You may or may not be familiar with Sister Rosetta Tharpe, a ground-breaking singer and musician who influenced countless rock ‘n’ rollers including Elvis and Little Richard. But whether you know nothing or a lot about Tharpe and her protégée, Marie Knight, you’ll most likely gain a fresh appreciation for their work in Asolo Rep’s production of George Brant’s Marie and Rosetta in the Cook Theatre.

This two-person show focuses on just one night in the duo’s history, when they first begin making music together after Tharpe spots Knight in a quartet performing with Tharpe’s rival, Mahalia Jackson. Tharpe (Maiesha McQueen) decides to give Knight (Alexis J. Roston) the chance to shine in the spotlight rather than be in the background with Jackson, perhaps for several reasons. It could be a little bit to irk Jackson, it could be because there’s a romantic attraction on Tharpe’s part (as hinted at in the script) or it could (mostly) be because she truly does recognize something in Marie that Marie doesn’t even know she has herself.

So the two start working on some songs in the unusual setting of a funeral home in 1946. It’s the only place Tharpe can find in the segregated South for them to have access to a bed and a piano. At first the younger, less experienced Marie is timid and tight, not ready to loosen up and play some full tilt boogie woogie or rhythm and blues like the Rosetta she admires. But gradually, Tharpe gets her to go beyond her churchy music, as Rosetta did herself, while losing some support from church folks along the way.

And, of course, the two also get to know more about each other personally, including some details of their unhappy marriages. Interspersed with their revelations are the songs: “Didn’t It Rain,” “I Can’t Sit Down,” “This Train,” “Strange Things Happening Every Day,” “Up Above My Head I Hear Music in the Air,” and more, delivered with some gospel fervor that, eventually, literally turns electric.

McQueen has the compelling presence one sees in Tharpe’s filmed appearances, and she’s got the big voice to go with it. Roston’s Marie starts off seemingly innocent and sweet, but gradually surprises us as she transitions from rookie to someone with her own voice and opinions. Roston makes that change believable even though it has to take place in such a tight time frame.

Under the direction of E. Faye Butler, the two actresses have a chemistry, whether singing, talking or convincingly “playing” the piano and guitar. We actually have music director Mahmoud Khan on keyboards and guitar man Larry Brown, behind the scenes, to thank for the instruments.

John Culbert’s funeral home setting is simple and realistic; Jared Gooding’s lighting design often subtle; and McKinley Johnson’s costume design has Roston looking girlish in pink and Tharpe more glammed up in show biz mode.

Brant’s script may leave you wanting to know more about these two stars; he can’t cram too much information into a show that is essentially about the music. He does include something of a twist at the evening’s end that I won’t reveal; it draws from us more of an emotional attachment to the women’s relationship than we’ve otherwise had.

Marie and Rosetta continues through May 31. For tickets, call (941) 351-8000 or visit asolorep.org.