Nottingham Theatre Royal – until Saturday 2 August 2025
Reviewed by Louise Ford
5*****
It’s Tina Time!
The production is based on Tina Turner’s best-selling memoir, I Tina, written by Katori Hall with Frank Ketelaar and Kees Prins. They were also involved in adapting the book for the stage. The original show premiered in the West End, seven years before transferring to Broadway. The Executive Producers are Tina Turner and Erwin Bach. The show’s Director is Phyllida Lloyd.
The show cleverly interweaves 23 of Tina’s songs to tell the story of her life. Tina isn’t portrayed as a victim but rather shows her drive and tenacity to overcome life’s obstacles to become the star that she always dreamed of becoming. Tina was finally inducted into the Rock and Roll Hall of Fame in 2021 as a solo artist.
The story starts with a silhouette of Tina meditating before a black out screen, which transforms into her childhood town in Tennessee. Tina was born in the late 1930s, Anna Mae Bullock, in a poor cotton-picking community. Her father is a cut above the pickers as he is both an overseer and a Baptist Pastor at the local church. Anna Mae is shown out singing and outperforming the other members of the congregation. Anna Mae Bullock is played as a child by Sophia St Louis, she has a great stage presence and a fine pair of lungs. Anna Mae’s sister Alline is played by Shaniyah Abrahams as a child, the bond between the two siblings is touching and lasts throughout their lifetime. Anna Mae’s family life is hard and difficult to watch. Her mother, Zelma, is played by Letitia Hector and her father, Richard, by Rushand Chambers.
When Anna Mae moves to St Louis at the age of 16, to live with her glamorous mother and fun-loving sister, she transforms from the dowdy country cousin to the sophisticated city dweller. The adult Anna Mae is brilliantly played by Jochebel Ohene . Whilst Alline is played by Loren Anderson as an adult.
It is Anna Mae’s spectacular singing voice which brings her to the attention of Ike Turner, the leader of the Kings of Rhythm band. The role of Ike is played by David King-Yombo. Ike is initially seen as a charismatic musical genius before descending into a controlling and abusive womaniser. His descendant is exacerbated by his drinking and drug taking. It’s a tricky role to play, but we do get some understanding of his own troubled upbringing and the machismo of the time.
The first half of the show is a tough watch, whilst there are some lighter moments, it doesn’t shy away from the issues faced by people of colour and particularly women growing up in America in the 1950s and 1960s.
The second half is more upbeat and charts Tina’s divorce from Ike and her launching her solo career. Solo success did not come easily for her. We see Tina performing in Las Vegas and struggling to keep her home and family together. She is supported through this by her sister.
Tina’s breakthrough came rather unexpectedly in Europe, in an unlikely collaboration with Heaven 17 and producer Phil Spectre. And the rest is history. With a dynamic stage presence, the shortest skirts(so that her legs are free), the longest legs in show business, and her blonde shaggy hair, Tina Turner burst back on the world’s music stage. Her powerful and uplifting voice delivers the iconic 1984 Private Dancer album.
The story comes back full circle to the opening scene where Tina is meditating before her triumphant concert. The stage opens up, and we are in the audience of one of the great comeback concerts. The audience is treated to a full Tina private concert, which has the audience on their feet clapping and singing away, celebrating Tina’s success.
The production is slick and energetic. The use of lighting and projection instead of scenery enhances the production.