Review by Adam Cohen…
New Musical by Michael Thurber and Saheem Ali throbs with musical vibrancy thanks to Amber Iman
New musicals are often exciting. They can also be exacting or intriguingly filled with possibility one can’t wait to see what comes next. Goddess at the Public Theater is a bright, bold new musical that ascends to the heavens with its music, singing, and dancing. The production is often vibrantly exuberant with a magical cast whose combined talent and charisma is stratospheric.
From the opening moments, a pulsing valentine to Mombasa, framed by Arnulfo Maldonado’s evocative set design, Bradley King’s powerful lighting and Dede Ayite’s gorgeous costumes, the sense of self for the show is firmly established.
The show reimagines the African myth of Marimba (Amber Iman), goddess of music. Marimba forsakes her mother’s passion for violence once she’s named Goddess of War. Seeing first-hand the cost of violence, Marimba transforms a bow and arrow into an instrument. With puppets by Julian Crouch, several cast members move the matron god’s arms and heads. This is powerful, awe-inspiring stage craft. Marimba forsakes her mother’s passion for violence with music. Yet, she wants to know what it’s like to love as mortals do. She hide’s away in Mombasa’s night club Moto Moto and becomes a singing sensation. Men fall under the sway of her regal voice. Alas any man who loves her is subject to death.
Marimba returns the affections, warily, of Omari (Austin Scott), the son of the governor of Mombasa. He’s returned from New York to continue the political dynasty – albeit doing it his way – embracing the culture of Moto Moto (music, homosexuality, rich, poor) as part of his campaign. This chafes with his father Hassan (J Paul Nicholas) and mother Siti (Ayana George Jackson). He’s engaged to Cheche (Destinee Rea). Here the book by director Saheem Ali with additional material by James Ijames quickly mires in the pedestrian trappings of musical plot. Laden with a love triangle and the conflict between stern parents and a rebellious well-meaning son who happens to be play the saxophone, parental issues are set to kill.
The sidekick romance elevates the proceedings immensely thanks to the hugely talented, magnetic and energetic club emcee, Ahmed (Nick Rashad Burroughs), boisterous, hysterical Rashida (Arica Jackson). Their effervescent flirtatious oomph threatens to steal the show with their quirky rom-com vibe. Of course, there’s a wise, mysterious shaman Balozi (Reggie D. White) to counsel human and goddess alike.
The dances by Darrell Grand Moultrie are magnificent. There may not be a harder working ensemble in all of New York City. Together they are electric.
The real sorcery here is in the music by Michael Thurber and Iman’s majestic performance. From the opening beats, the audience bops along in ways I haven’t seen. Afrobeats, jazz, R&B, theatrical pop abound skillfully. There are many buoyant moments when the chorus float off on an ethereal harmony or when Iman electrifies the audience with her formidable pipes. Iman’s voice is pure silk. She wields her talent with regality and elegance. With her considerable singing nuance and power, it is easy for all to fall for her. Would that the book was less strained, and Goddess would arise to the level of the stage craft and performances on stage.
Goddess is at the Public Theater through June 15th. Tickets and more information at https://publictheater.org/productions/season/2425/goddess/
Photos by Joan Marcus
