Review of ‘Marie and Rosetta’: “Shout, sister, shout – but that’s not all”

Kingston’s Rose Theatre hosts this new period play starring Beverly Knight, exploring the backgrounds and relationship between two defining black music icons. Guillermo Nazara shares his views on the show, to let us know if it’s worth watching four or five times, or if it ends up going down the riverside.

Oh, Lord, can they sing! Oh, they do sing to the Lord! But how is that statement necessary in a review of a show starring Beverly Knight? We knew what we were coming for. And in terms of vocals, neither she nor her co-star, Ntombizodwa Ndlovu, disappointed. The acting was surprisingly good, too. But as dreamy as their performances were, there always comes the time when we must awake from our reveries. And in this case, it was the writing that did the trick.

Marie and Rosetta, a fictional reunion between Godmother of Rock & Roll, Sister Rosetta Harpe, and her artistic partner Marie Knight, found its way into the Kingston scene last weekend – opening at the Rose before heading to the Chichester Festival later this summer. An R&B legend played by an MT icon. From a marketing perspective, they’ve done their homework. However, as much as author George Brant proves his knowledge and appreciation for his heroines, none of his efforts can project the same feelings onto his audience.

Structured as a play with songs, we get the songs, but not much of a play. The narrative struggles to function. We do get to know some personal aspects about the characters, but not enough motivation or action to follow. We are given tons of details about their backgrounds and personal lives. We get to discover their musical influences. And in between explanations, a number takes place. Add a not-too-imaginative twist for its ending, and there you have it. Yes, that’s basically it. But it really shouldn’t.

We are not provided with a proper story arc other than what the finale tries to justify with little success. We have all the exposition we need (perhaps even more than required), and the roles are granted some introspection. But the plot feels stagnated – almost as if it was chained to its starting point and never allowed to move an inch away from it. As a result, the show lies closer to a reenacted collection of fun facts than a proper work of fiction – where all the events come in the form of unelaborate passing anecdotes and where, despite its attempts to pull from the heart’s strings, the pathos is missing in practically its entirety.

The production still manages to make up for some of these flaws through its well-executed scenery and electrifying interpretations. With set and costume design by Lily Arnold and lighting by Matt Haskins, its visual angle oozes elegance and resourcefulness. Nothing massive, but striking to the eye anyhow – creating some deeply memorable moments and accentuating the ethereal side of the material.

On the other hand, both Knight and Ndlovu play their parts with astonishing prowess, exuding great chemistry and flair in their deliveries – with Beverly earning the highest praise for her commanding presence and infectious stamina, concocting an extremely inviting persona whose camp showmanship never loses naturalness.

Regaling us with a few beams of heaven through its musical renditions, Marie and Rosetta serves as an amiable tribute to the legacy of two defining figures in the history of blues. However, the admiration it professes to its protagonists doesn’t translate into anything formidable regarding storytelling. With a solid basis to lean on but an empty landscape of dramatic opportunities yet to be filled, the piece is far from rocking me or anyone  – which is somebody’s fault but not mine.

All pictures credit to Marc Brenner.

Marie and Rosetta plays at Kingston’s Rose Theatre until 24 May. Tickets are available on the following link.

By Guillermo Nazara