From the “Queen of Soul” to the “Godmother of Rock ’n’ Roll”, Beverley Knight always shines.
Written by George Brant and directed by Monique Touko, Marie & Rosetta celebrates the legacy of one of music’s most influential pioneers.
On day one of rehearsals for Marie & Rosetta at the Rose Theatre Kingston in 2025, Beverley Knight reportedly declared, “We have to get this play to @sohoplace.” The universe clearly listened, as the production is now playing in London’s West End at @sohoplace until 11 April 2026.
Sister Rosetta Tharpe (widely known as the “Godmother of Rock ’n’ Roll”) is said to have influenced countless musicians, from Elvis Presley to Johnny Cash. In 2023, Rolling Stone magazine named her the sixth greatest guitarist of all time, recognising her role in breaking down the boundaries between gospel music and the emerging sound of rock ’n’ roll.
The play focuses on Rosetta’s professional partnership with fellow singer Marie Knight. After meeting in Mississippi in 1946, the pair toured the segregated southern states together, performing for audiences who were often witnessing a revolutionary musical style for the first time.
Before all of that though, they must rehearse for their first big performance together. The challenge lies in blending Rosetta’s electric guitar-driven sound with Marie’s more traditional gospel piano style and crucially, teaching the young singer how to “swing”.
Featuring songs including Didn’t It Rain and Peace in the Valley, the show places the music front and centre. Live musicians accompany the performers on stage, bringing energy and authenticity to the gospel and early rock ’n’ roll numbers.
Interestingly, neither performer actually plays their instrument. Instead, the show symbolises the illusion of performance with Marie spreading her arms before the piano begins to play and Rosetta opening a guitar case just as the music starts.
It’s an intriguing theatrical idea but given that Rosetta Tharpe was celebrated as one of the greatest guitar players of all time, it feels slightly odd not to see the instrument being played by her. Even a more convincing sound design effect might have helped create the illusion that the guitar music was emerging from the case rather than from musicians positioned off to the side of the stage.
By the end of the show, there are hints as to why this creative decision might have been made but it still leaves the feeling that audiences are missing the very thing many came to witness.
From the “Queen of Soul” to the “Godmother of Rock ’n’ Roll”, Beverley Knight proves once again that she shines in everything she does.
From her 1990s pop success with Shoulda Woulda Coulda to acclaimed theatre roles in The Bodyguard, Cats, Memphis and Sister Act, Knight brings charisma, warmth and complete commitment to the role of Rosetta.
Alongside her, Ntombizodwa Ndlovu is wonderfully understated as Marie. Her gentle presence provides a perfect contrast to Knight’s commanding energy and her rendition of Peace in the Valley is a genuine show-stopping moment.
As the relationship between the two women develops, they begin to find common ground between their personalities, beliefs and musical styles. Their lively, cheeky performance of I Want a Tall Skinny Papa captures this turning point perfectly.
The set design was less convincing. Staged in the round, the large expanse of green carpet felt visually distracting rather than atmospheric. Meanwhile, the long white veil-like curtain used at the start of the show didn’t quite convey the intended effect.
Marie & Rosetta offers a wonderful opportunity to see two powerhouse performers up close in an intimate theatrical setting.
However, while the performances are excellent, the storytelling itself feels surprisingly slight. By the end of the evening, I couldn’t help feeling that I still hadn’t learnt as much as I would have liked about these remarkable women and why they are so celebrated in the history of rock ’n’ roll.
★★★
Reviewed by West End Wilma
Photos by Johan Persson
