, I remember doing like, it was recess in elementary school and I would put on this huge improv and it was like, I was like, oh, it's fun. It's fun. But like, I remembered then doing show and tell. I was like, so nervous, show and tell. Oh no. And I would like clam up and yeah, it's strange. Right. But yeah.

[7:01] Alan Seales: Well, when did you first start deciding that this was your path? Right. Because you're both, you're both, uh, in your bios, right. On social media, you both acknowledged your love or your, um, uh, I guess your focus on spirituality. Right. And so I feel like there's, when I ask people like, what is your path? Where's your, where's your journey? And we talk about this stuff. I feel like there's a deeper meaning for the both of you as well, because, because of the religious aspect, but for you and Malcolm, you said you were, you grew up in singing in church and that got you into the performing aspect, but like, Kay for you, where did this all come into your life?

[7:28] Kay Trinidad: Um, so I mean, I was just like Malcolm. I was always for my family. I was putting on my own shows, producing my own shows, charging them for their own food in the house, charging them for tickets. Uh, I was just putting on a lot of like acts for them and, uh, enjoying that. So my fam, my parents, especially, and the rest of my two other siblings, they always knew like, this is the path she's going to take. I never really knew. Um, growing up, I played piano and I, um, joined choir like in elementary school. Then once I got into middle school, I was playing all the sports, basketball, volleyball. I did track and field, um, soccer even. And, um, and I was still in choir too and just, you know, I love to sing.

So I was always, always singing. Um, and then once I got to high school, I auditioned for, um, show choir and that required dancing and singing and dancing and singing was very difficult. I didn't know it was so hard. And so I got my butt into, into dance lessons and trying to learn as much as I could in high school as well. Um, just to become a more well-rounded performer in that aspect. But, um, yeah, it's a really crazy trajectory for me because I thought I was actually going to get a scholarship for, uh, volleyball actually to, to go to college, but that was not my journey. And I ended up, um, going to NYU for theater. And, um, I think I jumped around a lot, but yeah, but I going down the road talking about spirituality, I mean, I've always trusted in whatever his will is for me. And, um, I've had my ups and downs, obviously in life as we all do, but, um, whenever I really put my faith and trust in him, I really just landed right where I'm supposed to be.

[9:29] Alan Seales: Before we get to Hadestown, I want to talk about that real quick. Kay, you just had a baby. Congratulations. Not just, but, but yeah, a little more than seven months, seven months. And it was a great time to do that during, during the quarantine shutdown. Good timing. Perfect timing.

[9:39] Alan Seales: Yeah. So then coming back, coming back to, to Hadestown, then you both were part of the original Broadway cast, of course. And so Malcolm, you started out as a swing. Kay, you were still in the same role as the fate. These, these roles are intense because, because they basically, they never leave the stage. I mean, almost all the roles never leave the stage, but this is a long show. It's a long two-act show and you're still in it multiple years later. And I guess my question, if I were to ask a question, which I will, is why, why, why do you continue to do this particular show eight times a week in these roles that seem like they are just so physically intense and draining?

[10:34] Kay Trinidad: Well, for me, I, this is so beautiful to me, like the story, the storytelling and just the message.

[10:43] Kay Trinidad: Behind Hadestown. It's about a community and I feel like that brings us together as a cast, you know, on stage and off. And also just to see the audience's reaction afterwards. You got people like weeping and just like, oh my gosh, like we can't believe that you just put this beautiful, you know, you put on this beautiful show. And honestly, it really does my heart really well. And it makes it worthwhile, you know, worthwhile seeing their reaction. So I'm tired though. I'm tired, but you know, I don't know, once we get on that stage, we just like push through and the music just, you know, lends itself to just fall into the, fall into the story. It's, I don't even like to call it work because it just, it's, we get to play and do what we've always dreamt of doing, you know, in our lives.

It's, it's an incredible feeling to be doing work that you love to do and that it's very fulfilling. It's not every, every day you get to do eight shows a week in such an epic, beautiful, Tony award winning show. And I'm very grateful every single time we take that bow after even a grueling two show days, we are exhausted. But it's so worth it because the art that we get to share, you know, it's changing lives, you know, it's affecting people. It's like doing the art for why I do the art, you know, healing, changing people's lives. Yes. So especially after this pandemic, like, you know, um, this show is very necessary.

[12:30] Alan Seales: Well, I dig into that. Why do you say that?

[12:39] Kay Trinidad: Um, I think it just, well, people, people just yearn for theater. People look, you know, we're always like looking to escape sometimes like our personal lives. You know, we, people, I feel like people go through things that we don't even know about, but just to be amongst artistry and creativity and, um, beautiful storytelling, it just gives them a time to just like put away whatever they were going through before they came through those doors, you know, and just allows them to just relish in the moment. I enjoy, I enjoy, this is one of the few shows, um, big, big budget musicals that doesn't have a happy, a happy ending, right? Because it's one of those, it's one of those things where to sell tickets, everyone's got to walk away feeling elated and happy and tell other friends, but this show still does, has that effect.

But like I saw the show last week again, again, I've seen a couple of times and the moment when, when Eva turns around or Reeve turns around, looks at Eva and, oh, oh, come on. Spoiler. Um, this is Greek mythology. Yeah. That moment, there's an audible gasp, like every time, like, oh, and then the person next, like a couple of seats over from me goes, no.

[14:07] Malcolm Armwood: Yeah. Yeah. We got that. Today. Yes. Very audible. You know, you at least hear somebody, but sometimes it's a communal coming, but you're not prepared. You're not, but you're just like, oh, maybe just, maybe he's just going to keep going. And like, you know what I'm saying? No, that ain't it. But to continue on to what Malcolm was talking about, like why, why we do it too and why it's needed now is it is a story of hope. And, and, and in a time like post pandemic, where there's a lot of parallels with the story, even like the disparity, disparity between rich and poor and just, you know, hopefully community coming together and rallying and, um, yeah. Climate change. And it's just, there's a lot of things, but at the end of the day, I like to see it as a story of hope to see how the world could be despite of the madness and the chaos and the crazy that's happening right now, you know, I think is, is ironic.

The first time I saw it is I, I saw, um, it was previews, one of the final previews, I think, before opening a couple of years ago. And we got to, you know, whole build a wall, build a wall and like to keep us safe. And this is right in the middle of the damn Trump bullshit, building a wall. And I'm like, oh, how topical, but Anais started writing this thing a decade ago before.

[15:30] Kay Trinidad: Listen, yes, she is tapped in.

[15:40] Malcolm Armwood: Yes. Right.

[15:40] Alan Seales: Yeah. So what, what has it been like for you to make, um, you know, Malcolm, your Broadway debut and Kay one of your, your, uh, your Broadway credits as your career is taking off and working with Rachel Chavkin and working with Anais, working with these incredible creatives that just elevate everything beyond where anyone else would imagine.

[16:05] Malcolm Armwood: Yeah, I mean, it's, it's been, um, really incredible working with these two powerhouse women to show also how theater can be when, you know, yeah. And over the rain, sometimes women, it's really, really been a bit enlightening time to be able to work with both of them. They're so brilliant in their own ways. Um, yeah. And it's cool when all the, the cogs and the wheels turn and work together as a team and it just makes everybody else on the creative team just that much stronger together. So, I mean, all of the creatives love them all. It's a great team.

[16:47] Kay Trinidad: Yeah. I think for me, I think they have really set the bar high. This being my first Broadway show, I'm just like, listen, if y'all aren't, these other shows aren't, you know, matching is, I think that's why it's hard for me to kind of leave and try, you know, even show to do something else because I'm like, I, I need to be doing a show that I want to do eight times a week because although, you know, I'm tired and sometimes a lot of times exhausted, I just enjoy, I really do enjoy this show. So like, I can't just be going to anything that's just, you know, that doesn't make me feel something. Then it will feel like work.

[17:28] Malcolm Armwood: Yeah. And I mean, sometimes you gotta do what you gotta do, but you have choices and we're staying.

[17:33] Kay Trinidad: Yeah. Also like the process, um, during, um, previews just to see how they collaborated with one another. And, um, I've never been a part of a show where, you know, we have rehearsals during the day and you're changing things. And then at nighttime, you're, you know, putting those, uh, implementing those new changes in the show. And it's just like, you know, your brain is like all over the place and, but how they, you know, work together and compromise.

[18:01] Malcolm Armwood: Yeah.

[18:01] Kay Trinidad: And, and working with them, this duo and creative team, like I say, that actually are, they're open to our input and it was just such a, uh, collaboration between them and us and the company. So it felt, it was fun creating together and, and also allowing us to, um, let our individuality like shine through on stage. Like, you know, part of who I am, Malcolm, you know, I got, I get to use that in the show.

[18:41] Malcolm Armwood: That's what part of what I really, really enjoyed about the show watching it, uh, last week was, was going in and, and purposely, uh, focusing my attention, not on, on what we're supposed to be looking at primarily on stage. Cause there's always, you know, when you're on stage as an ensemble, there's always somebody looking at you. That's the rule they're supposed to tell you, right? Like there's always somebody who's going to be watching you. So you have to be in character, but like the fates, especially the workers, especially act two, where you guys, there's a lot more watching there's observing because you become more truly a discreet chorus. And I love, love, love, especially like, okay, there was some moments you've got where you're going up to the lead characters and you're just like up in their shit and giving them attitude of like, here, you know, we are the wind, we are controlling your fate and, and you have nothing to do about it.

And I love, I love how each of the three of you have a slightly different takes on all this. You can tell you are allowed to be personal and are personable and individuals and same with the workers too. It's especially in act two, when you become more of the society of Hadestown, you're individual people rather than like a, a group, a clump of, you know, an amoeba.

[19:56] Kay Trinidad: So did, was that part of, of, I mean, did that evolve naturally or did, was that sort of the direction that, that you were told to go in when you were creating the show and bringing it to Broadway? Right. Of just like, bring yourselves to it. Or were you, was it always like do more, do more. And then director's like, not too much.

[20:11] Malcolm Armwood: Well, no, I mean, I feel like David really pushed for, you know, like, I want you to be you during this, you know, especially like during living it up, like, you know, express who you are and shine through. But there are moments where we are for the workers where we have to, you know, be on one accord and, you know, have to pretty much do the same thing. But like for the, for the most part, like when we're above ground, God, be you.

[20:43] Kay Trinidad: Yeah. Cause you're, that's when you're pretty much free. But then when you go underworld, it's just like, no freedom.

[20:57] Alan Seales: We're going to take a short break. Stay tuned for more of the episode.

[21:10] Alan Seales: Do you two miss the stage door now that COVID is in and the, and all this stuff has shut things down and made it all like bubblicious where we can't talk to people and touch people and all this?

[21:26] Kay Trinidad: People still wait outside. So, you know, I still say hello and show a little love.

[21:35] Malcolm Armwood: I mean, I think it's hard to say because it's in COVID time. So, I feel safe for not being in that group. But you're saying like in general, as an idea, do I miss it? Of course, just being able to be like, it's so cool. Those are the people who are supporting the show, right? And supporting us. So, I mean, I'm not going to lie. Sometimes I'm really tired to go out there and you know, but you have to remember, you're here because they want to see it. And it's because of them that we have a job. So, yeah, I do miss it. Yeah.

[22:09] Alan Seales: Well, it's funny. The people I think that I've asked that question to a couple of people and the people who don't miss it are the people who play evil characters. Because I wonder if like Patrick Page, for example, right, comes out and he's like, God, I hate stage dooring. Because everyone comes out and says they hate me. And that's sort of the thing, right? Like I talked with one of my favorite shows Breaking Bad, I talked with Anna Gunn, right, who played Skylar White, talked with her once and she was like, people send me hate mail for being so mean to Walter White. And she's like, do you not realize that as a character? This is a job for me.

[22:45] Kay Trinidad: Yeah.

[22:47] Alan Seales: So, it's weird.

[22:49] Kay Trinidad: People love Patrick, though.

[22:51] Alan Seales: Oh, sure.

[22:52] Kay Trinidad: People love Patrick.

[22:55] Alan Seales: I mean, how can you not love Patrick? And Amber Graves just announced that she's going to play her last show. Actually, by the time this episode comes out, she will have played her last show. Is that like losing family for you?

[23:07] Kay Trinidad: She is. You've been with her for so long.

[23:09] Malcolm Armwood: She is like the core. Like, OG.

[23:13] Kay Trinidad: She and Patrick have been with it since the beginning.

[23:16] Malcolm Armwood: Beginning.

[23:17] Kay Trinidad: Like, when we say beginning, like, beginning. Years, years, years.

[23:22] Malcolm Armwood: Her presence will definitely be missed. We'll still have her text code with her so we can poke at her there.

[23:28] Alan Seales: Do you guys have a favorite moment? Okay, two moments. One is for you to actually perform, to do it. But then there's another moment because you're doing so much observing. Do you have a moment you're looking forward to watching happen every night?

[23:43] Kay Trinidad: Oh, yes, I do. It's, um, I'm still on stage, but I get to watch when Persephone and Hades finally are in balance. And it's like that love union that I could, I could cry on stage every night, but I don't because it's, it's just a beautiful moment of the show, right? That they're finally, they found their love again. And yeah, I love that moment. I love that music. I love what it symbolizes. I just love. Yeah, that's my favorite.

[24:18] Malcolm Armwood: Yeah, I have actually two. That one. But also, I don't get to watch it because I'm supposed to be asleep. So it's also flowers. So I can hear Eva just like, just tear into the song and just lay her heart out and talk about the love that she once had and you know, he's gone. So yeah, that's one of my favorites as well.

[24:45] Kay Trinidad: It's just such a beautiful score. It's such, it's family. Now that you said that earlier in the episode, you were like, it's a family, it's a community, you've been together and you're telling the story as a family. And I guess Malcolm, for you, you started out as a swing. So how many tracks did you cover when you were swinging?

[25:03] Malcolm Armwood: I covered five tracks. I only went on for four of the five.

[25:11] Kay Trinidad: Well, shout out to Swings, Understudies, Alternates, and Standby.

[25:14] Malcolm Armwood: Everywhere, everywhere. Kudos.

[25:18] Alan Seales: Kudos, right. Is for you doing the different tracks, do you feel a different sense? I guess I'm thinking about the family dynamic of all of this and I don't know how to phrase this exactly how I want to phrase it. But is it like being the youngest child and then the middle child and then the oldest child and then like, K for you, who's in the same role every time? Are you being a different parent or a different sibling to people as they're swinging in and out?

[25:47] Malcolm Armwood: OK, well, for me, I know I kind of felt as a swing starting this new show, I kind of felt like a step. I shouldn't say stepchild. I felt like a little disconnected because, you know, on stage, the on stage cast, they, you know, they get to do this every night together and they get to bond a little bit more. And the Swings really didn't get that much interaction with the on stage cast. But now that I have, you know, now that I'm in my track, not saying that the on stage cast didn't try to, you know, they didn't like talk to us or anything, but it was just, you know, just a little different. We're just on stage together all the time. Right. Right. And we're all together. And now that I am in my own track, I try to make an effort more to make sure that the Swings are good and that they feel included, you know, with what we are doing. So no one feels like separate or anything.

[27:00] Kay Trinidad: It's important. It's so important because the Swing, you want to give the best performance you ever can as a show, right? The show needs to be the best it is at all times. And contrary to what anyone may have said in the news as of late in the last few months, Swings Understudy Standby Alternates are some of the most undervalued, underappreciated people in the industry. And especially right now during COVID, we wouldn't be here going on eight hours a week without Swings Understudy's new show. Because, no, it's it's just not possible.

[27:36] Malcolm Armwood: And I love the mental health aspect of all of this as well, because in the last couple of years, right as COVID hit, there was this upward trend. And then COVID sort of put a stop to it because now we had something else to talk about. But there was this trend of saying, OK, I'm cool talking about vocal injuries and and calling out of shows. And, you know, before it was one of those things where if you felt sick, you just got to push through it because that's what you were expected to. But now, like, are you seeing are you how are you feeling this on your side of of the proscenium? How is this affecting you and the rest of the cast?

[28:10] Kay Trinidad: Oh, with a call out culture now? Yeah. Yeah.

[28:13] Malcolm Armwood: I mean, I think we know we need to take care of ourselves and that old culture is it's not right. But we were we've always grown up in this industry thinking, well, we have to show too much going on, which is not healthy. So instead of I mean, there are times I know for me when I was sick, I go go see the auntie, get some steroids, try to push through, you know, and other people would do that, too. But that's not like you just need to heal. You need to heal. That's do what's best for you. And so, you know, because this is our instrument. So I think now the we know. And anyways, if anyone feels sick, we just have to be like we're out. We have to be. And that's not just thinking for yourself. That's thinking for the other people around you. Right. So it's more selfless to be able to call out and to take care of everybody, not just yourself, too.

[29:02] Alan Seales: Well, I want to give a special shout out here. When I when I saw it the other night, the role of Hermes was played by Trent Saunders.

[29:10] Malcolm Armwood: All right, Trent. Like, I would love to see like, like, OK, well, you and the Fates did with these albums and whatnot. I want to have I want to have all of the all of the Hermes get together, like the tour Hermes and Trent and and Andre. And just like this, this album together, because, God, everybody brings such a unique flavor to this, to the role in such a different way.

[29:37] Kay Trinidad: And that goes back to the question I asked a little bit ago. It's half hour.

[29:43] Alan Seales: You are joining us from the dressing room. We just had a half hour.

[29:48] Malcolm Armwood: What's that? I'm in the dressing room right now. And it's your birthday.

[29:57] Alan Seales: Happy birthday. Oh, my God.

[30:02] Malcolm Armwood: All right. So from the dressing room, you're going to we're going to wrap this up because you are at half hour for your 730. Thank you so much for doing this. Both of you. Where can we find you online?

[30:13] Malcolm Armwood: Well, you can find me on Instagram. M.A.R.M.W.O.O.D. 2 1 4.

[30:18] Kay Trinidad: And I am Katrina. I'm on Instagram. Kate Trinidad on Facebook. The question is probably.

[30:28] Alan Seales: I almost forgot the three standard closing questions that I ask everybody on every episode. So, Kay, you first. What motivates you? What what? What motivates you?

[30:36] Kay Trinidad: Motivates my baby girl.

[30:42] Malcolm Armwood: I love.

[30:48] Malcolm Armwood: I think like having dreams and goals and like making sure like I actually try my best to, you know, reach for them and. Yeah. And not just give up easily.

[31:03] Alan Seales: All right. So the second question, I'll skip over that in the interest of time. It was what advice would you give to people? But the third question, this is super hard. If you can only see one show for the rest of your life, you can see it as many times as you want. Malcolm, what would you see?

[31:15] Malcolm Armwood: Oh, man. What? A theater show? Any show.

[31:24] Malcolm Armwood: 80s town.

[31:30] Kay Trinidad: Happy birthday.

[31:50] Malcolm Armwood: They say happy birthday. Happy birthday to you.

[31:55] Alan Seales: I love it. Thank you. Thank you so much, both of you. This has been this has been a lot of fun. I really enjoyed it. Thank you, Alan.