Jochebel Ohene MacCarthy in Tina: The Tina Turner Musical at Curve Leicester. Picture: Johan Persson
Tina: The Tina Turner Musical was reviewed at Curve Leicester where it continues until 22 March 2025. The tour continues until 4 April 2026.
Star rating: five stars ★ ★ ★ ★ ★
With a career spanning seven decades, Tina Turner truly was one of the greatest icons in music history, and the undisputed ‘Queen of Rock ‘n’ Roll’. But as great as the music is, the story behind the superstar is even more compelling, rich with conflict and drive, and it’s on the foundations of this incredible journey that Tina was born.
A biographical jukebox musical, the show takes us through Turner’s life and career, from absolute highs to wrenching lows, and really explores what made her the force she was. After opening at London’s Aldwych theatre in 2018, where it’s still running strong today, a touring production of Tina has opened at Leicester Curve prior to hitting the road, ready to have audiences find out why Turner really was ‘Simply the Best’.
In Nutbush, Tennessee, young Anna Mae Bullock sings in church, and can’t hide her spirit and love of performing, much to the disdain of her mother Zelma (Letitia Hector). After suffering years of abuse from her husband Richard (Rushand Chambers), Zelma leaves, entrusting Anna Mae into the care of her grandmother Georgeanna (Claude East).
Later, seeing stardom in her granddaughter’s eyes, Georgeanna sends Anna Mae to St Louis, where she reunites with her mother and sister Alline (Georgia Gillam). One fateful night at a local club, Anna Mae meets the singer Ike Turner (David King-Yombo). Success as ‘Ike and Tina Turner’ and a volatile marriage follow, plagued by Ike’s adultery, abuse and drug addiction, until one day Tina finds herself fleeing and desperate to start a new life on her own, but facing a changing music industry steeped in ageism and racism.
As a ‘bio-musical’, Tina sits up there with Jersey Boys as a rocking example of how to do it right, and how you need a compelling and engaging story to drive the show, not just a catalogue of hits (of which there are 23, obviously the biggies are included but also some rarer cuts, particularly from her early success with Ike).
With a book by Katori Hall, Frank Ketelaar and Kees Prins, Tina fully explores the roots, ambitions and challenges of one of music’s greatest warriors, and takes us on her journey from humble beginnings through to success, domestic abuse, racial persecution and eventual superstardom after starting all over again in her forties.
Turner herself was heavily involved in the creative process of building the show, and this is felt throughout; this isn’t a shameless rose-tinted vanity project, but a richly layered and hugely human piece of drama. The songs almost come second, and that’s what sets Tina apart from other shows like it.
Director Phyllida Lloyd gets the balance just right between Tina the icon and Tina the woman, blending the human story with the dynamic music performances with slickness as well as a clear affection for the artist being portrayed. Anthony Van Laast’s choreography is stunning and never lets up, packing the up-tempo numbers with endless amounts of personality and energy. The sets and costumes (Mark Thompson) are also eye-catching and vibrant, with nothing reduced to make it adaptable to tour.
The role of Tina is shared across the tour by Elle Ma-Kinga N’zuzi and Jochebel Ohene MacCarthy, who performed on press night. MacCarthy is an absolute powerhouse, prowling the stage like a lioness and holding nothing back, while also staying on the right side of caricature or parody. Her Tina is real, nuanced, fiery yet vulnerable, and with phenomenal vocal range and power.
As female leading roles go, Tina is up there with Elphaba, Effie White and Eva Peron, a gruelling marathon of a sing not to mention the acting and choreography that go with it, and MacCarthy smashes it.
David King-Yombo is a suitably unlikeable Ike, a coiled spring of tension who delivers moments of real unease and unsettling aggression. But the male figures aren’t all bad, with Isaac Elder and William Beckerleg bringing plenty of gentle charm to their portrayals of Roger Davies and Erwin Bach respectively.
It’s perhaps a little long with a song or two too many, and it would be great to see Tina’s manager Rhonda given a little bit more to do, but overall Tina is s a hugely engaging, emotive and exhilarating three hours that celebrates the life of a legend. Those wanting something more akin to a tribute concert will find themselves initially surprised at how deep the show goes, but will be ultimately rewarded because of it.
Rob Bartley
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