Amber Iman, Austin Scott, Nick Rashad Burroughs and more join GODDESS at the Public Theatre - Spring 2025 — Page 3

I went over the weekend and while I found parts of this exciting, it's muddled and sorely needs focus... I'm bummed they didn't have it together more because when this is good, it's intoxicating. The band's invigorating, the design elements are lush, there are some real scene-stealers in the cast, and there's savvy direction and some really cool puppetry which I'd have loved to see more of. It's got a distinctive musical profile and some incredibly catchy tunes, especially the duets and group songs like that Boom Boom number that will be stuck in my head forever. But unfortunately I was far more enamored with the storytelling than the story itself, which is lacking.

They need to be way more ruthless with the material. Amber Iman is stunning, and her vocals are stunning, but her solos and the solos more broadly are generally the weakest songs in the show, with the exception being one solo in the second act from a character that doesn't get much airtime otherwise. The lyrics are too direct to grip you, and while some directness can be a good thing when deployed the right amount, it loses its impact when all of Nadira's (Iman's character) and Omari's (Austin Scott) songs are them planting and telling us exactly how they feel without specificity. Even the song titles reflect this, like "I Want to Live in the Music" doesn't go much deeper than that. These songs could be cut down to snippets or cut entirely and the show would still say just as much. Nadira's motivations for being on Earth are not clearly explained, either. (It reminded me of Boop! in a way, where you have a sensational performer at the center of it but the book kind of strands her and leaves her drive underdeveloped.) The core relationship of the show, between Nadira and Omari, lacks heat and isn't developed enough for an audience to understand why it's special or matters. Meanwhile, the supporting characters aren't built up enough, so when they get bigger moments or are suddenly thrust into the spotlight, like the B-couple and Madongo, it doesn't feel earned. It also just feels like there are too many characters floating around. It needs more book and a better book.

The mythology elements are more compelling than the human storyline and I wish they leaned more into what makes this piece unique. Perhaps a more mythology-forward version of this is not the story they want to tell, even though that would feel higher-stakes and play to the show's strengths, but if they're going to try and balance the divine and the earthbound/political storylines, at least work to make the those storylines rise to the heights of the goddess stuff.

I thought a lot about Lempicka afterward, which also contained real flashes of promise but (evidently) suffered from getting tinkered with for too long and losing what could've made it special... Meanwhile, Goddess has thrilling moments and fresh ideas, but has probably been tinkered with for too long and needs a firmer guiding hand to get everything to coalesce. The highs are high enough that I'd love to see them figure this out someday, but as it stands that'll take a significant amount of work.

Amber Iman delivers Goddess-level vocals as an African deity hiding in Kenya's club scene. If your suspension of disbelief is well-honed, Goddess is captivating, but not always otherworldly. Full review here ⏰

The reviews are universally euphoric about Amber Iman and it’s well deserved.

I would even go insofar as to say that, if she was was eligible this year, she might’ve taken that Tony out from under Audra and Nicole. You can already tell when this transfers that she will be the focal point of every awards conversation

I didn’t mean to imply that a transfer was imminent (and don’t think I did). I was mostly just speaking to the fact that the reviewers all agree on Amber Iman.

I concur that there is book work to be done, but I don’t rule out the possibility of a transfer in a few seasons provided they do the necessary work on the book

Yeah, this definitely is going to move.

It does seem like if any other show had two tryouts, and even booted off a bookwriter between them, and still had book trouble, there usually would be more naysayers. But I guess Thurber's music and Iman's star power both are enough to keep it on track.

But there's always someone with money dumb enough to lose a bunch of it.

quizking101 said: "The reviews are universally euphoric about Amber Iman and it’s well deserved.

I would even go insofar as to say that, if she was was eligible this year, she might’ve taken that Tony out from under Audra and Nicole. You can already tell when this transfers that she will be the focal point of every awards conversation"

LOL and transfer? This won't last on Broadway.

SteveSanders said: "Kad said: "Regardless of reviews, this production just doesn’t seem to have any heat or buzz around it at all."

Seems like maybe this has been the case for much of The Public's most recent efforts? I know there have been some exceptions, but I just don't hear them as regular a part of the buzz as they once were. Maybe others are and my experience is in the minority."

I would generally agree. It's not that they're putting up weak work, per se, but that they don't seem to be leading the conversation the way they were pre-pandemic.

Kad said: "SteveSanders said: "Kad said: "Regardless of reviews, this production just doesn’t seem to have any heat or buzz around it at all."

Seems like maybe this has been the case for much of The Public's most recent efforts? I know there have been some exceptions, but I just don't hear them as regular a part of the buzz as they once were. Maybe others are and my experience is in the minority."

I would generally agree. It's not that they're putting up weak work, per se, but that they don't seem to be leading the conversation the way they were pre-pandemic."

I feel like there's also been an effort on the part of The Public to manage expectations given they've had a string of shows that had a lot of hype behind them that ultimately came up short when it came time for reviews/word of mouth. Suffs and Hell's Kitchen being the two examples I'm thinking of. Obviously, HK has done well for itself on the back of Alicia's fame, but since Hamilton I've felt like any musical that goes there has outsized expectations working against it.

Agree. This should not transfer. It's had its moment in NYC hopefully.

CoffeeBreak said: "Agree. This should not transfer. It's had its moment in NYC hopefully."

I mean, it has definitely caught some momentum in the last few weeks with all performances sold out or nearly sold out.

As I’ve told many people, it’s definitely a spiritual cousin of BUENA VISTA SOCIAL CLUB with a bit of XANADU mixed in. It’s an odd combo, and I’ve mentioned the book needs tightening, but (like someone said) if they kill some darlings, it could be a hit and Lord knows we are craving for original works. If anything, the score alone is worthy of celebration.

IMHO, there are too many external conflicts for Marimba and Omari - if they can focus more in on their budding connection in spite of their familial expectations, then you have a much tighter story.

Imagining the design of the finale with more money is enough for me to want them to write the checks now

ErmengardeStopSniveling said: "When we look back, the Hamilton/Fun Home era of the Public will likely be the high point of Oskar’s tenure (an era that also included doing that Richard Nelson play ON election night 2016). Trying to replicate that will only end in failure.."

I would extend that era back to Hair/Twelfth Night in the park, and then set the cutoff point to the pandemic. It's an incredible period in which the Public really dominated the American theatre.

However, I do think the pandemic exposed a great deal of the weaknesses behind Eustis' tenure. The expense of massive growth and large capital campaigns (I remain deeply unsure that the addition of a mezzanine level and the Library restaurant was really worth the expense, particularly when their theatre spaces themselves continue to need updates and renovation), the pursuit of Broadway transfers, the large disparity in pay between the executive positions and rank and file staff- things that could be glossed over pre-pandemic as the theatre churned out high profile productions, but the abrupt halt of the industry really jarred them and revealed that it wasn't as sustainable as it appeared. These problems aren't unique to the Public, of course- other companies like Signature are in a similar place.

Updated On: 6/15/25 at 01:14 PM