Marie and Rosetta by George Brant - ★★★★☆
“Whether it’s suffering or celebration, it’s all joy.”
Mississippi, 1946. Rehearsals for an upcoming tour with the godmother of rock 'n' roll, Sister Rosetta Tharpe (Olivier Award-winning West End star Beverley Knight), and her new musical duo partner, Marie Knight (Ntombizodwa Ndlovu), take place in an unusual and unconventional space — a funeral parlour adorned with delicately draped fabric, a wooden coffin, and a large cross mounted on the back wall, acting as a visual reminder of the fragility of life, the comfort of faith, and the conflict with religious communities that shaped Tharpe’s career.
It’s fitting that the Rose Theatre is the UK premiere location, as it feels like Rosetta is finally receiving her long-overdue flowers as one of music’s most influential pioneers. The performance is a clear memorial and celebration of her talent and legacy. As the audience experiences the soulful score, it becomes clear that Rosetta's trailblazing success in blending gospel, blues, rock and jazz laid the groundwork for other iconic artists, both past and present, including Elvis Presley, Johnny Cash, Bob Dylan, Aretha Franklin, Tina Turner, Amy Winehouse, and Lana Del Rey.
The story that unfolds sees the highs, lows, doubts and certainties of the well established Rosetta as she takes Marie under her arm to join her as a powerhouse act. In the opening scene, we learn that Marie was originally spotted as part of a quartet act for Mahalia Jackson, another prominent gospel singer of the time, and is catapulted into rehearsing and performing front and centre with Rosetta on the road, thanks to her vocal talents and expert piano-playing skills.
There is a tender and playful dynamic between Knight and Ndlovu as they find a middle ground between Marie’s perfectly pious and childlike personality, and Rosetta’s more daring yet devout demeanour to create an equally reverent and rock ‘n’ roll soundtrack with melodies and lyrics so flawless, even the most stringent atheists contemplated the existence of God for a moment. The two share their deepest traumas, from the evolution and decay of their marital relationships, to the loss of close family members, and financial hardships while simultaneously lifting spirits across the auditorium with churchy glee and playful wit. We see a wholesome picture of compassion, care and encouragement towards one another that was anchored by Biblical scripture and their faith in something bigger than themselves. There was a lasting sentiment that honoured female talent within the male-dominated music industry, at a time where they would have experienced the dual burden of both rife racism and sexism.
The combined acting and music from slow hymnal ballads to uptempo music from Beverley Knight, Ntombizodwa Ndlovu and the live musicians captivated the audience to the point of receiving a standing ovation, but George Brant’s writing and Monique Touko’s direction felt like it missed a beat when it came to the build-up of the final scene, where we blinked and suddenly jumped to the 1970s for Rosetta’s funeral. The performance would have benefited from a slower, steadier progression toward Rosetta’s final moments, as she looked over her own funeral and reflected on each decade of her life.
Despite this, it was a beautiful production with a clear emphasis on faith, womanhood, and a deep love of music as a vehicle to process pain and joy. In a time where the Evangelical Church is often synonymised with Western nationalism and white supremacy, it was refreshing to see a production depicting the hope, forgiveness, and perseverance that permeate every corner of not only the life and death of Jesus, but also the Civil Rights activists’ fight for equality.
There was a profound emphasis on purpose, and the importance of using your individual gifts in secular and sanctified environments. One of the ever-present questions that lingered asked: do we have a duty to fulfill, and if so which duty should we prioritise — the duty to God, our family, our community or our craft? Marie and Rosetta strikes a perfect blend between uplifting and existential themes with toe-tapping worthy talent, and should be added to the top of everyone’s unmissable May show lists.
★★★★☆
By Nadia Mantock
Marie and Rosetta is showing at the Rose Theatre until 24 May.
