Sister Rosetta Tharpe, one of the subjects of George Brant’s play with music, “Marie and Rosetta” at Asolo Repertory Theatre, has been dubbed the “Godmother of Rock and Roll.” Her distinctive and swinging performances of gospel music infused with rhythm and blues and boogie-woogie, which she popularized in the 1930s and 1940s, influenced such rock pioneers as Chuck Berry, Little Richard and Elvis Presley.

Audiences who may not be familiar with the singer, songwriter and guitarist, who died in 1973, can get a sense of what made her so special in the performance of Maiesha McQueen, who sings from the gut with spirit, passion and a powerful voice. McQueen makes Rosetta a commanding presence, a star who knows what she wants and needs to survive. She tries to find ways to overcome her resentment for the racism and segregation that limited her musical opportunities, bad marriages and the loss of church support because she performed in nightclubs.

She is presented as a somewhat bitter rival of Mahalia Jackson, whose “high church” sound and style were deemed more acceptable among church leaders. But Rosetta but Rosetta feels closer to God singing both religious and secular songs her way.

“I’m gonna find more sinners in a nightclub than she ever gonna find in a church,” Rosetta says defiantly.

Brant’s play, which had its off-Broadway debut 10 years ago, is set on the night Rosetta began working with Marie Knight, who became both a protégée and a muse (and perhaps more, the play hints). Rosetta heard Marie singing in a quartet at a Jackson concert the night before, and stole her away, offering the promise of the kind of musical variety and attention she would never get with Jackson.

Alexis J. Roston plays Marie as youthful, sweet and innocent, though Rosetta keeps pointing out that Marie is full of surprises. During a brief rehearsal before their stage debut together, they share bits about their lives and find a musical partnership, even as Rosetta encourages Marie to loosen up a bit, to start moving her hips and let her full body get into the music. Somehow they have time to write what “Up Above My Head,” which became one of their most prominent collaborations, revealing how well connected they become.

Marie is nervous when she first arrives, hardly believing that she’s standing next to an idol and will be performing alongside the woman whose face smiled at her from record album covers. But she is ready to explore her own innate talent.

“Marie and Rosetta” is described as a play with music, and it is the music part – all the songs are written by Rosetta and/or Marie – that gives the show life and energy. The score includes a few ballads, which are set up to have extra meaning to the characters, and plenty of rousing numbers that will get your feet tapping and your hands clapping along (with encouragement from the actors). The song list includes “This Train,” “Were You There When They Crucified My Lord,” “Sit Down” and “Peace in the Valley.” I recognized a few but enjoyed all of them.

As good as McQueen and Roston are in their performances, under the direction of E. Faye Butler, the dialogue scenes don’t have the authenticity of the singing. The script, while crucial for us to learn a little about these two women, seems a bit trite and perfunctory next to the songs. It’s like they’re telling us things we need to know rather than just talking naturally and revealing something of themselves to one another. Anyone who has seen Brant’s one-woman play “Grounded” or even the light comedy “Into the Breeches” knows that he usually writes with clarity and depth.

Brant plays a slight, amusing trick on the audience at the beginning, or at least it seems like one, until the play’s final minutes. It’s not clear if we’re actually watching the night they met or reliving a memory from years later.

All the action takes place in a most unusual setting, the parlor of a Mississippi funeral home and insurance agency in 1946, the only place Rosetta can find to stay in a state where Blacks are not welcome once they step off the stage. Scenic designer John Culbert juxtaposes the creepiness of the environment (a few caskets, a bed and a piano) with a comforting style that seems more welcoming as the two women get to know each other and sing.

Jared Gooding’s lighting effectively keeps us focused on the individual artists. You almost don’t realize when the lights fade on one woman so we can fully listen to the other singing. McKinley Johnson’s costumes suit the characters we meet, with Marie in a simple pink dress and shoes, and Rosetta outfitted in the more sparkly style of a star.

The two actors do a fairly good job of pretending to play the piano and guitar, which are actually played offstage, in an impressive style, by music director Mahmoud Khan on keyboard and Larry Brown on guitar.

Rosetta and Marie worked together for only about three years, but their music had an indelible impact on what we’ve heard ever since. While Brant’s play strains at times to tell their story, the two stars create enough musical fireworks to make it an exciting evening.

“Marie and Rosetta” by George Brant. Directed by E. Faye Butler. Reviewed May 8, Asolo Repertory Theatre, Cook Theatre, FSU Center for the Performing Arts, 5555 N. Tamiami Trail, Sarasota. Through May 31. Tickets are $65-$76. asolorep.org; 941-351-8000