‘Tina: The Tina Turner Musical’: Her life & hits

‘TINA: THE TINA TURNER MUSICAL’: Adrienne Warren (center) & cast. Photo: Manuel Harlan

TINA: THE TINA TURNER MUSICAL
Book by Katori Hall with Frank Ketelaar & Kees Prins
Directed by Phyllida Lloyd
Choreographed by Anthony Van Laast
Lunt-Fontanne Theatre
205 West 46th Street
(877-250-2929), www.tinaonbroadway.com

By David NouNou

Tina Turner is a force of nature, a hurricane. There are very few artists where you just mention their first name and you see their entire portfolio appearing in your mind. Tina is among those superstars: Aretha, Barbra, Cher, Diana, just to name a few; no need to say their last name as it would be redundant and stating the obvious.

Tina: The Tina Turner Musical is more than a jukebox musical about an artist and her song portfolio inserted into it to recapture nostalgia. Tina actually has a book that is logical and makes sense of the artist’s life. Of course there will be portions or parts that would be missing as, that is the nature of a musical; you have to stay on course to hold the audience’s attention.

Born Anna Mae Bullock in Nutbush, Tennessee, her hometown, singing in her father’s ministry, having an abusive father, deserted by her mother, living with her grandmother, moving to St. Louis at 16 and reconnecting with her mother, marrying Ike Turner and their tumultuous and abusive relationship, attempting suicide, from stardom to the depths of poverty and depression, going out on her own and rebuilding her career in the record industry and sold-out concerts around the world, as well as her faith in Buddhism which has been her salvation. It is all here.

In addition, there are also her songs that are sung intact and not just snippets: “River Deep, Mountain High,” “Proud Mary,” “Nutbush,” “Let’s Stay Together,” “Private Dancer,” “What’s Love Got to Do With It,” “We Don’t Need Another Hero,” and many more. What is unique here is that the songs come in sequence and are not randomly inserted for the sake of “keeping the musical moving” as is the case with most jukebox musicals.

I have to make a confession here. In June 2018, shortly after its opening, I saw Tina in London, and at that performance Adrienne Warren was not performing. Due to the demanding and unrelenting role, it is impossible to play eight performances a week without collapsing. Knowing Ms. Warren’s capabilities as a performer from the New York stage, I felt I was cheated not getting to see her on the West End.  As I stated earlier Tina, the singer, is bigger than life, so the performer that plays her has to capture that essence of Tina’s magnetism. It is not enough to just sing the songs well; she has to inhabit Tina.

There are very few times on the stage when an actress can overwhelm as the original artist she is portraying. Recently we had Cher and Donna Summer portrayed to less-than-diminishing returns by musicals with awkward books. Adrienne Warren has shattered the theatrical barrier and created a legendary moment in theatrical history. Over the years I have seen legends portraying Dolly Levi, Mame and Evita, but not since Barbra Streisand portraying Fanny Brice have I been as spellbound as I was witnessing Ms. Warren as Tina Turner. Ms. Warren should have her name in lights on the marquee (as they used to in the olden days). Although Ms. Warren lacks Tina’s size, she overcomes this obstacle with a fully rounded performances that will live on for the ages. Not to sound cheesy, but Hurricane Adrienne has made landfall at the Lunt-Fontanne Theatre and may her stay be long.

Edited by Scott Harrah
Published November 15, 2019
Reviewed at November 14, 2019 press performance.

‘TINA: THE TINA TURNER MUSICAL’: Adrienne Warren & Steven Booth. Photo: Manuel Harlan

‘TINA: THE TINA TURNER MUSICAL’ : Adrienne Warren & Daniel J. Watts. Photo: Manuel Harlan

‘TINA: THE TINA TURNER MUSICAL’: Adrienne Warren. Photo: Manuel Harlan