Milwaukee Rep celebrates two Black women who shaped rock history

Before Little Richard strutted across stages or Jimi Hendrix bent his first guitar string, Sister Rosetta Tharpe revolutionized American music with her groundbreaking blend of gospel, swing rhythms, and fierce electric guitar. Known as the “Godmother of Rock ‘n’ Roll,” Tharpe broke barriers as the first gospel singer to record with a major label and perform gospel on secular stages, influencing future legends like Elvis Presley, Chuck Berry, and Bob Dylan.

Now, the Milwaukee Repertory Theater presents “Marie and Rosetta,” running through December 15 at the Stackner Cabaret. The production, penned by acclaimed writer George Brant (“Grounded”), chronicles the extraordinary partnership between Tharpe and Marie Knight, which began when Tharpe discovered Knight singing backup for Mahalia Jackson at Harlem’s Golden Gate Auditorium. Their collaboration would produce R&B hits like “Up Above My Head” and help shape the foundation of rock ‘n’ roll.

The show features Milwaukee Rep favorites Alexis J. Roston (“Lady Day at Emerson’s Bar & Grill”; “Nina Simone: Four Women”) as Marie Knight and Bethany Thomas (“Ragtime”, “Hedwig and the Angry Inch”) as Sister Rosetta Tharpe, bringing to life the dynamic “Saint and Sinner” duo that captivated audiences throughout the 1940s with their revolutionary performances.

In a recent interview, Thomas revealed the layers of complexity in portraying such a pivotal figure in American music history. The stakes are particularly high for this production, as Thomas disclosed that Tharpe’s family, including her nieces, currently reside in Milwaukee and have been attending performances. “Her family lives in Milwaukee, and they’ve been around,” Thomas shared. “I’ve tried not to misrepresent their loved one and her legacy.”

Thomas’s approach to embodying Tharpe combines meticulous research with personal connection. Despite not being a guitarist, she studied extensive video footage to capture Tharpe’s distinctive playing style. “There’s a lot of recordings of her out there,” Thomas explained. “You don’t always get that when talking about these iconic voices from past times.”

The production arrives at a particularly relevant moment as conversations about Black artists’ contributions to rock music continue to evolve. Thomas, who identifies as a rock performer, spoke candidly about the ongoing challenges Black musicians face in the genre. “Prince or Lenny Kravitz would say something similar… they don’t get support from black audiences the way that black artists from other genres do,” she observed.

The show delves deep into Tharpe’s revolutionary spirit, exploring how she defied racial and gender barriers during the Jim Crow era. Thomas, who identifies as a Black queer woman, connects personally with Tharpe’s courage to challenge societal norms. “We’ve been out here doing these hard things, these revolutionary things, and it’s just completely gone over people’s heads for years and years,” Thomas reflected.

Running 98 minutes without intermission, “Marie and Rosetta” combines historical education with musical performance. Thomas emphasizes that the show’s accessibility makes it an ideal introduction to theater, noting that a recent first-time theatergoer “had the best night of her life.”

The production celebrates Tharpe’s musical legacy and examines her complex relationship with Marie Knight. Their partnership involved touring the segregated South as two Black women, demonstrating remarkable courage. “That is so revolutionary and so radical, but that’s the only life that Rosetta knew,” Thomas noted.

As contemporary artists like Brittany Howard and Jackie Venson carry forward the tradition of Black women in rock, “Marie and Rosetta” is a powerful reminder of their pioneering predecessor. The show continues at the Milwaukee Repertory Theater through December 15, offering audiences a chance to experience the electrifying story of the woman who helped birth rock ‘n’ roll.

For Thomas, the production represents more than just historical preservation—it’s about reclamation and recognition. “I want black women to take away from this… don’t be afraid of guitars, of electric guitar,” she declared, embodying the revolutionary spirit of the woman she portrays on stage.