Marie & Rosetta ⭐️⭐️⭐️⭐️

It's 1946 in Mississippi, and Rosetta is a rising star with problems rumbling under the surface. The world is segregated, the church struggles with her freedom, and she needs something fresh, which she finds in Marie: a younger singer with a gorgeous gospel voice. Rosetta needs to somehow convince Marie to hit the road with her. Through musical numbers and bartering, the two find themselves getting closer throughout the night as Rosetta's dreams and Marie's principled attitude collide in this negotiation that will change the history of music.

Direction by Monique Touko was clear, concise, and confidently executed. There’s a precision to the storytelling that feels deliberate without ever becoming rigid. Everything flows with a real sense of cohesion—nothing feels out of place, and the rhythm of the piece is handled with care. It’s the kind of direction that quietly does a lot of heavy lifting, allowing both the performances and the music to shine without distraction.

Set by Lily Arnold is a beautifully restrained triumph. Thoughtfully adapted for the in-the-round setting, it never feels overworked or unnecessarily busy. The circular draped cloth suspended above adds a subtle but effective visual motif, even if it’s used sparingly, when it is used, it lands with intention. The blue carpet paired with the warm wood tones creates a grounded yet atmospheric playing space, and placing elements within the aisles helps immerse the audience in the world. The cross is a simple but powerful touch. It’s minimalist, yes, but never lacking.

Lighting by Jai Morjaria is, quite frankly, stunning. The pre-show state alone, those rich turquoise blues paired with soft peach tones, is enough to make you sit up and take notice. That blue hue threads its way through the production, often balanced with warm washes that feel both intimate and expansive. Then, just when you think you’ve settled into the palette, we’re hit with bold, striking states that elevate key moments beautifully. And those neon signs at the end? A genuinely brilliant surprise. This might genuinely be one of the most impressive lighting designs I’ve seen in a while.

Sound by Gareth Fry is an absolute masterclass. The integration of live music, especially with musicians positioned so close to the audience. could easily feel overwhelming, but instead it’s seamless. The most mind-blowing part? Beverly Knight and Ntombizodwa Ndlovu perform without stage foldback, relying entirely on what they hear in the auditorium. It’s a bold choice that pays off spectacularly, creating a shared sonic experience between performers and audience. It feels live in the truest sense of the word.

Costume by Nicky Gillibrand perfectly captures the period while adding just the right amount of showbiz flair. The colour palettes are carefully considered and work harmoniously together, subtly reinforcing character without ever feeling overdesigned.

Wig, hair & make-up by Cynthia De La Rosa are simply stunning. The wigs are beautifully crafted and styled with precision, while the makeup leans into a naturalistic approach that enhances rather than distracts. Beverly’s beauty spot is a small but impactful detail that ties her whole look together, and the bold red lip on Ntombizodwa Ndlovu adds a striking contrast that really pops under the lights.

Book by George Brant is sharp, engaging, and often very funny, there are genuine laugh-out-loud moments scattered throughout. What works particularly well is how those lighter beats sit alongside more emotionally resonant scenes that really pack a punch. The play doesn’t shy away from exploring complex social issues, many of which still feel uncomfortably relevant today, and it invites the audience to reflect without ever feeling heavy-handed. That said, the opening 20 minutes could benefit from slightly tighter pacing, and overall, Act 2 feels more confident and satisfying than Act 1.

Performances by Beverly Knight as Sister Rosetta Tharpe are nothing short of superb. She delivers a layered, dynamic performance that effortlessly moves between humour, sass, and emotional vulnerability. Her characterisation feels rich and fully realised, and her physicality is just as impressive as her jaw-dropping vocals—which, unsurprisingly, are phenomenal.

Ntombizodwa Ndlovu as Marie Knight is equally outstanding. She captures the generational and ideological clash at the heart of the piece with nuance and intelligence, playing Marie’s naivety with warmth while gradually revealing deeper emotional layers. Her vocals are absolutely incredible, marking her as a talent to watch. There’s a wonderful playfulness to her performance, and her chemistry with Beverly Knight is electric, their back-and-forth is an absolute joy to watch.

Marie & Rosetta is a vibrant, soulful, and thoughtfully crafted production that blends music, humour, and emotional depth with real finesse. With standout performances, exceptional design elements, and a story that still resonates today, it’s an evening of theatre that feels both intimate and powerful. A slightly slow start aside, this is a production that truly finds its rhythm, and when it does, it soars.

Link to book tickets

https://sohoplace.org/shows/marie-and-rosetta