Off-B'way Review: Goddess; Lights Out: Nat "King" Cole

Austin Scott and Amber Iman in Goddess.
Credit: Joan Marcus

There are several thrilling elements in Goddess, the new musical at the Public Theater, and in Lights Out: Nat “King” Cole, the new play with music at the New York Theater Workshop. But both shows fail to coalesce into a satisfying whole. Goddess features the exciting voice of Amber Iman, a vibrant score by Michael Thurber, and dazzling choreography by Darrell Grand Moultrie, but the book by Saheem Ali (who also directs) and Pulitzer Prize-winning playwright James Ijames (credited with “additional book material”) is cliched and underdeveloped. 

The plot revolves around the divine singer Nadira (a stunning Iman) who is in reality Marimba, goddess of music. Like the Rita Hayworth character in the Hollywood movie musical, Down to Earth, Marimba has descended from the heavens and experiences internal conflict when she falls in love with a mortal (a virile Austin Scott as Omari, the son of politician in modern-day Mombasa, the capital of Kenya). 

Austin Scott and Amber Iman in Goddess.
Credit: Joan Marcus

In order to fulfill her destiny as mankind’s muse, Marimba must defy her mother, the evil goddess of war (represented by a giant puppet beautifully designed by Julian Crouch). Similarly, Omari, who longs to expression himself as sax player, is forced to confront his conservative parents and veer from their plans for him to continue the family’s political dynasty. The authors fail to deliver on either of these fronts, denying us the battle for either character which will resolve their conflicts. Instead, their romance is cut short when Marimba returns skyward and all struggles are quickly wrapped up in a tidy finale. 

Nick Rashad Burroughs and cast in Goddess.
Credit: Joan Marcus

The ending and the tired plot are something of a let down, but there are plenty of musical pluses along the way. Iman is a divine vision with a soaring voice to match. Austin Scott makes an attractive equal as her leading man, skillfully depicting Omari’s inner conflict and he plays a mean sax. Nick Rashad Burroughs and Arica Jackson provide generous comic relief as saucy emcee and barmaid at Moto Moto, the nightclub where Nadira plies her trade. Destinee Rae as Omari’s ambitious fiancee, J Paul Nicholas as his oppressive father, and Ayana George Jackson as his loving mother do their best to bring life to their stereotyped roles. Reggie D. White is an intriguing, mystifying presence as a sagacious seer. Melissa Clark, Teshomech Olenja, and Awa Secka comprise the vibrantly sexy GrioTrio, an African Greek Chorus narrating the tale.

Thurber’s score combines elements of jazz, R&B, world music and Afro roots, pumping blood into the cliched storyline as does Moultrie’s exciting dances and Ali’s fluid direction. Arnulfo Maldonado’s imaginative set and Dede Ayite’s colorful costumes combine earthy and otherworldly elements as does Bradley King’s spectral lighting. Like its titular heroine, Goddess attempts to reconcile its heavenly and baser portions, but doesn’t bring a successful mixture off.

Dulé Hill in Lights Out: Nat "King" Cole.
Credit; Marc J. Franklin

Similarly, Colman Domingo and Patricia McGregor’s Lights Out: Nat “King” Cole seeks to blend disparate components which don’t quite successfully coalesce. The goal here is to combine a conventional show-biz bio with stark political commentary. Co-authors Domingo and McGregor who also directs, set up the framework of the last taping of Cole’s NBC variety series on Dec. 17, 1957. The affable, chart-topping crooner was the first African-American to host a network series. The Peacock net has consigned it to the ratings desert of Saturday afternoons at 6:30 pm and finally is axing the series due to pressure from Southern affiliates who cannot tolerate a Black performer in a non-subservient role. 

Cole (the magnificently versatile Dulé Hill) has attempted to walk the racial tightrope of maintaining a dignified image while not stirring up racial resentments. As he prepares for his final broadcast, Domingo and McGregor throw Cole into a fever dream of nightmarish proportions. They cast Sammy Davis Jr. (an equally exciting Daniel J. Watts) as Cole’s explosive alter ego, demonically defying racist expectations and ripping up the staid musical numbers. The white-bread, white Christmas special becomes a broad political cartoon as racist tropes detonate and the backstage handlers blow their tops. Cole’s hits such as “Nature Boy,” “Somewhere Along the Way,”  “Straighten Up and Fly Right,” and “Smile” serve as springboards for editorialization on race relations.

Daniel J. Watts and Dulé Hill in
Lights Out: Nat "King" Cole.
Credit: Marc J. Franklin

Through numerous numbers, the political points are made and remade till it feels as if the authors are hitting us over the head. Fortunately, the musical arrangements, supervision and orchestrations by John McDaniel and music direction by Vadim Feichtner are superb. The highlight of the entire show is a titanic tap battle between Cole and Davis reminiscent of Savion Glover’s Bring in da Noise/Bring in da Funk, expressing the characters’ anger at social injustice. It starts with Cole typing to the tune of “I’m Gonna Sit Write Down and Write Myself a Letter” while Davis taps to “Me and My Shadow,” gradually the two tunes and dances blend together into a face-off of rhythmic rage. Jared Grimes created the dynamic tap choreography. 

McGregor’s direction is proficient but overheated, presenting the characters as symbols rather than flesh and blood. Hill and Watts deliver supernova performances, displaying impressive song-and-dance skills as well as liming the depths of these show-biz icons’ conflicted psyches. (The use of Davis of a representation of African-American anger is interesting since the real Davis was a political conservative, publicly embracing Richard Nixon and receiving criticism from Black progressives for his non-confrontational stance on race.) There are also impressive musical and dramatic portraits from Krystal Joy Brown as Eartha Kitt and Cole’s daughter Natalie, Ruby Lewis as white guests stars Betty Hutton and Peggy Lee, Kenita Miller as Cole’s mother, Kathy Fitzgerald as a veteran make-up artist, Christopher Ryan Grant as the TV show’s cynical producer, and Walter Russell III as the young Billy Preston and Cole as a kid. Clint Ramos’ TV studio set and Katie O’Neill’s period costumes capture the 1950s atmosphere. There is wit and dynamic musical talent in Lights Out, but its intense and unrelenting tone obscure and overstate its message.

Goddess: May 20—June 15. Public Theater, 425 Lafayette St., NYC. Running time: two hours and 20 mins. including intermission. publictheater.org. 

Lights Out: Nat “King” Cole: May 19—June 29. New York Theater Workshop, 79 E. 4th St., NYC. Running time: 90 mins. with no intermission. nytw.org.