Goddess – 17 May 2025

The energy and impact of Goddess as the best musical I have seen in a very long time was evident from the first downbeat. Every element of this show is original and it doesn’t need stunt casting—it pulls its talent pool from people with theatrical training and incredible abilities. Goddess dazzles and amazes, and had me moving in my seat from start to finish. The most refreshing element of this tightly polished gem of a musical is that Goddess is fully original content—not based on a movie or previous theatre work, but the genuinely original new musical I hungered for all season long. Though I wrote this review in advance of opening night, I am certain that a Broadway transfer must be in the works behind the scenes. This triumph is wonderful at the Public, but it has a charisma that needs to be taken to a bigger stage with a wider audience.

Goddess beautifully balances moments that make us feel strong and supported with moments that are absolutely heartbreaking. Amber Iman’s solo moments of doubt and self discovery are immensely powerful and though she is the driving force of the production, she is not the whole picture. The vibrant dance ensemble, with choreography (Darrell Grand Moultrie) that gives every individual the ability to shine, creates an atmosphere of unabashed pride that uplifts the entire audience on a collective journey that is transformative in its unique way of letting all characters, even the less likable ones like Madongo (Jason Bowen) and Hassan (J Paul Nicholas) have enough of their stories told that it’s tough to completely hate or disregard them.

The show leans on the power of women, with The Griotrio (Melessie Clark, Teshomech Olenja, Awa Sal Secka) narrating as the siren voices who know some of what goes on above and below. Their harmonies are piercing and hauntingly beautiful. Even Cheche (Destinee Rea), the hijabi who by most storytellers would be painted in a passive light as ignorant and childish, is instead shown as the intelligence and muscle behind her bethrothed, Omari (Austin Scott)’s political campaign for governor. At the end of the story, he is referenced as the Governor of Mombasa—but in the curtain call, Cheche is running for president. Her fire and determination are seen by the writers as a loose end worth tying up– they don’t leave her hanging in the dust, waiting for another offer of marriage. The way that the women in the show are uplifted and never sidelined is a rare and beautiful thing that is needed in today’s world for every person who feels uncertain of the importance of their part of the fabric of existence.

I’ve yet to provide a plot summary—also, I’ve decided I’m not going to. This is a show about angering the gods, celebrating existence, embracing loved ones, following our truths, questioning our realities, and coming back to people and places that feel like home to us in some way. It’s not a feel good show—there is space for tears, just as much as laughter. I hope that you will go and experience Goddess and Mombasa and the fictional bar of Moto Moto. I hope that you can trust me when I say that The Public Theater has crafted an unforgettable and utterly unmissable experiences that is satisfying and gratifying in every way. You will never want to leave Goddess. It is breathtaking. There is not praise high enough—only gratitude.

I attended this performance on a press pass from The Public Theater Press Team.