At the start of Goddess, the elaborate, captivating, chaotic new musical at the Public Theater, the Griotrio—aka the muses/storytellers, played by Melessie Clark, Teshomech Olenja, and Awa Sal Secka—promises to tell us the story of Marimba, the African goddess of music. “Upon these shores of Kenya lies a sacred ground/ Where music was created from humble sound.”
Then, suddenly, we’re in Mombasa, Kenya, in the packed Moto Moto club, where Ahmed (Nick Rashad Burroughs), the self-proclaimed “MC of all MC’s,” is leading the crowd in the banger “Mombasa Mombasa.” And it’s not until after the new club star, Nadira (Lempicka’s Amber Iman, stunning), sings a jazzy solo that the Griotrio takes us “back to the beginning”: when Marimba, then the goddess of war, decided to make music, turning men’s weapons of destruction into instruments of joy—thus defying her mother’s will and earning her wrath. Marimba transforms herself into the human Nadira so she can “Live in the Music” (as one song goes), but her mother has cursed her: “You will never have love.” This presents a problem, considering there are major sparks flying between Nadira and onetime Moto Moto regular Omari (Girl From the North Country’s Austin Scott), who’s just back from NYC and embarking on a promising political career.
Dropping us into the lively Moto Moto and then yanking us out into a much bleaker ancient mythological landscape is a bit unfair, not to mention dramaturgically clunky—an unexpected misstep from director/librettist Saheem Ali, the Tony-nominated director of Buena Vista Social Club. Soon enough, though, we return to present-day Mombasa, with Omari’s well-heeled family—mother Siti (Ayana George Jackson) and father Hassan (J Paul Nicholas), the current governor, and fiancée Cheche (Destinee Rea). And, thankfully, it’s not long before we’re back in “the hottest and sexiest jazz club in all of Mombasa.”
It’s no wonder that Omari wants to hang out at Moto Moto: The music is hot (the often-spellbinding Goddess songs—which include elements of R&B, Afrobeat, pop, East African taarab—are by Michael Thurber); the dancing is even hotter (thanks to choreographer Darrell Grand Moultrie); there’s a super-sweet budding romance between Ahmed and proprietor Rashida (Arica Jackson); and he, and we, can’t get enough of Nadira’s soulful vocals. Side note: Someone needs to do a jazz album with Amber Iman, and it needs to include the ultra-lush “Honeysweet.”
If only Thurber, Ali, and James Ijames—the Fat Ham author is credited with additional book material—could make the scenes outside the club equally scintillating. Perhaps Goddess is still experiencing some growing pains: The musical has been in development for some time, and had its world premiere in 2022 at Berkeley Rep; at that time, Jocelyn Bioh—her Merry Wives, directed by Ali, reopened the Public’s Delacorte Theater post-pandemic in 2021, and she was later Tony-nominated for her play Jaja’s African Hair Braiding in 2024—was listed as the book writer, and Mkhululi Z. Mabija credited with additional material.
But it’s clear that the Public isn’t the show’s last stop. This production is a visual feast. Dede Ayite has outdone herself with the costumes: From the club dancers’ streetwear to Nadira’s gold handlet—Ayite’s attention to detail is unmatched. And, unsurprisingly, Nikiya Mathis’ hair and wig designs are works of modern art. Ali, who was born and raised in Kenya, has made no secret of his dream of bringing Goddess to Broadway. It just needs little work…and perhaps the blessing of Marimba.
Goddess opened May 20, 2025, at the Public Theater and runs through June 8. Tickets and information: publictheater.org
