By: Rosie Sharman-Ward
A firecracker of a “triumph over adversity” story that will hurt your heart and make your feet itch to dance along. So much more than just a jukebox musical, TINA – The Tina Turner Musical doesn’t dodge the harsh realities behind the sequins and indeed produces a collective gasp from the audience in places.
Director Phyllida Lloyd pulls the magic from Katori Hall’s fabulous book and weaves the complex narrative of Anna Mae Bullock, a gospel singing child from a tough, abusive background in small town Tennessee into the indomitable force of nature, Tina Turner. Using tantalising glimpses of Tina lyrics sung by different characters in her life story interspersed with full on performances of well loved numbers that have us all singing along (only in our heads, naturally), we follow with admiration as Tina negotiates her journey with unbelievable odds stacked against her.
In between the angst and achievements this is first and foremost a musical bursting with spangles and high energy performances. Backed by an excellent band and the Ikettes whose costumes and wigs almost have their own roles to play. Bruno Poet’s lighting switches up to full concert pitch including us in the auditorium. In these moments we are watching Tina Turner live!
Elle Ma-Kinga N’Zuzi as Tina is a consummate performer. She takes us with her from the beginning. We wince at her pain and revel in her successes. Delivering on both vulnerability and chutspa. she morphs into Tina as the show progresses. Added to that is her ability to truly belt out the stellar back catalogue while her endless legs carry her through some very recognisable choreography including the Tina Turner strut.
There are many diverse relationships ahead for our hero. Her mother Zelma, Letitia Hector, is cold towards her. Taking sister Alline, Georgia Gillam, she leaves Anna Mae to her Gran Georgeanna (GG) to bring up. One of my favourite numbers in the whole show is Don’t Turn Around which Tina duets with Claude East as GG. Claude has an astonishing warm voice which contrasts so well with Elle’s, poignant and beautiful.
Tina’s sinister relationship with Ike Turner is a difficult watch. Brilliantly portrayed by David King-Yombo, Ike’s controlling nature suffocates and oozes with all the wrong kind of chills. Watching him struggle against racism himself explains a little but by no means lets him off the hook. It is such a great portrayal that he is booed at the end of the show despite all his obvious musical talent!
An award winning creative team means the staging of this musical is very elegant. Whilst the music is always the star, quick changes of mood and tempo are generated by Jeff Sugg’s projections and Mark Thompson’s set and costumes. As well as reproducing Tina Turner’s famous attire, the history and trauma of all those lives is echoed by the clothes and wigs. The use of coats and wrap dresses for speedy changes is a work of genius. A hugely talented cast dancing Anthony van Laast’s spectacular choreography is joyous.
This is a high octane, sparkling production, buzzing with life. Best of all you get to sing and dance along at the end so stretch your legs in the interval as you’ll need to be fast on your feet.