ajhlovestheatre

TINA – THE TINA TURNER MUSICAL

Book by Katori Hall, with Frank Ketelaar and Kees Prins

Directed by Phyllida Lloyd

Aldwych Theatre, London – open-ended run

https://tinathemusical.com/uk/

While regular theatregoers get a lot of mileage out of bragging about seeing the original casts of various legendary shows (and I am definitely one of those people!), there are several examples of long runners that have actually improved over time, as the creatives get a chance to rethink and finetune their work, and new performers become available to fill the iconic roles. A case in point is Tina, which opened at the Aldwych in 2018 and since then has seen replica productions spring up on Broadway, on tour across America, in Australia and in Europe. The London production isn’t just in great shape, it’s arguably the best it has ever been.

Of course, there is an extra emotional frisson to the show now, following the death last year of the beloved music industry icon, born Anna Mae Bullock in Tennessee in 1939, whose life story is the basis of this musical, on which she also served as executive producer. Seeing it originally, it was impossible not to be moved by the music and impressed by the energy of Adrienne Warren’s Tony-winning performance in the title role, which is a rollercoaster of highs and lows, requiring prodigious vocal and physical stamina. The role is now split between two actresses, currently Karis Anderson and Elesha Paul Moses, who perform four performances apiece per week, which seems like an intelligent choice given the extraordinary demands of becoming Miss Tina Turner. I saw Karis Anderson and, if it takes a star to portray a star, then Tina and the audience is in very safe hands. She’s spellbinding.

First time around, I was disappointed by Katori Hall’s book which felt bloated and soap operatic, and Phyllida Lloyd’s production which struggled to reconcile the horrifying scenes of domestic violence with the adrenalised exhilaration of the musical sequences, resulting in an uncertain tone. Fast forward five years, and the subtly retooled show is sleeker, sharper, more engrossing and coherent. The depiction of Turner’s abusive treatment at the hands of Ike remains shocking but feels integrated better, as do the juxtapositions of gritty realism with the spiritual mysticism that guided Tina through her adult life.

Similarly, the interpolations of the dead Grandmother Georgeanna and Anna Mae as a child, into moments of stress or indecision for adult Tina, who was usually cross-legged on the floor at this point doing her Buddhist chanting, no longer seem risible or overdone. As a script, it isn’t Katori Hall’s finest work, and there are still a couple of moments where the transitions into song are a little clumsy. But overall it is an earnest, fast-moving musical drama that explores the mercurial nature of fame, and celebrates the tenacity of Tina Turner rising from the poorest of backgrounds to global superstardom, and her glorious musical legacy.

That legacy is honoured with outstanding care by Ethan Popp’s orchestrations, skilfully blend the raucousness of rock’n’roll with an irresistible and essential theatricality, and Nicholas Skilbeck’s musical supervision and arrangements. The show sounds magnificent, nowhere more so than in the thunderously uplifting climax which recreates Tina’s legendary 1988 Rio De Janeiro concert, complete with onstage band, live video-filming and dazzling rock stadium lighting courtesy of Bruno Poet.

For all the slick professionalism of Mark Thompson’s design and Anthony Van Laast’s choreography, a show like this stands or falls by its leading lady. Karis Anderson is astounding, an electrifying presence and a sensitive, instinctive actress. She recreates the full range of the Turner voice, from the thrilling raspy growl up to a roof raising belt that makes you hold on to your seat and gasp, also the unique combination of tough, tender and joyful that defined this extraordinary star. She was part tigress, part Earth Mother and Anderson gives us all that, capturing the essence of a woman whose success really did come against all odds, except her God-given talent. Describing her daughter, Tina’s mother – played with real passion by Carole Stennett – observes that “you can’t hold fire”, and that feels entirely true of Anderson…she’s pure charisma and you cannot take your eyes off her.

The role of Ike Turner must be one of the most thankless in musical theatre, literally nobody who isn’t a psychopath is going to root for this womanising wife beater. Orezie Morro commits to the character with admirable, even terrifying ferocity and delivers the raw, upsetting speech where Ike describes the brutality he witnessed in his youth, with real skill. That, and the idea that he had an innate talent that went unappreciated due to his race and hot headedness, doesn’t excuse his behaviour but goes some way towards explaining it. Morro is very very good, and makes him seem less one-note than written.

Irene Myrtle Forrester, with a voice that could awaken the dead, is wonderful as Tina’s beloved GG, and Emma Hatton makes something truthful and likeable out of the underwritten role of Tina’s loyal manager. There’s lovely, sensitive work from Jonathan Carlton as Erwin Bach, the man Tina found long term happiness with and he and Vanessa Dumatey, gloriously feisty as the older Bullock sister, provide most of what humour the show has.

Now that the undisputed ‘Queen of Rock’n’Roll’ has left us, this long standing West End fixture is the next best thing. The story is inspirational and full of drama, the songs remain unsurpassed, the staging is more dynamic and engaging than previously, and in Karis Anderson, Tina – The Tina Turner Musical is fielding a sizzling, authentic star talent. I’m so glad I went back.