Theater Review: ‘Marie and Rosetta’

Atlantic Theater Company’s “Marie and Rosetta” focuses on a pivotal moment in the lives of two African-American gospel singers: Sister Rosetta Tharpe and Marie Knight.
Theater Review: ‘Marie and Rosetta’
(L–R) Kecia Lewis as Sister Rosetta Tharpe and Rebecca Naomi Jones as Marie Knight in George Brant’s new musical “Marie and Rosetta,” based on the lives of the highly influential gospel singers. Ahron R. Foster
Updated:

NEW YORK—The rafters ring with song and some good old-fashioned common sense in George Brant’s “Marie & Rosetta.” The Atlantic Theater Company’s production of the play with music focuses on a pivotal moment in the lives of two African-American gospel singers: Sister Rosetta Tharpe (Kecia Lewis) and Marie Knight (Rebecca Naomi Jones).

The story takes place in a Mississippi funeral home—one replete with coffins and a piano—in 1946. It is the only place in the area that would allow people of color to spend the night.

However, sleep is the last thing on either woman’s mind at the moment; they must rehearse for their debut performance together that evening.

Lewis and Jones work well together, while ably bringing forth the mentor/protégée relationship.
Judd Hollander
Judd Hollander
Author
Judd Hollander is a reviewer for stagebuzz.com and a member of the Drama Desk and Outer Critics Circle.
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