Marie and Rosetta @sohoplace Review
Beverley Knight (Sister Rosetta Tharpe) and Ntombizodwa Ndlovu (Marie Knight). Photo: Johan Persson
Written by Penny for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
This story of Sister Rosetta Tharpe, the “godmother of rock ‘n’ roll” and her protégé and singing partner, Marie Knight, transfers to London’s @sohoplace for a limited six week run, following a sold-out season at Chichester Festival Theatre’s Minerva in the summer of 2025. The intimate space of the venue and “in the round” staging is perfectly suited to draw us into the story.
Written by George Brant, Marie and Rosetta puts the spotlight firmly back on two largely forgotten pioneers of music. Sister Rosetta was known as a trailblazer, merging gospel music with rhythm ‘n’ blues, shocking churchgoers by performing in nightclubs and influencing some of the most famous names in rock history, including Tina Turner, Jimi Hendrix and Elvis Presley. Marie Knight was the young singer discovered and mentored by Tharpe, herself a prolific talent and seen as the “saintly” balance to Rosetta’s more controversial persona.
This powerful two-hander follows the women at the start of their creative partnership, clearly setting the scene in the segregated Deep South of America in the mid 1940s – everything overshadowed by the racism that would allow black performers to entertain white audiences, as long as they left quietly and knew their place. It’s a part of history we all know, but always shocking to hear the language, attitudes and treatment that was part of everyday life. Brant’s script does not dwell on this, maybe slightly underplaying the huge obstacles the women would have faced trying to establish themselves in a world that discriminated against them on race as well as gender.
The women are rehearsing (and sleeping) in a funeral parlour, their only option, and as a backdrop it serves as a reminder that for these women, with roots in church music and worship, their God is always watching. Marie is the more pious of the two, concerned about the propriety of swinging her hips in such a place. And even the more worldly Rosetta finds that old habits die hard – crossing herself after every spontaneous expletive! It’s a very effective way to show the conflict between the deeply religious communities and growing nightclub scene that the women are navigating.
The story delves into the women’s past – touching on personal tragedies, family expectations and the abusive men they have left behind. As their professional partnership grows and they find they can learn from each other, we get a very clear story of two black women empowered and shaking off societal expectations, using their God-given talents to push musical boundaries in the pursuit of pure joy.
And talking of pure joy, the music absolutely delivers. And then some. We go from a hesitant and prim piano accompaniment through toe-tapping bluesey rhythms to an electric wall of sound. Accompanied by a four-piece band under the musical direction of Shirley Tetteh, who also briefly takes to the stage to accompany one stunning musical number on guitar, the sound is infectious and when you add in the phenomenal vocals of our two actors, it’s very special to experience.
In the roles of Marie and Rosetta are two actors delivering pitch perfect performances. As Sister Rosetta, Beverley Knight is at her absolute best, giving us a formidable woman unafraid to stand up, be counted and break every mould. Her singing is, of course, astonishingly good. Her tone, power, expression and clarity is the very definition of soul. In her West End debut, Ntombizodwa Ndlovu beautifully portrays a shy, star-struck young innocent growing into a strong woman standing on her own two feet. Vocally, she is not not at all overshadowed by Knight’s star power, matching her in duets and absolutely shining in her emotional and passionate solo moments.
Monique Touko‘s direction makes great use of the space. The two actors do not leave the stage, moving around in their stockinged feet with fantastic energy, with a contrasting stillness in performance of some of the musical numbers that is mesmerising. The actors do not work with musical instruments. Marie sits on a piano stool and raises her arms to mark the start of music playing. Rosetta opens her (empty) guitar case to symbolise the striking of the first chords. It’s fairly stylised but there’s a real musicality to their movements, much more effective than miming with real instruments.
The play has a suitably emotional ending, perfectly framing the action that has gone before and confirming the bond between the pair. Marie and Rosetta shines a light on two women who had a huge impact on modern rock music. It’s a story that deserves to be told, delivered with heart and soul by two fantastic talents who, along with the live band, raise the roof of @sohoplace.
Marie and Rosetta runs @sohoplace until Saturday 11th April. Find out more and book here.
★★★★