Tina Turner’s life has been well documented first in her autobiography I, Tina and then in the film What’s Love Got To Do With It with Angela Bassett and Laurence Fishburne. Therefore, it should come as no surprise to audiences that this fiercely talented singer endured years of brutal beatings from her husband Ike Turner. This violence is central yet again to Tina Turner’s story in this production, turning what could be a rags to riches, typical jukebox musical into a study of domestic abuse. Of course, we know that she will triumph and go on to record her Private Dancer album, become even more successful without Ike and will eventually find happiness, but the journey that takes her there is a difficult one to watch.
Katori Hall’s script has a lot of ground to cover, so doesn’t have much time to delve into any depth or ask too many questions of its protagonist. We first see Tina waiting to go on stage in Brazil in 1988, calmly chanting Buddhist prayers while a huge audience screams in anticipation. We then jump to the beginning of the story, an outdoor prayer meeting in Nutbush, Tennessee, where little Anna Mae Bullock is told off by her mother, Zelma, for singing too boisterously and showing off. Zelma is reprimanded for her criticism by her husband, Richard, the preacher, who hits her in front of the children, a foreshadowing of Tina’s life to come. Zelma soon takes off with younger daughter Alline to St Louis and Anna Mae is left in the care of her grandmother, a kind woman who encourages her. At sixteen, she joins her mother and sister in St Louis and almost immediately meets Ike Turner at a club, who insists that she join his band and charms her mother into letting her, promising that Anna Mae will be well paid and will send money home. He also promises to take care of her, but the early signs are not good. He loses his temper with everyone around him, showing a narcissistic, bullying personality, threatening fellow band members as well as the singers. Nevertheless, Tina joins him and is soon made the lead singer. Although she falls in love with saxophonist Ray, and has a child by him, Ike renames her Tina Turner and pretends that they are married for the sake of their band, the Ike and Tina Turner Revue. Two years later they do marry, despite Ike beating up both her and Ray, and what follows is years of abuse as well as many hit records.
What is glossed over is why Tina stayed all those years with Ike, who was a drug addict and philanderer. We see plenty of scenes of violence but never any love so it makes her look like an unquestioning victim, perhaps because she considered it normal for a man to beat his wife, as she saw in her childhood. Only after her suicide attempt does she eventually decide to stand up to Ike, fighting back and then escaping from him on the spur of the moment, while they are on tour.
Act Two sees Tina now left with no money, a single mum struggling to support two sons by doing Las Vegas shows, and follows her slow rise back to the top of the charts with the help of a new manager and a fortuitous collaboration in London. Along the way, she also finds love with Erwin Bach, a German music producer who is seventeen years younger than her. The rest is history.
Although Tina Turner’s life story is bleak, it is clear that what kept her going was the music and there is plenty of it in this production. The songs are cleverly interwoven into the story, starting with Nutbush City Limits sung as a hymn by the outdoor church to Gran Georgeanna singing Don’t Turn Around as she sends young Anna Mae off to St Louis, to Let’s Stay Together sung by Ray in one of the rare tender moments.
The music really takes off though when performed by the astounding Adrienne Warren who perfectly embodies Tina Turner; despite not sounding or looking like her, she has Turner’s unbounded energy, strength and size. Her magnificent voice soars in every number. The scene where Phil Spectre is recording the iconic River Deep, Mountain High with Turner, making her do it repeatedly until she gives it her all, is particularly memorable. American actress Warren also captures Turner’s mesmerising stage persona, from the highly energetic, verging on manic dance moves of Proud Mary to the smiling powerhouse of Simply the Best. In addition, she has to age from sixteen to forty- nine, which is no mean feat, even though Tina Turner has always looked remarkably young.
Kobna Holdbrook-Smith, a fine actor who has worked frequently in theatre, including playing Laertes to Benedict Cumberbatch’s Hamlet, has the unenviable task of playing the unrelenting villain of the piece, Ike Turner. He plays it absolutely straight in an unyielding performance that doesn’t ask for sympathy, but unfortunately the script gives him little opportunity to show what first attracted Tina to Ike and what kept her with him for sixteen long years of abuse. He is, without a doubt, a powerful presence, however, and we do sense his resentment at never being recognised as the rock and roll renegade he was. He shapes and forms young Anna Mae into the iconic Tina Turner but cannot control his anger and brutal temper, lashing out at all around him.
Madeleine Appiah as Zelma Bullock, Lorna Gayle as Gran Georgeanna and Francesca Jackson as Rhonda Graam, Ike’s road manager and later Tina’s close friend and personal assistant, all turn in excellent performances. Mention must also be made of the actresses playing the Ikettes, the original back-up singers, who perform with as much gusto as Tina.
This is a musical with heart, showing the bravery, fearlessness and extraordinary talent of Tina Turner, faced with not only an abusive husband but with racism, ageism and sexism from white executives in the music industry. However, it never takes a closer look into the mind of a woman who would endure such abuse for sixteen years, while still asking the audience to witness repeatedly such scenes of violence. It is an uncomfortable story to watch, alleviated by full throttle performances of Tina Turner’s greatest hits by the incredible Adrianne Warren. Although the musical is hard-hitting, it didn’t seem to bother most audience members who happily stood up and danced and sang along to the obligatory end of show numbers including Proud Mary. As Tina Turner had a hand in presenting this version of her life, we have to assume this is what she wants the world to see, that she will not be beaten into submission by anyone and in the end, we just have to keep singing.
Both photos: Adrienne Warren as Tina Turner. Photos by Manuel Harla.