Marie & Rosetta
This show brings to the stage Sister Rosetta Tharpe, the roof-raising “Godmother of Rock ’n’ Roll”, whose influence can be seen in everyone from Elvis Presley to Johnny Cash. Through a mix of flashback and songs, we witness the first pairing of Rosetta with her beloved singing partner Marie Knight, a partnership that would go on to shape the sound of gospel and early rock music.
This is a truly wonderful show to see. I always love a piece of theatre where I walk away having learned something I never knew before, and Marie & Rosetta certainly delivers on that front. Everything you need to know is contained within the show itself, making it accessible even for those unfamiliar with the history of these performers. By the end of the evening, you feel you have not only enjoyed a performance but also gained a small slice of musical history.
Beverley Knight plays Sister Rosetta Tharpe, and what a performance it is. She inhabits the role with every inch of her body. Sometimes you watch a performer and wonder where the actor stops and the character begins; here that line almost disappears. Watching Knight on stage, it truly feels as though we are seeing Sister Rosetta herself. The facial expressions, posture, gestures, and even the way she moves across the stage are completely embodied. Knight is not simply singing the songs; she is living them. If this were later in the awards season, I would confidently predict a nomination heading her way.
Ntombizodwa Ndlovu plays Marie Knight, the younger and more traditionally church-going of the pair. While I have been singing Beverley Knight’s praises, Ndlovu matches her beat for beat. As this is the first time I have seen Ndlovu perform, it is difficult to judge how much of what we see is performer and how much is character. However, given the demure southern belle charm she brings to the role, I would suspect much of it is carefully crafted character work. Where Ndlovu truly shines is with her voice. The first time she really lets it soar is electrifying. In the context of the play, however, the character then immediately tones it down and apologises, almost stifling the applause that clearly wants to erupt from the audience. It was no surprise to hear people discussing her performance enthusiastically during the interval.
Both performers do an excellent job with their accents, maintaining them consistently throughout the show without dropping for a moment. Voice and Dialect Coach Joel Trill clearly invested time and care into shaping these performances, and the result is impressive.
Moving on to the music, this is where things become slightly confusing. Many of the songs appear to be traditional spirituals or early gospel and blues standards, which makes it difficult to determine authorship. However, it seems that Strange Things Happening Every Day was written by Sister Rosetta Tharpe herself. For a production celebrating her legacy, omitting that fact from the programme feels like an odd oversight.
Musically, Liam Godwin proves once again why he deserves the accolades he has received, serving as Musical Supervisor, Arranger and Orchestrator. There are some wonderful moments between the performers as they start and stop songs, interrupt each other, and occasionally join together in joyful harmony. There is even a charmingly comic moment involving Amazing Grace. One particularly powerful choice in the second act is bringing the guitarist fully on stage for a performance rather than keeping them off to the side. That visual shift lifts the moment significantly.
However, this also highlights one of my small frustrations. It would have been fascinating if the actors themselves had been playing instruments on stage. I appreciate that actor-musicianship can restrict casting choices, but it would have added another layer of authenticity. Instead, we see symbolic gestures of playing the piano, yet the piano itself is not mimed consistently, characters walk straight through it. Perhaps this fits within the production’s broader “dream sequence” tone, but it still felt like a missed opportunity.
The other curiosity lies in how to categorise the show. Technically it is a play, yet for a play I found myself wanting a little more depth in the storytelling. There are some lovely comedic moments, and I particularly enjoyed how we slowly learn more about Marie and her circumstances. However, in the first act I often found myself waiting for the songs rather than being fully absorbed in the dialogue. There are six songs in the first act and eight in the second, with the second half beginning almost exactly where the first ends. This structure made me wonder whether the show was originally conceived to run straight through without an interval. While the musical numbers are enjoyable, they do not advance the narrative.
Despite these small reservations, Marie & Rosetta remains a hugely enjoyable evening of theatre. It introduces audiences to an important musical pioneer while showcasing two remarkable performers who bring warmth, humour and powerful vocals to the stage. Most importantly, it sends you out of the theatre wanting to listen to Sister Rosetta Tharpe’s music, and that, is the greatest tribute of all.
This show was reviewed at @sohoplace, London on the 9th March 2026 where it runs until the 11th April 2026. Tickets available here: Marie & Rosetta @sohoplace | Official Box Office
Review written by Valentine Gale-Sides
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Photo credit: Johan Persson
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