George Brant’s Marie and Rosetta focuses on a specific moment in 1946 when the legendary Sister Rosetta Tharpe meets her new protégé, Marie Knight. Most of the play happens within a Mississippi funeral home, which was one of the few places black musicians could safely stay while touring the Jim Crow South. It’s essentially a two-hander about two women figuring out how to blend their styles and their lives while preparing for a tour that would eventually change gospel music forever.
The main reason to see this show is the singing. Beverley Knight is incredible as Rosetta, bringing a gritty, soulful energy to every note. Ntombizodwa Ndlovu is just as impressive as Marie; her voice is smooth and controlled, which makes their harmonies sound genuinely special. Having a live band makes a difference too. It gives the musical numbers a raw, authentic feel that you just don't get with a backing track, and it turns the theatre into something that feels more like a lived-in music club.
But as a piece of drama, the show struggles. The script feels a bit thin and never really digs deep into who these women are beyond their music. The story itself is quite weak, and it often felt like it was just ticking boxes rather than building any real tension. The romantic side of their relationship is also underplayed. There’s a chemistry there, but the writing keeps it so quiet that the love story never feels like it has any stakes.
The songs are beautiful, obviously, but they don't actually do much to move the story along. Instead of the music helping us understand the characters' emotions or pushing the narrative forward, the play often feels like it stops for a mini-concert before going back to the dialogue. It’s a bit of a shame because the talent on stage is world-class, but the play itself is a bit lacklustre. It’s worth a watch for the vocals alone, but don't expect a story that stays with you as long as the melodies do.
It runs until 11 April. Tickets: here.
Photo: Johan Persson