Marie and Rosetta on tour – review

“God don’t want the Devil to have all the good music, right?”

Known as the roof-raising “godmother of rock ‘n’ roll”, Sister Rosetta Tharpe inspired everyone from Elvis to Johnny Cash, yet her name isn’t nearly as well known. This electrifying, heartfelt story shines a long-overdue spotlight on Rosetta and her singing partner Marie Knight, celebrating two trailblazing women in American music history.

Set in Mississippi in 1946, the show follows Rosetta as she shakes up the gospel scene with her electric guitar and infectious rhythm. While the church crowd disapproves of her nightclub gigs and bluesy style, Rosetta sets her sights on a new challenge: convincing the sweet-voiced, local quartet singer, Marie Knight, to join her on tour in the segregated South. The play takes place at a funeral parlour, where the two characters meet for their first rehearsal. We soon discover this setting is where touring Black performers would stay the night due to them being rejected from hotels in Jim Crow states.

As the pair begin working through songs, Rosetta is keen to loosen Marie up and get some swing in her sound (and her hips!) and it’s clear these two talents spark when they’re together!

This intimate two-hander, directed by Monique Touko, deftly balances humour, heart, and history. Beverley Knight stars as Rosetta Tharpe, brimming with confidence, wit and sass. Knight displays razor-sharp comedic timing and the most expressive physicality; she perfectly captures Rosetta’s rebellious charm and showbiz flair. Making her London debut in the role of Marie is Ntombizodwa Ndluvo, who stuns with her sublime vocals. A church-going mother of two, Marie brings a contrasting humility, shaped by a more traditional upbringing.

The chemistry between Knight and Ndluvo is electric. Whether trading compliments or doing each other’s makeup, their bond feels both sincere and uplifting. Both performers shine on stage, whether in harmony or solo, their voices showcase so much power. The impressive set list features gospel hymns to blues-infused rock, and showstopping numbers like “Didn’t It Rain.”

Lily Arnold’s set design, paired with Matt Haskin’s lighting, transforms the funeral parlour with spotlights and platforms, evoking a sense of stardom and Marie and Rosetta’s rising fame. The wonderful live onstage band bring the music to life, with an impressive electric guitar solo during “Up Above My Head”. While Knight and Ndluvo deliver strong vocal performances, the visual impact could have been stronger had they held instruments during their numbers.

Written by George Brant, the play gently explores Rosetta and Marie’s bond, and we briefly learn about their past, their families, and their husbands (or “squirrels” as Rosetta calls them). A two-act production might have allowed more time to fully explore Rosetta and Marie’s evolving relationship and a bit more depth into their characters.

At times, the narrative tells rather than shows; however, it’s clear that the story is a celebration of two trailblazing Black women who broke barriers. Rosetta Tharpe and Marie Knight’s legacy and contributions continue to shape music and culture today.

It amounts to a powerful, music-filled tribute. With stirring vocals, sharp dialogue, and a moving exploration of faith, fame, and friendship, the production is both intimate and electrifying.