Photo Credits: Goodman Press (Goodman)
For Tiffany Renee Johnson, returning to Ma Rainey’s Black Bottom is more than revisiting a role; it is a journey of self-discovery and growth, offering her a deeper understanding of the woman she portrays.
Now stepping into Dussie Mae again, Johnson brings greater confidence and maturity to August Wilson’s classic at the Goodman Theatre.
“I’m much more comfortable in my body and my skin,” Johnson said. “I’m more myself, which lets me play and make discoveries instead of overthinking.”
A proud South Side native, Johnson grew up in Morgan Park before moving to Miami as a teen. She later studied theater at Howard University in Washington, D.C. and has since returned to live in Chicago’s Woodlawn neighborhood
This strong sense of home and identity has enriched her approach to Dussie Mae, a character Johnson insists is layered and complex, deserving of full humanity.
“It’s wonderful to reflect humanity and tell all kinds of stories,” Johnson said. “It’s an honor.”
Set in 1927, Ma Rainey’s Black Bottom explores race, power, exploitation, and dignity in a recording studio where tensions rise between Black artists and white industry figures. Dussie Mae adds layers of vulnerability, desire, and survival.
Johnson said portraying a character whose relationship with Ma Rainey carries queer undertones in a period when such realities were often hidden requires care and honesty.
“In 1927, it was very different from what it is today,” she said. “We don’t ever explicitly say that Dussie Mae is Ma Rainey’s girlfriend, but there are things that imply it. It was likely very unsafe for them to talk about that publicly.”
Instead of flattening the complexity, Johnson leans into it. She calls the role a “beautiful challenge” that lets her honor Dussie Mae’s sensuality, ambition, and inner life.
Some of Johnson’s favorite discoveries in rehearsals have come not from lines spoken aloud, but from silence.
“I’m finding these moments when she’s not speaking that are really exciting to me,” she said. “I love crafting stories when I’m not talking. That’s one of my favorite things to do on stage.”
In her third rehearsal week, Johnson finds the process both energizing and affirming. She credits the director Chuck Smith, associate director and music director Harry J. Lennix for helping her dig deeper into Dussie Mae’s inner world and refine her technical approach.
Johnson said one of the lessons that has stayed with her the most is the power of vocal dynamics, how a line can shift depending on whether it is spoken loudly or softly, quickly or slowly, and how those choices affect what the audience feels and understands.
“Chuck has just really encouraged me to pay attention to, like, what’s happening internally in, thus. and for the discoveries that I will continue to make. Harry, there’s one thing that he was he was talking about, like the voice and what it does within rehearsal, and like, just the dynamics, like it goes high or low, slow or fast, is loud or soft and like, it sounds simple, but if you really play with those things, you know, it can really affect your performance, you know, and affect what you’re trying to communicate.”
Offstage, she says, the cast brings joy to the process.
“My cast is hilarious,” Johnson said with a laugh. “Every day I’m laughing. But everybody’s also profoundly good. I love watching everybody work.”
As audiences prepare to experience the production this spring, Johnson hopes the play leaves them with more than admiration for August Wilson’s writing. She wants people to walk away thinking about humanity, especially the humanity society too often refuses to honor message she believes is urgent given the play’s themes and her own journey.
“I would like for them to be reminded that there are people then, like in the time that this play is set, and now, who we still don’t see the humanity of, and we still don’t honor and respect,” she said. “I hope it encourages people to give more honor and respect to everyday people, because they deserve it.”
That theme resonates deeply with Johnson. When asked what she would say to Dussie Mae if she could travel back in time and meet her,
“I would encourage her to be relentless in pursuit of her own dreams and to not allow herself to be minimized by the people around her,” Johnson said. “She doesn’t have to be small.”
Johnson hopes to pass this same spirit to the next generation of young women who dream of the stage.
She encourages aspiring actresses not to be discouraged by rejection, especially the doubts that come from within. Her advice is: ask questions, keep learning, go see plays, attend events, and trust that growth is part of the journey.
“You may not know something, but you can learn,” she said. “If you’re willing, have heart, and truly love it, you can do it. It won’t always be easy, but it’s possible. I’m proof.”
For Johnson, possibility continues to unfold, rooted in Chicago, shaped by experience, and sharpened by purpose. As she steps into Dussie Mae’s shoes, she is telling a story of visibility, complexity, and the right to take up space.
Ma Rainey’s Black Bottom runs March 28 through April 26, 2026, at Goodman Theatre in the 856-seat Albert Theatre, with opening night set for April 6.
The production will also feature two special events:
Ma Rainey’s Black Affinity Night
April 10 | 6 PM
This pre-show experience is designed for those who identify as Black and offers an opportunity to explore the cultural roots and musical legacy that shaped the 1920s and beyond. The evening will include a live DJ set and a conversation with Rae Taylor (DJ Rae Chardonnay), the 2025 DJ Scholar-in-Residence for the Renaissance Project.
College Night
April 22 | 6 PM
College students are invited to enjoy Ma Rainey’s Black Bottom along with a pre-show reception featuring all-you-can-eat pizza, soda, and a discussion with a member of Goodman’s Artistic Team.
You can also follow actress Tiffany Renee Johnson on Instagram at @TiffanyReneeJ_, and for more information, visit https://www.goodmantheatre.org/.
