I have been looking forward to seeing Tina: The Tina Turner Musical since it opened in November. I’ve seen the original, spectacular diva live in concert three times. She was always a tsunami of show biz and rock ‘n roll. Adrienne Warren portrays the title character. Her performance kicks so much ass that it nearly makes you ignore the mediocrity of the storytelling.
For those who know the rise of Anna Mae Bullock from Nutbush, Tennessee to the career-peaking phoenix as solo artist in the 1980’s, the tale will be well-known and offer little new insights. (How early her second and current husband Erwin Bach entered the picture surprised me.) This young girl is discovered by Ike Turner and whisked off her feet to join his band. The Ike and Tina Turner Revue would eventually be admitted into the Rock and Roll Hall of Fame.
What follows is a sadly depressing tale of infidelity, drugs and excessive physical violence. The ascent from those depths is what this particular celebration is all about. The story covers three decades. As such, the moments fly by quickly. There are many times, notably in the second act, where the show loses so much momentum that it grinds to a halt. The “Open Arms” number is perhaps the lowest (and dullest) point.
Adrienne Warren is onstage for nearly the entire show. She is superb in every moment from the glorious and raspy singing to the backbone development Tina so memorably achieved. The plot machinations compete with her supernova blaze. In between one excellently performed song after another, a crowbar appears (not literally or physically). This crowbar is used to help wedge songs into the story. At first, I thought it might weigh twenty pounds. The strain is so awkward and so obvious that this crowbar must weigh fifty pounds, at least.
The book was written by Katori Hall with Frank Ketelaar and Kees Prins. Ms. Hall’s plays, notably Hurt Village and Our Lady of Kebeho, are complex and effective character studies. This committee of writers achieve only basic dimensions as is the case generally with jukebox musicals. Turner’s cavalcade of hits are rearranged to fit the story. Many times the choices seem odd. When Ike proposes marriage, she sings “Better Be Good To Me.” That’s an anthem from her post-backbone period. What do those song lyrics have to do with little Anne Mae from Nutbush?
During her rock bottom period, Tina was working as a maid to support her children. She sings “Private Dancer” about being a prostitute. Crowbar, I tell you, crowbar! The staging of that number is bad johns circling in chairs on a turntable.
Phyllida Lloyd directed this production. There are some decent ideas such as the summoning of the spirits and family from Anna Mae’s past throughout. They are conjured up, however, to just stand and stare. With the exception of the exciting opening and closing sequences, the set is a miss. The large stage is often a giant space of nothingness. Projections on a screen are largely out of focus imagery. This may be a meaningful thematic choice but I found it distracting, ugly and oddly abstract for a by-the-books biography. (Complete transparency – I still own a hardcopy of I, Tina published in 1986.)
Did I mention that Adrienne Warren kicks major ass? Despite everything that is wrong with this show, she is an absolute star. Her stage presence combines blinding power wattage with strong acting chops that enable this underwritten story to flow. She is ably supported by Daniel J. Watts as Ike and Ross Lekites as Erwin Bach.
At the opening of this musical, Tina is chanting backstage prior to a concert. The year is 1988. The show returns to this moment. A scintillating set reveal precedes the reason we all came to see our diva. Adrienne Warren blows the house down. We conclude “we don’t need another hero.”
To be fair, the audience around me seemed beyond thrilled with the show so that should be considered. As a concert, this is a gloriously realized homage and joyously redemptive nostalgia trip. As a full-fledged Broadway musical, however, Tina is far too flat in too many places. This may be a show which requires seeing the original company. Just be warned. The highs are mountainous and the lows are river deep.