Review: MARIE & ROSETTA, Starring Beverley Knight

Before Elvis, Johnny Cash and Jimi Hendrix came Sister Rosetta Tharpe, the so-called 'godmother of rock ‘n’ roll’ who you have probably never heard of. Controversially Tharpe took her conservative gospel roots into the nightclubs, playing with Cab Calloway and Duke Ellington and selling millions of records in the USA and the UK during the 1930s and 40s, yet she ended her life in an unmarked grave. 

Aiming to rectify this omission in public recognition, George Brant’s two-hander, Marie & Rosetta, was first staged by the Atlantic Theater Company in New York in 2016 and now comes to the Rose Theatre. Set over a single night in 1946's Mississippi, the production focuses on Tharpe's relationship with Marie Knight, a singer and pianist who she plucked from obscurity to help her regain the church's approval and succeed against rival Mahalia Jackson. 

These are two contrasting characters; Marie is an uptight, God-fearing chorister, Rosetta a more relaxed, worldly and forthright woman. Olivier Award-winner Beverley Knight takes Rosetta and imbues her with grit, warmth, determination and hair-raising levels of talent. This a brave and focused woman who fought against the church, racism and her own three husbands throughout her life. Knight's singing voice is typically wonderful, but also shows off a deliciously rich southern American accent.

It must have been more than a little daunting to play opposite Knight, but newcomer Ntombizodwa Ndlovu more than rises to the occasion as Marie Knight. With knees pressed neatly together, Ndlovu gives Marie a tightly controlled, precise air that visibly eases as she spends time with Rosetta. Her reserved persona also initially hides an incredible voice, filled with soul, warmth and strength; it is a hugely impressive performance.

It is worthy and important that we are reminded of Tharpe's life, particularly her bravery in the face of a racist and segregated America. Her music pioneered the solo use of a guitar that became so intrinsic to those later gods of rock and roll. Marie Knight's story is equally fascinating and sadly tragic, but George Brant's script does occasionally suffer from exposition and slower narrative sections. It is probably that Tharpe was bisexual, but an intriguing moment between her and Knight is never explored further. I would have also loved to hear more detail about Tharpe's relationship with a church that rejected her.

The songs come thick and fast and are all a delight. From Knight's roaring rendition of "This Train", to Ndlovu's heartbreaking, a cappella version of "Peace in the Valley", the 14 tracks are blistering and more than make up for the flaws in the script. Knight and Ndlovu's duet work is particularly arresting, with tracks such as "Didn't It Rain" showing real chemistry as well as harmony between the pair, with neither trying to outshine the other.

It is shame, but also necessary, that Rosetta's incredible guitar riffs and Marie’s accomplished piano-playing are taken on by the excellent onstage musicians Shirley Tetteh (also the musical director) and Mia Odeleye. The actors half mime, half dance as they play their imaginary instruments, which doesn't always work, despite Monique Touke's pacy direction.

The whole production uses the base of a funeral parlour as a location, as it was the only place the pair could stay safely in Jim Crow's southern America. Lily Arnold’s simple set design uses a plush green carpet and flowing white drapes which is lit by Matt Haskins to take us from the stark light of the parlour to the spotlights and flashes of the performance venues.

A fascinating story with some powerhouse performances, Marie & Rosetta urges you to find out more about these two inspiring women.

For more on Sister Rosetta Tharpe, listen to Sister Blues on BBC Sounds

Marie & Rosetta is at the Rose Theatre until 24 May, then touring to Wolverhampton Grand Theatre 27 - 31 May, then Chichester Festival Theatre 25 June - 26 July