A powerhouse performance from Beverley Knight makes Marie & Rosetta sing, even when the script holds it back.Rating
Good!
Set in Mississippi in 1946, Marie & Rosetta follows Sister Rosetta Tharpe — the “Godmother of Rock ’n’ Roll” — and her encounter with the younger, classically trained gospel singer Marie Knight. What begins as a professional collaboration evolves as Rosetta pushes Marie beyond the restraint of traditional church performance towards a bolder, rhythm-driven sound.
It’s hard not to reflect on how someone as influential as Rosetta Tharpe could disappear from mainstream cultural memory for so long. Artists like her laid the groundwork for performers who later became global icons, yet their contributions are often overlooked. Bringing her story to the stage feels both celebratory and necessary.
Beverley Knight’s portrayal of Rosetta Tharpe is the undeniable centre of the production. Her physicality captures Rosetta’s charisma with ease, and vocally, she is exceptional. Knight commands the stage with instinctive confidence; the performance feels less like acting than embodiment; a raw, heartfelt powerhouse delivered with remarkable control.
Opposite her, Ntombizodwa Ndlovu brings a quiet sincerity to Marie Knight. She captures Marie’s innocence and traditional relationship with faith, gradually finding liberation through Rosetta’s influence. While her performance occasionally feels less lived-in than Knight’s, Ndlovu holds her own and reveals clear potential as the character grows in confidence.
George Brant’s dialogue is often sharp and playful, allowing for lively exchanges between the two women. However, while the script gestures towards deeper themes of artistic struggle and personal sacrifice, it rarely explores them fully. Much of the emotional weight is spoken about rather than dramatised, leaving moments that hint at depth without quite reaching it.
Lily Arnold’s simple set evokes a church rehearsal space and works effectively within the in-the-round staging, creating an intimacy that invites the audience to witness these women finding their voices, while Matt Haskins’ lighting shifts subtly between performance gloss and quiet moments of faith.
There were a couple of moments where the music slipped slightly out of sync, minor interruptions in an otherwise strong musical experience. A more distracting choice is the occasional miming of instruments, which sometimes pulls the audience out of the illusion.
Most of the musical numbers arrive in the second half of the play, which gives that portion of the evening a noticeably different energy. While the performances are thrilling and the songs are delivered beautifully, the narrative itself begins to feel somewhat episodic toward the end. The story shifts into something closer to a sequence of musical moments rather than a dramatic progression.
As a result, the play concludes in an unusual place. It’s entertaining and filled with impressive performances, yet the story never quite reaches the emotional depth it promises. What ultimately lingers is the music and the sheer force of two performers bringing it to life.
Directed by: Monique Touko
Written by: George Brant
Set Designer: Lily Arnold
Lighting Design: Matt Haskins
Musical Director: Shirley Tetteh
Music Supervisor, Arranger & Orchestrator: Liam Godwin
Marie & Rosetta plays at Soho Place until Saturday 11 April
