Interludes

THE HANGOVER REPORT – Amber Iman shimmers in the enjoyable, by-the-numbers new musical GODDESS at The Public Theater

• By drediman
• May 29, 2025
• No Comments

This spring, the long-in-gestation musical Goddess has arrived at The Public Theater’s storied Newman Theater. Featuring a score by theater veteran Michael Thurber and a book co-written by The Public’s Resident Director Saheem Ali (who also directs) and James Ijames (who won a Pulitzer Prize for Fat Ham), the fantastical musical — which is based on the legend of Marimba — tells the tale of a goddess who fleas from the burdens placed upon her by her mother and takes refuge in Moto Moto, an underground club in Mombasa, Kenya. There, she must find her path — whether to pursue a life with mortals or to embrace her place with the gods. Along the way, she crosses paths with a young man who faces a similar dilemma as he struggles to reconcile familial loyalty with his political aspirations and personal interests (namely, music-making); together, they journey to find their truest selves, making earth-shaking music in the process.

Given the earnest sentiments at play in Goddess, the overall endeavor has the feel of a Disney fairy tale for adults — there are actually string shades of The Lion King — complete with broadly written and portrayed characters and an enjoyable, by-the-numbers book that unfolds efficiently if a tad predictably (playwright Jocelyn Bioh was previously attached to the project and was credited for the penning a version of the book during the musical’s run at Berkley Rep). What’s missing from the current iteration is convincing grit and defiance, which renders a number of scenes on the bland side. Nevertheless, the musical soars when it’s in full song and dance mode. Thurber’s infectious and soulful score boasts Afro-jazz songs that pop brilliantly from the stage. Indeed, the show is at its best when these songs are married to the rhythmic, high powered choreography of Darrell Grand Moultrie, whose exuberant ensemble work leans in on the heat of the moment. It’s often thrilling to behold.

Despite my misgivings about the book, Ali has given Goddess a beautifully mounted staging with top-notch production values; lights, sound, sets, and costumes beautifully come together to manifest Moto Moto as a convincing and authentic cradle for individualism. Also worth mentioning is Julian Crouch’s gorgeous puppetry, which nearly steals each scene in which its featured. As the goddess Marimba/Nadira, Amber Iman showcases her smoldering stage presence and distinctly rich, smoky voice in an uncompromising performance that shimmers boldly. It’s a true star turn. As her love interest, the handsome Austin Scott is immensely likable in a somewhat underwritten role. Of the supporting cast, shining most brightly are the irresistibly boisterous performances of Arica Jackson and Nick Rashad Burroughs as Moto Moto’s sassy bartender and dynamic emcee, respectively.

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GODDESS
Off-Broadway, Musical
The Public Theater
2 hours, 20 minutes (with one intermission)
Through June 15