TINA: THE TINA TURNER MUSICAL is a jukebox musical. The songs were not written specifically for this script, but are part of Turner’s history, both when she was partnering with her then husband, Ike Turner, and when she was a solo act.
In contrast to many shows of that classification, such as MAMA MIA, ROCK OF AGES and MOULIN ROUGE!, songs aren’t shoehorned into a trite plot, but flow naturally in the story.
Tunes include “I Can’t Stand the Rain,” Don’t Turn Around,” We Don’t Need Another Hero,” “Proud Mary,” and her biggest hit and anthem, “What’s Love Got to Do With It.”
TINA takes the theater-goer on a journey from the Queen of Rock and Roll’s humble beginnings in Nutbush, Tennessee, where she is abandoned by her parents, to her transformation into a mega-celebrity.
“Her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history.”
Written with Turner’s guidance, she insisted that, “the show does not hold back on the storytelling, and be truthful.” All the glory, the celebrity and happiness of her life, is balanced with the abuse she and her mother were subjected to by her father and then her personal hell inflicted by her jealous verbally and physically aggressive husband.
What you get is “the inspiring journey of a woman who broke barriers [and personal angst] and became the Queen of Rock n’ Roll.” Set to the pulse-pounding soundtrack of her most beloved hits, it spotlights one of the world’s best-selling artists of all time who has won 12 Grammy Awards.
The show displays all of the star’s notorious dance moves, her obsession with revealing dresses which accentuate her famous well-formed legs, sparkly iconic costumes and outlandish wigs, and her love of bright lights and expansive sets. This is full-out Tina. (Don’t be surprised to see lots of coiffed and costumed “Tina-look-alikes” in the audience.)
When it opened in London, and then on Broadway, the show received generally positive reviews from the critics. Comments included, “astonishing,,” elegantly staged,” and "As bio-musicals go, this is as good as it gets." Other stated, "the show is slickly choreographed, beautifully designed and roof-raisingly well-sung," as well as, “the production becomes a full-blooded rock show that is life-affirming.”
At the end of TINA, THE MUSICAL, the entire Connor Palace opening night audience was on its feet screaming, singing and dancing. And, then to top it off, for an extended period the cast and orchestra put on a mini-Tina concert.
The touring production, under the direction of Phyllida Lloyd, with choreography by Anthony Van Laast, is as well-done as the Broadway production. The pizzaz, opulence, and visual razzle dazzle light up the stage.
The cast is outstanding. Naomi Rodgers sizzled as Tina on opening night. She shares the role with Nurin Villanueva. The duo change-off so who you see depends on which performance you attend.
Young Avyvah Johnson almost steals the show with her dynamic and delightful portrayal of Young Anna-May (young Tina Turner). Her voice and stage presence resulted in a screaming curtain call.
Also strong were Carla R. Stewart as Gran Georgeanna and Roz White as Zelma.
Garret Turner is nasty-right as Ike Turner, Tina’s controlling, abusive and vindictive husband.
Locals might spot BW Music Theatre grads Gordia Hayes on stage as a swing and starting May 13, Roderick Lawrence will assume the role of Ike Turner.
Capsule judgment: If you love the music of Tina Turner…you will love THE TINA TURNER MUSICAL. If you don’t know her music…you will love THE TINA TURNER MUSICAL. If you don’t like musical theatre…you will love THE TINA TURNER MUSICAL. Get the idea…you will love the TINA TURNER MUSICAL.
THE TINA TURNER MUSICAL runs through May 14, 2013 at the Connor Palace in Cleveland’s Playhouse Square. For tickets: 216-241-6000 or www.playhousesquare.org
