Amber Iman has long been a treasured presence in musical theater, known for a voice that shimmers with raw emotion and technical finesse—at once powerful and intimate, bold yet nuanced. Now, in Goddess, a new musical making its debut at the Public Theater, Iman finally takes center stage in a role that is as monumental as her talent. The production, directed and co-written by Saheem Ali with music by Michael Thurber, weaves a mythical tale set in a jazz club in modern-day Mombasa. It offers Iman not only a long-awaited starring role, but a space to bring her entire artistic self to life.
With a jazz-infused score layered with Afrobeat, soul, and R&B, Goddess feels like a homecoming—not just for its character, a divine being seeking love among mortals, but for Iman herself. This show is the culmination of eight years of development and dedication. Initially brought on board by librettist Jocelyn Bioh without an audition, Iman has been intimately tied to the show since its earliest drafts—before even a single note of music had been written.
“I don’t take this opportunity lightly,” she tells Vogue. “It’s an honor.” For Iman, who once dreamed of minoring in jazz at Howard University but found herself charting a different academic path, Goddess is a realization of a musical ambition she’s long pursued. “I’m an actor who sings,” she insists modestly. “But I’ve always wanted to be a student of music.”
This reverence for craft runs deep. Despite comparisons to jazz legends like Sarah Vaughan and Samara Joy, Iman resists calling herself a jazz singer outright. “It’s a specific art form that deserves study and understanding,” she says. Instead, she considers herself a devoted student of jazz—someone shaped by its phrasing, tone, and storytelling, but ever aware of its depth and discipline.
Her journey to this moment has been anything but linear. Her first major gig came as a background vocalist for Lauryn Hill—an opportunity born from a serendipitous connection through a sorority sister. Within days, Iman had learned over 30 songs and was off to Europe on tour. Watching Hill, she says, was like observing a modern Nina Simone: intense, unapologetic, fiercely intelligent. “That experience gave me the confidence to return to theater,” Iman reflects. “I’d seen the world. Now I knew what kind of artist I wanted to be.”
Indeed, Nina Simone’s legacy looms large in Iman’s life. She made her Broadway debut portraying Simone in Soul Doctor and later co-created Rebel With a Cause, a tribute to the legendary musician’s activism and artistry. Through these experiences, Iman deepened her understanding of Simone—not just as a performer, but as a woman confronting struggle and identity through music. One of her most revealing encounters with Simone’s work came through the song “Feeling Good.” Often misinterpreted as sultry or seductive, Iman peeled back its history to find something more powerful: a cry of liberation from a nameless Black character in a 1960s musical. Her performance of it at the 92nd Street Y moved audiences in unexpected ways, and she plans to release a recording of her interpretation.
The role of the goddess in Goddess is layered with its own challenges. Mythical and otherworldly, she’s also emotionally real, grounded in longing and vulnerability. Iman admits she battled imposter syndrome early on, especially since she hadn’t auditioned. “I felt like I had to prove I deserved to be here,” she confesses. It took therapy and personal growth to help her step into the role with confidence. “Now, I remind myself every day: I’ve earned this.”
Beyond the stage, Iman continues her work as an advocate and change-maker. Having stepped back from the Broadway Advocacy Coalition after helping it gain momentum—including winning a special Tony Award—she has channeled her energy into Black Women on Broadway, the organization she co-founded with Bioh and Danielle Brooks. “It’s about creating space,” she explains. “Not just physical roles, but emotional space for dark-skinned Black women to feel worthy, to have soft lives, to lead.”
That mission informs her entire career. While many focused on dismantling institutions after 2020’s racial reckoning, Iman chose to look inward—toward the community of artists she could support and uplift. “Real change happens when we take care of each other,” she says. “It’s about building safer spaces inside unsafe systems.”
She’s also realistic about the industry. “This is show business,” she stresses. “We romanticize it, but it’s still a business. Some of the work feels gross, but we do it because we love the art. The challenge is to not let it drain our spirits.”
Her musical inspiration is wide-ranging: Samara Joy, Jazmine Sullivan, India.Arie, Erykah Badu—artists who lead with intention, individuality, and truth. Iman is constantly seeking out new sounds and voices, committed to staying in tune with a genre that is always evolving.
With Goddess, she’s found a project that mirrors her values—musically rich, culturally rooted, and emotionally resonant. It’s more than a performance; it’s a statement. A declaration that Amber Iman, with her radiant voice and unwavering purpose, belongs in the canon—not as a guest, but as a rightful deity.
As she steps into the spotlight night after night, she isn’t just playing a goddess. She’s becoming one.
