photo credit: Johan Persson
TINA – THE TINA TURNER MUSICAL. CURVE LEICESTER
Anyone with even a passing familiarity with Tina Turner’s music knows that her rise to superstardom was anything but easy. Born Anna Mae Bullock, she endured a childhood marked by poverty and abandonment, followed by years of domestic violence, racism, and financial struggles. But against all odds, she became a global icon, winning 12 Grammy Awards and cementing her place as the Queen of Rock ‘n’ Roll.
This bio-musical, which received Tina Turner’s blessing is a whirlwind journey through her tumultuous life has it all. It’s a rags-to-riches tale with music at the heart of the production. There’s a thumping live band delivering her greatest hits, including “(Simply) The Best,” “What’s Love Got to Do with It?”, “Private Dancer,” and “River Deep, Mountain High.”
The story begins with a young Anna Mae, played by Chizaram Ochuba-Okafor on press night (the role is rotating between three young actors), singing in church and working in the cotton fields of Nutbush, Tennessee. It’s an impressive performance from such a young actor. Jochebel Ohene MacCarthy, one of the rotating leads as Tina, faces the daunting task of capturing Turner’s distinctive presence. She truly shines in the ballads, particularly in a heartfelt rendition of Al Green’s “Let’s Stay Together.”
David King-Yombo portrays Ike Turner with an unsettling, volatile energy, embodying the charisma and menace of a man whose talent was overshadowed by his abusive and controlling nature. His portrayal conveys the tension and violence that plagued their 16-year relationship.
The show doesn’t shy away from the racism that Tina, Ike and other black musicians faced. Sleeping in cars while touring the segregated South when they couldn’t find a motel willing to let them stay and being threatened by corrupt cops. Tina survived this and goes on to successfully battle prevalent misogyny and discrimination in the music industry. An industry controlled by white men looking for the next hit record.
Letitia Hector as Tina’s mother, Zelma Bullock, adds further depth, touching on their difficult and often strained relationship.
The staging is relatively simple and pared back, allowing the performances and music to take centre stage. Light projections are cleverly used to imply different locations, from life on the road to the inside of a music studio, seamlessly transitioning between key moments in Tina’s journey. The live band remains hidden behind a backdrop for most of the show, only fully revealed in the exhilarating final concert-style sequence, adding to the sense of spectacle in the closing moments.
Despite the weighty subject matter, there are moments of humour, particularly in Tina’s encounters with British slang and customs. The ensemble effectively captures the evolving styles of dance and music throughout the decades, adding to the vibrant energy of the production. They cleverly assist with costume changes that take place on stage.
Even at 2 hours and 45 minutes, the show struggles to fully cover a vast and eventful life. Tina’s Buddhist faith is touched on but not fully explored. The show culminates in Tina’s triumphant reinvention at 44 with her breakthrough solo album Private Dancer. The production truly ignites after the interval. Ohene MacCarthy fully unleashes her powerhouse vocals, leading into a high-energy, concert-style finale packed with some of Tina Turner’s biggest hits.
Ultimately, Tina is a feel-good experience for fans. While it doesn’t delve as deeply into some aspects of Tina’s life as it could, it captures her indomitable spirit and serves as a fitting tribute to her extraordinary legacy. An entertaining show that leaves audiences dancing and singing along to those great hits.
Tina – The Tina Turner Musical is on at Curve until 22 March then tours the UK including dates at Nottingham Theatre Royal 15 July to 2 August,
