Marie and Rosetta in the West End – review

At @sohoplace, Marie and Rosetta arrives in the West End powered by gospel, guitar riffs and the formidable presence of Beverley Knight. The production tells the story of the pioneering musician Sister Rosetta Tharpe, often credited as one of the foundational influences of rock and roll. In this intimate two-hander, the play imagines a rehearsal between Rosetta and the younger singer Marie Knight as they prepare for a tour that will change both their lives.

The evening’s undeniable centre of gravity is Knight. Her portrayal of Rosetta is charismatic, funny and commanding, but it is her singing that truly stops the show. Knight performs with such ferocious power and clarity that the music feels almost otherworldly. At several points, her voice genuinely raises the hairs on your arms. When she launches into Rosetta’s gospel-infused rock numbers, the room shifts from theatre to revival meeting. The sound alone is worth the ticket.

Opposite her, Ntombizodwa Ndlovu makes a confident West End debut as Marie. Ndlovu brings warmth and restraint to the role, creating a thoughtful counterpoint to Rosetta’s swaggering charisma. There is an undeniable chemistry between the two performers that feels genuinely palpable. However, the romantic dimension of their relationship never quite reaches the emotional depth it promises. The script hints at intimacy and longing, but the love story feels underplayed, leaving moments that could have carried real emotional weight feeling somewhat muted. At times, Rosetta’s dynamic with Marie risks reading more as manipulation than romance, and a deeper exploration of that emotional tension would have strengthened the piece considerably.

Under the direction of Monique Touko, the production moves briskly between humour, sharp verbal sparring and electrifying musical numbers. Lily Arnold’s set evokes a rehearsal space that gradually transforms into something closer to a performance arena, while movement director Kloé Dean adds subtle physical storytelling that complements the musical rhythm of the piece.

A live band accompanies the performances, adding energy and authenticity to the musical numbers. The musicians are excellent, though their presence sometimes feels underused. Beyond providing accompaniment, they rarely become fully integrated into the storytelling.

Still, there is plenty to admire. The show offers an accessible introduction to a hugely important musical figure, with Knight delivering a tour de force performance. Her Rosetta radiates confidence, humour and swagger, reminding audiences why Sister Rosetta Tharpe helped shape the sound of rock and roll itself.

Ultimately, Marie and Rosetta is a production elevated by extraordinary musical talent but held back by a script that never quite matches its subject’s legacy.