Tina Turner was the bread and butter of our household TV screen. She belted alongside Mick Jagger at Live Aid, leather-clad and big hair, raced her supercharged engine across Coober Pedy in Mad Max: Beyond Thunderdome and assured the world that everything would be alright as David Bowie slipped out of the shadows during her Private Dancer Tour. She was one of music’s indomitable icons, a powerhouse; she was the Queen of Rock‘n’Roll.
When Tina – The Tina Turner Musical finally rolled into Melbourne’s Princess Theatre after its West End debut and national run, it arrived with sky-high expectations. Having stacked up Tony and Olivier nominations as well as praise from Rolling Stone for its ability to simultaneously “entertain and enlighten”, I’m relieved to say that this Melbourne production did not disappoint.
Leather, shoulder pads and sequins that would make Tina herself proud, danced across the red carpet on opening night with hundreds, including local Australian stars, paying homage. For someone like me, who never experienced Tina live beyond the glow of a television screen, the energy certainly made it feel like the real deal.
The musical, written by Katori Hall alongside Frank Ketelaar and Kees Prins, and directed by Phyllida Lloyd, stays true to Tina’s journey – thanks, in part, to Tina herself. From her early days in Nutbush, Tennessee, with gospel choirs and dusty churches, to the St. Louis blues scene where she met Ike Turner, across the globe to the soggy streets of London where she made her comeback alongside the synths of the 1980s – the musical traces every gritty, glittering step of her rise to stardom. It’s jam-packed, so buckle in.
In the Australian production, filling Tina Turner’s megawatt heels or Adrienne Warren’s – who played the original Tina – for that matter, was no small feat. But Ruva Ngwenya more than delivered, her ferocious vocals gliding from crystalline to raspy in the same breath. Special mention to Zoe Desmier as young Tina, whose magnetic performance surely caught the eye of Roger Davies, hilariously portrayed by Mat Verevis.
The first act is exhilarating, with quick, often violent transitions, poodle skirts and vintage soul. It’s the Ike and Tina Turner Revue era, with gospel tracks like ‘Proud Mary’ (1971) and ‘A Fool in Love’ (1960), set against the backdrop of the civil rights movement. Giovanni Adams' chilling portrayal of Ike Turner serves as a dark counterpoint to the dizzying highs of Tina’s early career. Jayme-Lee Hanekom, as Tina’s sharp-tongued sister Alline, keeps the energy bouncy and fast-paced.
After intermission, it’s straight into the neon-hued, leopard-print ’80s. London, baby. With Mark Thompson’s simplistic set, paired with dynamic projections (Jeff Sugg) and lighting design (Bruno Poet), the era shift is seamless – fish tanks, projections and digitised synthesisers signal Tina’s comeback. While the second act doesn’t quite match the high-octane debauchery of the first, it goes deep into Tina’s battle with single motherhood, loss and a male-dominated music industry. Plus, there’s still a surprising amount of comedy and, of course, the music. ‘What’s Love Got to Do with It’ (1984) and ‘Better Be Good to Me’ (1984) build towards the grand finale where ‘The Best’ – an anthem that, thanks to its NRL promotion in Australia, had the local crowd swaying, teary-eyed and showered in confetti.
This is far more than a jukebox musical – it’s a euphoric tribute to resilience, triumph and the power of music, and I daresay one of the most joyful productions in recent memory. So, whether you’re a die-hard Tina fan or just in search of a top-tier theatrical experience, throw on your sequins. The show’s infectious energy is hard not to love.
Tina – The Tina Turner Musical is playing at the Princess Theatre until January 2025. Find out more and get tickets here.
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