Review: Marie & Rosetta (@SohoPlace)
- All That Dazzles
- Mar 7
- 6 min read
Review by Daz Gale
⭐️⭐️⭐️⭐️
Beverley Knight has been thrilling audiences with her undeniable talents for more than 30 years, with much of the last 13 of those years lighting up a different stage as she turned to musical theatre. 2026 seems to be a case of revisiting some of her greatest hits, with her upcoming Born To Perform tour and the long-awaited return of the sensational Sylvia - the show that earned her a well-deserved Olivier award. However, she is not done taking on new roles just yet, with her most recent show transferring to the West End after an acclaimed tour last year. Taking on another influential figure in music, could Marie & Rosetta leave @SohoPlace rocking, or would it fail to strike the right chord?
Marie & Rosetta tells the story of gospel legend Sister Rosetta Tharpe and her protege, Marie Knight. If you are unfamiliar with those names, Tharpe was the roof-raising godmother of rock ‘n’ roll who influenced many a musician who came after her, including Elvis Presley. Set in Mississippi in 1946, we see the pair first meeting and attempting to create a show together, despite their different sounds. With Marie more saintly and Rosetta craving a sound with a little more swing, can the pair find the right harmony, and is there more to this story than initially meets the eye?
It is an interesting beast of a show, never quite slotting into one genre. It isn’t quite a play, nor is it a fully-fledged musical. The best way to describe Marie & Rosetta is a play with music, though music features heavily in the narrative, as you would hope, given the two women the show is about. Written by George Brant, it is a warm, loving and affectionate tribute to these musical icons who have been largely forgotten about in the decades since their peak, returning the spotlight to shine on them once again and righting a wrong from history. Choosing to base the show on their first meeting allows for a comparatively intimate story that alludes to the issues of 1940s America (such as the treatment of Black women) but from the safety of their sanctuary, never making it the sole focus, Brant fills the story with a smattering of humour and an abundance of heart, allowing the love for these women to shine through.
I first caught the show in the early days of its UK premiere at the gorgeous Rose Theatre in Kingston, and it has gone through several changes since then (it was one Act last year, for starters). However, its biggest change is its new West End setting, moving the action to the in-the-round space at @SohoPlace, and effectively ripping up the rulebook and starting again for this purpose. As the show has been stitched back together, it has allowed for new moments to be added, as the two women adapt to their new surroundings, performing to an audience surrounding them for the first time. In some ways, this adds to the intimacy of the piece, breaking down the barrier between audience and artist, allowing them to truly connect, though in others, I must admit it felt slightly more distant than it did last year.
Director Monique Touko has had to create different and distinct staging based on this new configuration, but the bones in her original choices remain and are every bit as inspiring and delightful as they were the first time around. There is a lot of love involved in Marie & Rosetta, with Touko’s direction the perfect example of that, finding the best ways to tell this story and transport the audience back 80 years. Most choices land confidently and effectively, though I wasn’t completely enamoured by the choice to have both women pretend to play instruments without the instruments themselves. Though the talented musicians on stage allowed the songs to sound as glorious as they deserved, having both Sister Rosetta Tharpe and Marie Knight mime playing a guitar and a piano would have made all the difference, as personally, it lost an element of escapism through this singular choice.
Lily Arnold’s set design keeps the aesthetic from last year’s tour, while adapting it for its new in-the-round setting, creating a minimal yet effective style that allows all focus to be on the two women on stage. A strong use of lighting from Matt Haskins has some inspiring moments of its own, particularly when Rosetta introduces Marie to her electric guitar, while Tony Gayle’s sensational sound design ensures every note is heard with the clarity and gravitas the music demands.
Of course, the music forms an integral part of the show, with a selection of rock and gospel hits used to great effect, performed by the incredible talents of the show’s two actors (more on them shortly) and musicians. From the addictive ‘ I Want A Tall Skinny Papa’, the rousing ‘Didn’t It Rain’ sends the audience to the interval on a high, and spine-tinglingly beautiful renditions of ‘I Looked Down The Line’ and ‘Peace In The Valley’, Marie & Rosetta is at its best when music is pulsing through the theatre. If you leave the show without ‘Up Above My Head’ in your head, I would be very surprised.
Though Marie & Rosetta has some stunning aspects going for it, its two strongest are undoubtedly Marie and Rosetta themselves. Watching Beverley Knight on stage is always a dream, no matter what role she is taking on, and her turn as Sister Rosetta Tharpe is one of her strongest to date, playing into her awe-inspiring musicality and effortless ability to embody a character. Her own love of music and experience as a renowned artist add an extra dimension to her ability to portray the character, something Knight takes seriously, given her own love and inspiration from her. As well as Knight’s inimitable vocals blessing the audience whenever she opens her mouth, she also offers emotion and authenticity to create a well-rounded and charismatic character who lights up the stage from start to finish.
You may not be as familiar with Ntombizodwa Ndlovu, but you will be. Making her West End debut, she is an absolute marvel as Marie Knight. A sweet and initially shy character, she goes on a journey throughout the two hours of the show, growing in confidence and ability. Ndlovu beautifully realises this slow and steady growth, but it isn’t long until she has the audience in the palms of her hands with the early musical number ‘Were You There’. There is a real warmth to the way Ndlovu plays the character - I was incredibly impressed when I first saw her last year, but she has come a long way since, and is now on a whole new outstanding level. This may be her West End debut, but she will certainly be gracing these stages for many years to come.
There is an obvious comparison to make between the relationship of Marie & Rosetta and that of its two stars. One is an already influential, famous musician, while the other is far greener and eager to learn. With Beverley Knight dominating stages for 30+ years, and Ndlovu a 2021 graduate, the theme of the star and her protege feels fittingly meta. However, just like Marie holds her own alongside Rosetta, so does Ntombizodwa, matching the phenomenal presence and talents of Beverley Knight, and creating a fascinating dynamic that leaps off the stage, It is the undeniable chemistry the pair have together that elevates Marie & Rosetta to the next level, bringing a sense of believability to the piece as the lines of reality become blurred. One of the strongest moments in the show is ‘Rock Me’, a number that beautifully represents the differences in both characters as they try to find a compromise to often hilarious and always compelling results.
While the move to the West End inevitably changes the feel of the show, the heart of Marie & Rosetta thankfully remains intact. Bolstered by the immeasurable talents of both Beverley Knight and Ntombizodwa Ndlovu, this show isn’t just a fitting tribute to the two women in the title, but also the two incredible women portraying them. Often hitting all of the right notes, Marie & Rosetta raises the roof at @SohoPlace, making for an uplifting performance that will fill your heart with music.
Marie & Rosetta plays at @SohoPlace until 11th April
Photos by Johan Persson