TINA – The Tina Turner Musical: a thrilling celebration of resilience and raw talent.
There’s no denying that TINA – The Tina Turner Musical is built on an extraordinary foundation: the true story of a woman who endured neglect, abuse and immense personal struggle, yet remained utterly driven by an unstoppable need to perform. It’s that story…gritty, inspiring and often shocking, that gives the production its real power.
The musical, written by Katori Hall and directed by Phyllida Lloyd, traces Tina Turner’s biographical journey from her early years in Nutbush through to her global superstardom. It highlights the disturbingly toxic professional and personal relationship with Ike Turner, who created but also controlled and abused the character of Tina. The story is at its strongest when it allows the music and biography to work hand in hand, grounding those iconic songs in the lived experience that shaped them.
The first act is where the show truly soars. It’s tightly paced, emotionally engaging and packed with energy. The rise of young Anna Mae Bullock and her early career with Ike Turner is compelling theatre, driven by both narrative momentum and a string of recognisable hits such as Proud Mary and River Deep. The sense of build is exhilarating.
At the centre of it all is the actor playing Tina, on this occasion Elle Ma-Kinga N’Zuzi, who delivers an extraordinary physical and vocal performance. To sustain that level of vocal intensity across an entire show is nothing short of a marathon, and in the first act in particular she is electrifying. In the second act, there are moments where the vocal characterisation (particularly an attempt to deepen and age the voice) affects clarity, with some lines lost and the accent slipping. It’s a small but noticeable dip after such a thrilling start.
Opposite her, David King-Yombo is a convincingly menacing Ike Turner. The production doesn’t shy away from the brutality of their relationship, and the depiction of domestic violence is genuinely uncomfortable to watch. At times, the stage combat could be more precise to fully sell the realism, but the emotional impact is undeniable—particularly in the climactic confrontation at the end of Act One, which is both shocking and deeply affecting.
The young Tina is another standout, performed here by one of the alternating young actors (notably including Chizaram Ochuba-Okafor). It’s a remarkable performance: full of energy, attitude and a powerhouse voice that belies her age. She captures both the innocence and the fiery spirit of the young Tina, making a lasting impression early in the show.
Musically, the production is a triumph. The band, often visible on stage, adds an immediacy and authenticity, reminding us that music was always at the heart of Tina’s life. The sound is tight, driving and full of that signature rhythm and brass-led punch, with a particularly strong horn section. The choreography matches that energy, especially in the performance numbers where the stage truly comes alive.
The second act, however, is where the show loses some of its momentum. As the narrative shifts to Tina’s struggle to redefine herself as a solo artist, the pace inevitably slows. While this is dramatically understandable, it does create a noticeable dip in energy, compounded by the inclusion of lesser-known songs. The storytelling becomes more functional here, lacking some of the spark and propulsion of the first half.
That said, the show knows exactly how to finish. The final sequence transforms into a full concert experience, complete with Tina’s iconic look during ‘Simply The Best’, soaring vocals and a string of beloved hits. It’s an unapologetically feel-good ending that has the audience on its feet, singing and dancing along, a reminder of the sheer joy and power of her music.
TINA – The Tina Turner Musical may not be flawless, but it is undeniably entertaining. At its best, it’s exhilarating, emotional and visually spectacular; at its weakest, it feels slightly uneven in pace and focus. But the strength of the central performance, combined with the enduring appeal of Tina Turner’s music, ensures it remains a compelling and ultimately uplifting night at the theatre.
https://leedsheritagetheatres.com/whats-on/tina-2026
Directed by Phyllida Lloyd with a book by Katori Hall, Frank Ketelaar, and Kees Prins, CHOREOGRAPHER -ANTHONY VAN LAAST, SET AND COSTUME DESIGNER – MARK THOMPSON, LIGHTING DESIGNER – BRUNO POET, PROJECTION DESIGNER – JEFF SUGG, HAIR, WIGS AND MAKE UP DESIGNER – CAMPBELL YOUNG, INTERNATIONAL ASSOCIATE DIRECTOR – KATHERINE HARE, INTERNATIONAL ASSOCIATE CHOREOGRAPHER – SIMONE MISTRY-PALMER, Curve theatre, UK.
Photography by Johan Persson.
