Goddess

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Goddess, the exciting new musical now at The Public Theater, has an interesting pedigree. Book writer/director Saheem Ali first heard the African myth of Marimba, Goddess of Music, as a teenager growing up in Kenya. He conceived the idea of the musical in 2007 and it was accepted at the Eugene O’Neill Musical Theatre Conference in 2013 with music and lyrics by Michael Thurber with whom he has collaborated on other projects. The world premiere at Berkeley Repertory Theatre had a book that was co-written with award-winning playwright Jocelyn Bioh. The New York version now has additional book material by Pulitzer Prize playwright James Ijames instead.

Narrated by The Griotrio (Melessie Clark, Teshomech Olenja, and Awa Sal Secka), the story, a mix of African mythology and modern politics, concerns the arrival of a mysterious singer named Nadira at Mombasa’s Moto Moto Afro-Jazz nightclub where she casts a spell on all who hear her. When Omari, son of the Governor of Mombasa, returns from studying in New York, to take over his father’s campaign as he has recently had a heart attack, his first stop is Moto Moto (which means “Hot Hot”  in Swahili, the native language of Kenya) to drop off his saxophone as his father disapproves of his musical ambitions. He too becomes enamored of Nadira, though he has a long-time fiancée Cheche who his parents chose when he was still a child. Though his father considers places like Moto Moto dens of depravity, Omari cannot stay away.

However, the course of true love does not always run smoothly. As the Griotrio tells us, Nadira is actually Marimba, the daughter of Watamaraka, the Goddess of Evil who expects her to take her rightful place as the Goddess of War. Refusing to do so, she flees and takes refuge in Moto Moto, becoming the Goddess of Music. Not only is Nadira wooed by Omari knowing he is being unfaithful to his fiancée and his family heritage, but also Madongo, the dangerous owner of the club. Nadira knows that as a Goddess she cannot get involved with Omari but she doesn’t tell him and lets their relationship go as far as it can by which time Cheche discovers them together. Considering the mythological/fairy tale elements, the ending is predictable but enjoyable nevertheless.

Thurber’s authentic sounding and pulsating score is influenced by jazz, R&B, Taarab, Afrobeat, Pop and Soul. The best songs are those sung by Nadira and Omari, either together, or as solos: Nadira’s “Honeysweet,” “Learn to Love” and “Nadira’s Aria,” and Nadira and Omari’s duets, “Feels Like Music, and “Near You,” as well as Omari’s solo, “This Prayer.” However, the ensemble number “Boom Boom” sung by Omari, Nadira, the club’s M.C. Ahmed and the accomplished nine member ensemble is a one that brings down the house. The comic relief characters, bartender Rashida and her faithful swain Ahmed have a delightful duet called “It’s a Date.” In addition, Omari’s mother Siti, subservient to his domineering father all her life, has a powerful song in which she describes her life and his heritage called “Baobab Roots.”

In the title role, Amber Iman makes a sensational return to Off Broadway after her Tony Award and Drama League-nominated performance in Lempicka last season. This beautiful statuesque actress brings poise and elegance to the role of the goddess who comes down to earth in human form. Her magnificent singing brings the audience to its feet for her final solo. Austin Scott is a stalwart Omari both in his singing and saxophone playing which also impresses. As the excitable Rashida and Ahmed, Arica Jackson and Nick Rashad Burroughs make a terrific team playing off of each other.

J Paul Nicholas brings dignity and old-fashioned values to Omari’s strict Muslim father Hassan while Ayana George Jackson as his mother Siti is compassionate and understanding. As the seer Balozi, the tall, muscular Reggie D. White is both frightening and wise. Jason Bowen is sinister as the demanding Madongo, manager of Moto Moto. Subbing for the usual Destinee Rea, Ekele Ukegbu is a perceptive and sensible Cheche. The Griotrio (Melessie Clark, Teshomech Olenja and Awa Sal Secka) make beautiful music in all their appearances. The nine member ensemble impresses in both their singing and dancing of Darrell Grand Moultrie’s torrid choreography.

Anulfo Maldonado’s appropriate grotto scenic design is mainly a unit set of the nightclub which also serves as the living room of Omari’s parents and the premises of the seer Balozi on the other side of town. This is lit alternately in pink, blue and purple lights by Bradley King. Only Dede Ayite’s costumes are a bit wanting: while the Goddess and the Griotrio’s gowns are sumptuous, the other characters wear the same outfits throughout although months go by in the course of the story. Julian Crouch is responsible for the truly frightening puppet design for Nadira’s mother Watamaraka, Goddess of Evil. In this obvious labor of love, Ali’s direction makes us feel the passion and heat generated by the music and dancing at the Moto Moto club.

Goddess (extended through June 15, 2025)

The Public Theater

Newman Theater, 425 Lafayette Street, in Manhattan

For tickets, call 212-539-8500 or visit http://www.publictheater.org

Running time: two hours and 25 minutes including one intermission