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★★★★★
At the start of 2024 I was fortunate enough to watch ‘Tina – The Tina Turner Musical’ at the Aldwych Theatre in the West End and was blown away by the strength of the production. In the saturated genre of jukebox musicals, the show really stood out, with its incredible song list and sensational storytelling. Even though it has now closed in London after 7 years in the West End, audiences don’t have to say goodbye to the musical just yet as a UK and Ireland tour is currently stopping at regional theatres. For the next week ‘Tina’ is at the Marlowe Theatre here in Canterbury and I had the opportunity to revisit it on press night. I was fascinated to see how this direct-from-the-West-End production would fare on tour.
About the show
The material starts and ends with Tina (Elle Ma-Kinga N’Zuzi) reciting a Buddhist chant ahead of a concert to 180,000 people in Brazil, played to the opening of ‘The Best’. From this moment on, the company immediately travels back in time to her childhood in Nutbush, Tennessee where we learn that Tina was left in the care of her grandmother until she finished school due to her parents’ separation. As a teenager she joins her mother (D’Mia Lindsay-Walker) and sister Alline (Georgia Gillam) in St. Louis and it is here where she meets future husband and collaborator Ike Turner (Kyle Richardson). Tina’s story of superstardom sadly features domestic violence, racism, misogyny and more, and it is truly inspiring to see how she manages to defy all odds and become the icon that we all know and love.
Recreating Tina’s career journey
It goes without saying that the narrative transcends many locations quickly and my biggest concern for the tour was how the creative team would approach showcasing all of these moments, without the benefit of a permanent home. I am pleased to say that Mark Thompson’s set design continues to effectively illustrate Tina’s story, with Jeff Sugg’s projections constantly evolving alongside the narrative. In a show where it is crucial to highlight all of the details of the book, the creative elements work in harmony to cover the highs and lows of Tina’s life.
Cast performances
The role of Tina Turner is such a demanding part and Elle Ma-Kinga N’Zuzi steps into the icon’s shoes effortlessly. Minus the early Nutbush scenes, the performer is on stage for almost the entire show and you have to commend the amount of energy it must take night after night. She truly embodies Tina and the combination of electric vocals and commitment to showcasing Tina’s inner strength is nothing short of extraordinary.
I also really enjoyed the sisterhood between Tina and longtime manager Rhonda Graam (Gemma Sutton). The narrative can get quite dark at times, and this source of warmth helps audiences to believe that there is a light at the end of the tunnel for Tina, despite the difficulties with Ike.
Simply the best
For me, this continues to be the strongest biographical musical currently playing in theatres. It is a story of overcoming adversity that is brought to life through world-class performances, moving orchestrations and an undeniable commitment to recreating Tina’s style and individuality. If there is one jukebox musical you absolutely must see, it is this. ‘Tina – The Tina Turner Musical’ is at the Marlowe Theatre until Saturday 8th November, with last minute tickets available via the theatre’s website.
* My ticket for ‘Tina – The Tina Turner Musical’ was gifted in exchange for an unbiased review.
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