Soaring singing but pedestrian script

@sohoplace

The script of Marie & Rosetta by George Brant does not do justice to the thrilling story rock’n’roll godmother Sister Rosetta Tharpe and her protege Marie Knight, according to the few critics who have reviewed its transfer to @sohoplace. However the performances by Beverley Knight and Ntombizodwa Ndlovu were highly praised. I’ve added some reviews from its opening at Rose Theatre. They reached the same conclusion.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

4 stars ⭑⭑⭑⭑

Theo Bosanquet at LondonTheatre applauded the stars: ‘it features, in Beverley Knight and Ntombizodwa Ndlovu, two powerhouse vocal performances that amply convey the talents of the two women they portray.’ Less so the script: ‘Brant’s script has an unfortunate tendency to feel like filler, the production only really sparking to life during the musical numbers and deftly choreographed moments of physical intimacy…But it’s a poignant story nevertheless, the tension between the free-spirited master and her god-fearing apprentice richly drawn, and their romantic chemistry never too far from the surface, culminating in a deeply moving finale.’

While praising the singers, Clementine Scott at BroadwayWorld pinpointed the problem with the production, ‘Being as constricted as it is to one setting, and one point in time, inevitably sometimes Marie & Rosetta runs out of steam. Much of the dialogue that veers outside the dressing room feels awkward, unfortunately including Rosetta’s account of racism and segregation in the American South, a clumsy historical reference rather than an emotional personal anecdote. Marie’s account of her failing marriage is emotively performed, but lacks some of the specificity of the women’s intellectual and musical conflicts.’

3 stars ⭑⭑⭑

Maygan Forbes for WhatsOnStage raved about the Ms Knight: ‘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…The sound alone is worth the ticket.’ Otherwise: ‘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.’

Here are some reviews of the production from its opening at the Rose Theatre:

4 stars ⭑⭑⭑⭑

Ammar Kalia for the Guardian felt: ‘The music is immediate and brilliant, with Knight and Ndlovu reaching a soaring harmony on the swaggering Rock Me, rumbling into a sultry groove on Tharpe’s nightclub favourite I Want a Tall Skinny Papa and highlighting Knight’s mighty solo vocal on Didn’t It Rain.’ But like others, he thought: ‘The script, however, is a disappointment.’

Holly O’Mahony for The Stage said: ‘In George Brant’s intimate two-handed play, studded with rock and gospel hits and directed by Monique Touko, Knight digs deep to embody the Arkansas-born singer, who inspired the likes of Elvis and Johnny Cash but whose potential was stifled by a racially segregated America.’

The Times’ Clive Davis declared it ‘creaks in places, but Monique Touko’s production … is lifted by incandescent vocals from the R’n’B singer Beverley Knight.’

3 stars ⭑⭑⭑

The Standard‘s Nick Curtis summed up: ‘The singing from both leads is magnificent, the acting passionate but the script by American writer George Brant is pedestrian and heavy on exposition.’

Critics’ Average Rating 3.7⭑

Marie & Rosetta can be seen at @sohoplace until 11 April 2026

If you’ve seen Marie & Rosetta at @sohoplace or the Rose Theatre, please leave a review and/or rating below