Photo by Michael Brosilow
Alexis J. Roston and Bethany Thomas in the Milwaukee Rep's ‘Marie and Rosetta’
Alexis J. Roston and Bethany Thomas in the Milwaukee Rep's ‘Marie and Rosetta’
Sister Rosetta Thorpe was a pioneer in the history of gospel music, a trailblazer who put swing (and hips) into her crossover style, even tossing in some electric guitar.
Yet her merging of the sacred with the secular was controversial in the 1930s and ‘40s, gaining new audiences but offending others. And as a black woman, the issue of race was always constant, resulting in hiring a white bus driver on tour just to buy food for the musicians and deal with the police.
Marie and Rosetta by playwright George Brant now playing at Milwaukee Rep is yet another excellent production in the intimate Stiemke Studio, based on the true-life story of Tharpe and her protege, Marie Knight.
Set in a rural Mississippi funeral home., it’s the only place where the two get to know each other and rehearse before a show. Tharpe is the seasoned professional, Knight the young singer recently hired away from the choir of another gospel great, Mahalia Jackson. The stage is set—ideally—for their heartfelt confessions and strong-willed clashes that make this production so compelling.
Playwright Brant has a sharp eye—and a sharper tongue—for the realistic dialogue given the actual history. He delivers a storyline worthy of its two very talented actors—Alexis J. Roston (Marie) and Bethany Thomas (Rosetta). Director E. Faye Butler gives the two a wide berth for all the story telling and amazing singing, yet lasers in on the dramatics when necessary. Husbands, or soon to be, are “squirrels” and the two women joke while getting across the underline seriousness of their respective situations. Rosetta understands life on the road, especially for a black woman in those times. Marie has much to learn. And we also learn the obstacles and challenges facing these two as they live their dreams.
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The performances are simply amazing. Thomas completely inhabits Rosetta with a tough exterior while maintaining her inner dignity amid her vulnerabilities. Thomas’ performance helps us to understand Rosetta’s place in the world while she’s always pushing boundaries, even with the young, innocent Marie. It’s a mesmerizing performance, even as she hums along or moves her foot while Marie takes center stage.
As Marie, Roston is full of surprises (thanks in part to the well-written script) But also in how she slowly reveals what’s underneath the (so-called) wide eye innocence of her sheltered (read: controlled) life. Arie is a perfect counterpart to Rosetta especially when challenging her on the move away from strict gospel by jazzing up the hymns. And them some!
As Marie references great rockers like Jimi Hendrix, Rosetta has no idea who he is. Yet, the next moment she pop us out an electric guitar! Tharpe Was one of the very first to use guitar feedback—once again, always ahead of her time.
Special mention to the two musicians who play while the performers are on piano and guitar: Morgan E. Stevenson (Keyboard) and Benjamin Oglesby-Davis (Guitar) sync precisely with the performers and elevate Marie and Rosetta to a the high-energy production that it is.
“Jesus is happy and so am I,” proclaims a satisfied Sister Rosetta as she rehearses with Marie. So, forget all your troubles, c’mon, get happy and chase all those cares away by seeing Marie and Rosetta. That’s entertainment!
Marie and Rosetta runs through December 15 in the Stiemke Studio. Run time: one hour 40 minutes with no intermission. Recommended for ages 14 and up. For more information, call the Rep Box Office: 414-224-1761, or visit milwaukeerep.com.
