Review: TINA – THE TINA TURNER MUSICAL at National Theatre

The national tour of TINA - The Tina Turner Musical arrived at The National Theatre on October 4th, and you have until October 23rd to see this electrifying musical about one of the most iconic performers in the history of Rock and Roll.

TINA opened on Broadway on November 7, 2019, and was written by Katori Hall, with Frank Ketelaar and Kees Prins. It was nominated for 12 Tony Awards, including Best Musical. The current touring production is directed by Phyllida Lloyd, and choreographed by Anthony van Laat, both Tony nominees. Under their watchful eyes, the show moves briskly along, and with the same energy and artistry that defined Tina Turner's performances.

Condensing the life of an icon into two and a half hours is a challenge, and TINA does an admirable job of telling that story, with just a modicum of artistic license employed to keep the narrative moving. In addition to the standard "sex, drugs and rock and roll" themes that are de rigueur for a musical of this type, Turner's story includes domestic abuse, sexism, exploitation, racism, discrimination - and ultimately, redemption, reinvention, and triumph. It would be an uplifting show if it were a work of fiction; the fact that it's based on a real person makes it truly inspiring.

Any discussion of TINA has to begin with Naomi Rodgers, who stars in the title role. To say that Rodgers lights up the stage would do her a disservice - she lights the stage on fire and keeps that fire burning throughout the show. Rodgers portrays Turner from her late teens until she takes the stage in front of 180,000 fans in Rio de Janeiro, capping one of the greatest comebacks in musical history. It's an extraordinarily demanding role to play - Rodgers is on stage for almost the entire show - and she has both the vocal talent (and dancing chops and stage presence) to cover Turner's musical catalog, and the acting skill to handle the broad range of emotions that make up Turner's life off stage. (Presumably because of the physical demand this show puts on the lead, the program also lists Zurin Villanueva in the title role, in addition to two understudies. Audience members should be prepared to see either actor in a given performance.)

The large supporting cast has great depth of talent and is well balanced. Garrett Turner's portrayal of Ike Turner is solid and nuanced, by turns self promoting showman and abusive, jealous and manipulative husband. Turner does a good job of modulating the intensity of the show's primary antagonist. Roz White (as Tina's mother, Zelma Bullock) and Anny Nesby (Tina's grandmother Georgeanna) give valuable insight into the complicated family relationships that defined her life. Nesby in particular provides a number of the show's most poignant moments, and she teams with Ayvah Johnson (Young Tina) late in the second act in one of the most moving scenes in the show. Parris Lewis (Tina's sister Alline), and Max Falls (Erwin Bach) help fill in the picture of her personal life, as well.

Musically, the show covers just about every era of Turner's career - often through standalone performance segments (concerts or recording sessions), although many of songs have been worked into the story line, with varying degrees of success. There are multiple instances throughout the show where the overall running time and pacing would have benefited from a verse or two (or an entire song) being cut. (Also, it is glaringly obvious that some of the actors - particularly several that are supposed to be playing guitars - could use a little rudimentary coaching on how to look like they are actually playing the instruments in their hands.) That said, the "real" offstage musicians (under the excellent direction of Music Director Anne Shuttlesworth) are absolutely top notch, and they get a well deserved moment to shine on stage (as Turner's backing band) in the show's big finale.

From a creative and technical standpoint, TINA dazzles. Mark Thompson's costume designs are period perfect, and brilliantly constructed to allow for the dozens of quick changes needed throughout the show. Thompson also designed the set, and it is a clever melding of video backdrops, platforms and functional, minimal furnishing that shifts scenes smoothly and efficiently. Lighting Designer Bruno Poet has done a masterful job of moving from the glare of the concert scenes to the soft, intimate lighting needed for the expository moments of the show. In the final scene it feels like you are actually at a concert. Likewise, Sound Designer Nevin Steinberg has handled the duality of creating both a believable concert atmosphere, while also conveying believable theatrical moments, with great skill and dexterity.

As noted above, the plot includes a lot of adult situations, violence and profanity, so I wouldn't recommend this show for young children. Even though the ending is triumphant, it's a very rough ride along the way.

Tina Turner has retired from performing, but TINA is the perfect chance to have an experience that is very close to seeing her live. It's a powerful and inspiring show, and not to be missed.

TINA - The Tina Turner Musical is playing at The National Theatre through October 23rd. For more information about Broadway at the National, click here.

Running time is 2:40, with one 15-minute intermission.

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