Picture: Johan Persson
Tina – Tina Turner the Musical was reviewed at the Milton Keynes Theatre where it continues until 7 February 2026. The tour continues until 3 May 20206.
Star rating: four stars ★ ★ ★ ★ ✩
Energy and verve pump through Tina – Tina Turner the Musical and drive this mesmerising tribute to the late Queen of rock ‘n’ roll.
Prepare to be dazzled and drawn in with an atmospheric start to this biographical blockbuster, directed by Phyllida Lloyd and written by Olivier Award and Pulitzer Prize-winner Katori Hall.
The elfin-like Elle Ma-Kinga N’Zuzi played Tina on the night of our review (she shares the all-encompassing role on the tour with Jochebel Ohene MacCarthy) and delivered a sensational performance, modelling Turner with uncanny precision.
It’s a tall order, as we follow the songstress’ growth and journey from teenage Tennessee starlet Anna Mae Bullock, as she morphs into 1960s superstar Turner – one half of the duo with the infamous Ike – and then on to re-emerge several years later as the global rockstar, complete with gravelly voice and knock ’em dead swagger.
Ma-Kinga N’Zuzi owns this role and draws your eyes to her like a magnet. She’s at the heart of the show and the audience follows her through umpteen costume changes, as she steps through the different eras (full credit to Mark Thompson and his teams for the set and costume designs).
It feels like no stone is left unturned in quite a long Act I, largely devoted to Tina’s early years and her time with abusive partner Ike, played very convincingly by the hugely talented David King-Yombo.
There are many familiar Turner classics that we’ve come to know and love to keep things upbeat, such as ‘River Deep – Mountain High’, ‘What’s Love Got to Do With It’, ‘We Don’t Need Another Hero’ and more, which are threaded throughout the story of Turner’s battles against the odds. Not just surviving a violent husband – but later, overcoming ugly instances of prejudice and racism in her efforts to reinvent herself for a new rock era.
The fabulous ensemble which surrounds Ma-Kinga N’Zuzi during the set pieces – with outstanding choreography from Anthony van Laast – give a welcome reprieve to the somewhat lengthy dialogue which threatens to slow the pace of this production a little at times.
Lively numbers bring it to life, including a particular high point when the stunning Ma-Kinga N’Zuzi, against a state-of-the art graphic, performs to ‘River Deep – Mountain High’ to Phil Spector (Martin Allanson is the outlandish record producer). Sublime.
The finale drops the audience into the atmosphere of a live show, circling back to the stadium scene at the start, as Turner focuses on her calming chant ahead of stepping out to face the crowd. We end with a full-on gig-style performance with the audience delighted to sing-along as Ma-Kinga N’Zuzi delivers yet another fully-charged rendition; this one being ‘Simply the Best’.
Christine Drabwell
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