TINA – The Tina Turner Musical is sheer theatrical brilliance, seamlessly merging the finest elements of jukebox musicals and period theater. It compares to such celebrated contemporaries as Lady Day at Emerson’s Bar and Grill, Memphis, Beautiful: The Carole King Musical, and The Color Purple Musical. The production astounds with a riveting book by Katori Hall, breathtaking costumes, ingenious set designs, a pulse-pounding score, and impeccable choreography — a stirring tribute to the indomitable spirit of an iconic legend.
The show opens with Tina, played with indisputable talent by former American Idol star Jayna Elise, in a meditative posture facing a stairwell that seems to ascend into the heavens. This poignant image, crafted under the direction of Phyllida Lloyd, later reveals itself as the prologue to a climactic concert that has the audience on their feet, transported into a pulsating world of music and triumph.
The story chronicles Tina’s tumultuous childhood as Anna-Mae Bullock, her meteoric rise to fame, and her harrowing marriage to Ike Turner, played with a chilling intensity by Sterling Baker-McClary. The narrative resonates with parallels to Beautiful: The Carole King Musical, as Tina’s extraordinary talent is both nurtured and exploited by a partner who ultimately becomes a source of profound emotional pain. Pop composer and singer songwriter Carole’s and Tina’s stories converge so similarly in their triumphant rediscovery of themselves, proving their artistry could outshine any personal hardships. If they weren’t inspiring true-life stories, one would be tempted to call them unoriginal.
The musical numbers and accompanying choreography by Anthony Van Laast are mesmerizing and deeply moving, expertly guided by Music Supervisor Alvin Hough Jr. and Music Director Shane Ffrench. Crowd favorites include “What’s Love Got to Do With It,” “I Can’t Stand the Rain,” “Nutbush City Limits,” and, of course, “Proud Mary.” A standout moment comes from Taylor Brice, who portrays young Anna-Mae Bullock with theatrical charm and an unfiltered vocal purity that endears the young star to the audience.
Diedre Lang brings to the stage a tender eccentricity and gray pigtails as Tina’s grandmother. Contrasting this is Tina’s father, a fiery Baptist preacher, played by Maurice Alparicho. Right from the praise breaks, tambourines and church hats, the production draws parallels with The Color Purple Musical in which sultry singer Shug Avery is also a preacher’s daughter and Harpo’s first wife Sofia — just like Catrina Brenae as Tina’s mother — refuses to accept physical abuse from a man without a fight.
Nevin Steinberg’s sound design masterfully intertwines Tina’s Buddhist chants with echoes of her Christian upbringing, creating an auditory tapestry of her dual spiritual journey. A particularly moving scene features Tina kneeling in prayer while a background chorus of family, church members, and her younger self chants her name — a poignant reflection of her layered identity.
Similar to Memphis and Lady Day at Emerson’s Bar and Grill, TINA touches on the racial discrimination of the time, from police brutality to industry prejudice as a “nigger broad,” and segregated radio waves, though these moments serve as side notes rather than focal points. Unlike Lady Day, which portrays iconic jazz and blues singer Billie Holiday succumbing to addiction, societal pressures, multiple abusive partners, childlessness, and trouble with the law, Tina’s story shines as one of resilience and reinvention.
The seamless set transitions are among the best in modern theater. Bruno Poet’s lighting design and Jeff Sugg’s projection artistry are nothing short of breathtaking. Every piece of Mark Thompson’s scenery moves seamlessly, creating a dynamic yet fluid stage environment. Thompson, who also doubles as the costume designer, aptly reflects Tina’s transformation — from the modest Nutbush attire to her glittering gold dress in St. Louis and her iconic leather and denim ensembles as a solo star.
The final concert scene in Brazil is a sensory explosion, a visual and auditory spectacle featuring holographic lights, pyrotechnics, and the roaring cheers of a simulated — even hysterical at the mezzanine — crowd. In two hours and 45 minutes, the production grips the audience from start to finish, never faltering. By the final bow, the audience isn’t just clapping — they’re on their feet, cheering, and wholly entranced. Obviously, this is more than a musical; it’s an experience, a reliving and celebration of a legend whose music will keep playing even when the stage lights turn off.
Running Time: Two hours and 45 minutes with one intermission.
The North American tour of TINA – The Tina Turner Musical plays through January 26, 2025, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets (starting at $125) are available online, at the box office, or by calling (202) 628-6161.
The cast and creative credits for the touring production are here.
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COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.
