Tina (musical)

Tina: The Tina Turner Musical is a jukebox musical featuring the music of Tina Turner and depicting her life from her humble beginnings in Nutbush, Tennessee, to her transformation into a rock 'n roll superstar. Directed by Phyllida Lloyd with a book by Katori Hall, Frank Ketelaar, and Kees Prins, the musical had its world premiere on 17 April 2018 at the Aldwych Theatre in London. The Broadway production opened on 7 November 2019.

Act I
The musical opens with Tina preparing to go on stage, as she recites a Buddhist chant, nam myoho renge kyo.

In 1950s Nutbush Tennessee, a young Anna Mae Bullock sings exuberantly at a community church gathering ("Nutbush City Limits"). Her mother Zelma is embarrassed at her loudness and reprimands her. Anna Mae's parents have a difficult relationship, and after being physically assaulted, Zelma walks out with her eldest daughter Alline. Anna Mae is left alone to be brought up by her grandmother, Gran Georgeanna.

Some years later, Gran Georgeanna encourages Anna Mae to go to Memphis and record an album, and Anna Mae leaves to go join her mother and sister, Alline, in St. Louis ("Don't Turn Around"). In St. Louis, Alline gives Anna Mae a makeover and introduces her to the nightlife ("Shake a Tail Feather"). At a nightclub, Anna Mae sees Ike Turner and his band, the Kings of Rhythm ("The Hunter"). Anna Mae is encouraged to sing on stage with Ike ("Matchbox (2018–2021) Blood Run Cold (2021–present)"). Realizing her potential, Ike persuades Zelma to let Anna Mae join his band ("It's Gonna Work Out Fine").

Ike changes the name of the band to the "Ike and Tina Turner Revue", and gives her the stage name "Tina Turner". An attraction is sparked between Tina and Raymond Hill, the band's saxophonist. Although Tina enjoys performing with Ike and The Ikettes, she becomes increasingly aware of his vicious temper and possessiveness ("A Fool in Love"). Ike is physically violent towards her, and leaves with a female stranger. While he is gone, Raymond confesses his love for Tina, despite her attempts to end the love affair ("Let's Stay Together").

The band is refused accommodation at a motel because of their race, with Ike telling the band that the new civil rights haven't changed people's attitudes. As the band sleeps in the bus, Ike tells Tina about his father who was brutally assaulted for having a relationship with a white woman. In addition, Ike is resentful that his first hit, "Rocket 88", was credited to someone else. He has Tina make a promise that she will never leave him, and asks Tina to marry him. Tina agrees, despite being pregnant with Raymond's child. As they are about to leave, two white police officers intimidate them and Ike is forced to pay them to avoid harm.

Raymond finds out about the engagement, and after warning Tina about Ike, he leaves. Rhonda Graam is introduced as the band's new manager, and Tina reveals she is pregnant with Raymond's child ("Better Be Good to Me"). As they continue touring, Tina becomes increasingly isolated from Ike as he begins taking drugs and sleeping with other women. She continues performing with Ike and his band, even while pregnant and eventually giving birth to two children, Craig and Ronnie, and still keeps performing despite Ike's infidelities, increasing violence, and demands of Tina's health ("I Want to Take You Higher"). The Ikettes leave the band because of Ike's behavior, and unsuccessfully try to convince Tina to leave as well. They introduce her to a Buddhist chant nam myoho renge kyo, to help give her strength. Rhonda admits to Tina she is only staying to help protect Tina and begs Tina to leave Ike, but she refuses because of her children.

Ike and Tina meet with Phil Spector, who offers them a recording deal. Ike is angered when Phil wants to record Tina as a solo artist. Phil guides Tina through a song he wrote for her, and Tina begins to find her "voice" ("River Deep Mountain High"). Despite the success of her new single, Ike is dismissive of Tina's ability as a solo artist. During an argument, Ike assaults her son, Craig. Tina threatens to leave Ike, but he apologizes and begs for her forgiveness ("Be Tender with Me Baby"). Tina overdoses and is sent to a hospital, but is forced to check out for a performance ("Proud Mary"). Zelma tells Tina that she must teach Ike a lesson.

Tina and Ike get into another violent fight, causing Tina to run away. Bruised and bleeding, she asks a hotel clerk for a room to stay, using only her stage name as a promise to pay later since she doesn't have any money ("I Don't Wanna Fight").

Act II
Divorced from Ike, Tina is in debt and forced to perform in Las Vegas bars with the help of Rhonda, now her manager. They're struggling to make ends meet because no record label wants to sign a black woman who's nearing forty years old, and Ike has claimed copyright over all songs from the "Ike & Tina Revue", preventing her from singing the songs she's known for ("Private Dancer").

As they drop off a demo tape at Capitol Records, they meet Roger Davies, a young Australian music producer who is a fan of Tina. Roger watches Tina perform in Las Vegas ("Disco Inferno"), and becomes her manager. Despite being upset about being put aside, Rhonda understands Tina needs to try something new. Tina tells Rhonda she needs her more as a sister, and Rhonda promises to stand by Tina's side ("Open Arms"). When Tina arrives in London, she meets Erwin Bach, who was sent to pick up Tina at the airport. Tina struggles with Roger's advice as she wants to reinvent herself. Tina feels lonely and isolated, and dreams of Ike watching her ("I Can't Stand the Rain"). Erwin comes to her hotel room and comforts her, and they share a kiss.

While preparing for a showcase for the record label, Tina becomes upset at Roger's instructions and does not want to be anyone's puppet. Tina prepares her Buddhist mantra to calm herself, and has visions of her younger self and Gran Georgeanna encouraging her ("Tonight"). Despite the showcase's success, the record label refuses to sign Tina because of her age, gender, and race. Furious, Roger quits the label and decides to promote her himself in the United States. Erwin declares his love for her and asks her to stay in London with him, but Tina rejects him. Tina successfully performs in New York City ("What's Love Got to Do with It?"). Capitol Records begs her to sign with them, but Tina agrees only on her own terms.

Alline arrives with news Zelma is dying. Tina visits Zelma at the hospital, who admits she struggled raising Tina. Ike also visits, and Zelma encourages them to reconcile. Tina is hurt her mother can't see Ike's abusive behavior, and Ike refuses to apologize. Tina and Alline mourn their mother ("We Don't Need Another Hero (Thunderdome)"). Tina realizes she is surrounded by people who form her own version of a family.

Riding high, Tina prepared for a concert in front of 180,000 people in Brazil. Roger and Tina share excitement. Erwin suddenly appears, having flown to be with her. They reconcile and share a kiss. Tina ascends the stairs for the concert ("The Best").

Encore: Tina and her band perform a mini-concert of "Nutbush City Limits" and "Proud Mary".

Notable replacements
West End Karis Anderson, Zoe Birkett
 * Tina Turner: Chanel Haynes, Nkeki Obi-Melekwe, Aisha Jawando, Kristina Love
 * Ike Turner: Ashley Zhangazha, Jammy Kasongo, Caleb Roberts, Okezie Morro

Broadway
 * Tina Turner: Nkeki Obi-Melekwe
 * Ike Turner: Nick Rashad Burroughs

North American tour
 * Ike Turner: Roderick Lawrence

Musical numbers

 * Act I
 * "Nutbush City Limits" (Tina Turner) - Richard, Young Tina and Company
 * "Don't Turn Around" (Albert Hammond, Diane Warren) - Tina, Gran Georgeanna and Company
 * "Shake a Tail Feather" (Otha Hayes, Verlie Rice, Andre Williams) - Alline, Tina, Ikettes and Company
 * "The Hunter" (Booker T. Jones, C. Wells, Al Jackson, Jr., Donald Dunn, Steve Cropper) - Ike and Ronnie
 * "Matchbox" (Ike Turner) - Ike, Tina and Company
 * "It's Gonna Work Out Fine" (Rose Marie McCoy, Sylvia McKinney) - Zelma, Ike, Tina, Alline, Ikettes and Company
 * "A Fool in Love" (I. Turner) - Tina and Ikettes
 * "Let's Stay Together" (Al Green, Willie Mitchell, Jackson) - Raymond and Tina
 * "Better Be Good to Me" (Holly Knight, Mike Chapman, Nicky Chinn) - Tina and Company
 * "I Want to Take You Higher" (Sly Stone) - Tina, Alline and Ikettes
 * "River Deep Mountain High" (Phil Spector, Jeff Barry, Ellie Greenwich) - Tina and Company
 * "Be Tender with Me Baby" (Knight, Hammond,) - Ike, Tina, Alline, Ikettes, Ronnie and Richard
 * "Proud Mary" (John Fogerty) - Tina, Ike, Alline and Ikettes
 * "I Don't Wanna Fight" (Lulu, Billy Lawrie, Steve DuBerry) - Tina and Company


 * Act II
 * "Private Dancer" (Mark Knopfler) - Tina
 * "Disco Inferno" (Leroy Green, Ron Kersey) - Tina and Company
 * "Open Arms" (Martin Brammer, Colette van Sertima, Ben Barson) - Rhonda, Tina and Company
 * "I Can't Stand the Rain" (Ann Peebles, Don Bryant, Bernard Miller) - Tina, Ike and Company
 * "Tonight" (David Bowie, Iggy Pop) - Young Tina, Gran Georgeanna, Tina and Roger
 * "What's Love Got to Do with It?" (Terry Britten, Graham Lyle) - Tina, Ikettes, Ronnie and Raymond
 * "We Don't Need Another Hero (Thunderdome)" (Britten, Lyle) - Tina and Company
 * "The Best" (Knight, Chapman) - Tina and Company
 * "Finale: "Nutbush City Limits (Reprise)" (T. Turner) / Proud Mary (Reprise)" (Fogerty) - Company


 * Songwriters in parentheses


 * In the Broadway production "Rocket 88" replaced "The Hunter" and "She Made My Blood Run Cold" was included after "Matchbox". Beginning in 2021, the same change was made to the West End production.

Background
On 16 December 2016 a workshop presentation was held with Tina Turner in attendance, announcing that a biographical musical about Tina's life had been in development by Stage Entertainment for over a year. The creative team of the musical consists of Katori Hall, with Frank Ketelaar and Kees Prins as writers of the book, Phyllida Lloyd as the director, Mark Thompson as set and costume designer, Anthony van Laast as choreographer and Nicholas Skilbeck as musical supervisor. Frank Ketelaar and Kees Prins wrote the early draft of the book, with Katori Hall taking over partway through development.

West End (2018–present)
The show began previews on 21 March 2018 at the Aldwych Theatre, officially opened on 17 April. Adrienne Warren played the title role, with Jenny Fitzpatrick alternating in the role in some performances. The production was nominated for three Laurence Olivier Awards, including Best Musical. After Warren's departure, the title role has been played by Chanel Haynes, Nkeki Obi-Melekwe, Aisha Jawando, and Elesha Paul Moses.

Germany (2019–present)
The first non-English production opened in March 2019 at the Stage Operettenhaus in Hamburg, Germany. In March 2023, the German production was transferred to the Apollo Theater Stuttgart.

Broadway (2019–2022)
The show began on Broadway in previews at the Lunt-Fontanne Theatre on 12 October 2019 and officially opened on 7 November 2019. Warren reprised the title role in the Broadway production, with direction by Phyllida Lloyd and choreography by Anthony van Laast. The show was suspended on 12 March 2020 due to the COVID-19 pandemic and resumed performances on 8 October 2021. In June 2022, it was announced that the production would close on 14 August 2022 after 27 previews and 482 regular performances.

Netherlands (2020–2023)
On 9 February 2020, the show opened at the Beatrix theater in Utrecht, the Netherlands. After the suspension of the show a little more than a month after its opening, performances resumed on 14 July 2021. The show closed in February 2023.

Spain (2021–2023)
A Spanish production ran from 30 September 2021 to January 8 2023 at the Teatro Coliseum in Madrid.

North American National Tour (2022–present)
On 11 September 2022, the show embarked on a North American tour opening at the Providence Performing Arts Center (PPAC) in Providence, Rhode Island.

Australia (2023–present)
An Australian production opened in May 2023 at the Theatre Royal, Sydney.

Critical response
The musical received generally positive reviews from the critics, with particular praise reserved for Adrienne Warren in the title role as Tina Turner. Michael Billington of The Guardian described the "whirlwind performance" of Warren as "astonishing", and concluded on the production: "As bio-musicals go, this is as good as it gets." Similarly Dominic Cavendish of The Daily Telegraph described Warren's performance as a "tour de force" and considered the show "slickly choreographed, beautifully designed and roof-raisingly well-sung". Adam Mattera in Echoes noted "the production plays fast and loose with catalogue chronology... it's a crowd-pleasing decision meaning all the solo mega-hits aren't squeezed into the final act, but simultaneously it derails the dramatic reveal of Tina's 80s rock'n'roll reinvention," while concluding "it's so resounding joyous you don't care."

Will Gompertz of the BBC criticised the script as "rather disappointingly two-dimensional", but thought the musical "elegantly staged" with Warren a "24-carat, all singing, all dancing, bona fide star". Stephen Dalton of The Hollywood Reporter noted that while its grand finale contains "stilted, corny elements", "the production becomes a full-blooded rock show that is "roof-raising" and "life-affirming", with a climax that "swept the crowd to its feet. Pure button-pushing melodrama, maybe. But irresistibly uplifting entertainment, too."