For just two short weeks, TINA: The Tina Turner Musical takes to the Edinburgh Playhouse in an affecting tale of adversity, resilience, and unquestionable talent. Director Phyllida Lloyd constructs a show that tenderly encompasses the light and shade of celebrity stardom, from Tina Turner’s electrifying stage presence to the more sombre reality when she returned to her dressing room.
The musical tracks the trajectory of Anna Mae Bullock into Tina Turner, starting with her humble beginnings as a young girl in a Tennessee church choir whose voice even then overpowered the congregation. Lola McCourtie as young Anna Mae sets the tone for the energetic, vocally formidable performances of every actor in this show.
Taking on Tina Turner is no small task, but Elle Ma-Kinga N’Zuzi is an absolute powerhouse – her vocal range and musical sensibility does the late legend justice. N’Zuzi embodies Tina’s small but mighty quality, which fills the stage and bellows across the auditorium. Her unrelenting energy is nothing short of spellbinding, as she transitions from the extensive choreography of ‘Proud Mary’ to dramatic scenes grappling with the trials of marriage and the toxicity of the music industry.
It cannot be left unsaid that the first half of the show is dark. It grapples with Turner’s tumultuous relationship with musical duo partner and husband, Ike Turner. David King-Yombo as Ike delivers a remarkable, dramatic performance, transitioning from charming to violent in a sinister portrayal. The musical performances are, however, stronger than the dramatic scenes. This is likely because the musical numbers are so dynamic in embodying the spirit and spectacle of Tina Turner’s discography.
Tina’s classics – ‘Proud Mary’ and ‘River Deep, Mountain High’ – are taken care of in this production. The choreography, lighting, costume, and actors synergise for a spectacular tribute to her early work. The production also explores her musical evolution in her solo rock ‘n’ roll career, and later classics such as ‘What’s Love Got to Do with it’. The visual aspects – such as staging – serve both aesthetically and practically to timestamp the narrative spanning almost 40 years of Tina’s life.
By the end, N’Zuzi becomes Tina – wearing her shaggy blond wig, getting people on their feet, and ensuring everyone has simply the best time.
Image by Johan Persson, courtesy of the Edinburgh Playhouse.