Tina – The Tina Turner Musical

Jukebox musicals are a strange creature - they either work or they are a disaster. TINA – The Tina Turner Musical, takes the former and elevates it to a Supernova which makes the sun pale by comparison. I’m going to resist the trap of saying it’s S#m**y T*e B+^t …because every reviewer and his computer literate dog has used that song title – but the fact is it is all that and more.

Tina re-defines the very nature of the Jukebox musical, by giving it a genuinely strong dramatic narrative, 3 dimensional characters and a script with great dialogue that actors can actually say and sound credible. It is a blessing on every level, and undoubtedly the finest of its genre to date. Phyllida Lloyd’s original direction is flawless, and faithfully reproduced locally by Leah Howard but, as always in biographies, the show stands, or in this case soars, on the strength of its casting.

To say that Ruva Ngwenya is sensational as Tina is a massive understatement. It’s a bravura performance that truly earned every one of the cheers and standing ovations on opening night. Her singing is the stuff dreams are made of, a brilliant voice technically far superior to that of the superstar she is playing. But Ruva rarely strays from the guttural, almost animal, intonation which made Tina Turner a star. It isn’t just an impersonation though, nor the legendary dancing which Ngwenya nails completely. The actress embodies the spirit and soul of the star. Her aging through the various stages from brash kid, to abused wife, to survivor with all the insecurities that entails, is brilliantly paced, and when she finally rises like a phoenix from the ashes as a self-assured yet middle aged woman who knows exactly who she is and what she’s worth, we forget that we’re watching an actress playing a role. Ngwenya brings new meaning to those over-used words “triple threat”. She is a genuine superstar in her own right. Suitably low key through the first half of Act One – when Ms Ngwenya unleashes her force in You better be good to me - it’s like a hurricane that we think we are prepared for but have underestimated.

But it is by no means a one woman show (even though she barely leaves the stage for more than two hours). Giovanni Adams has all the charisma needed for Ike Turner and also manages to evoke sympathy for the miserable excuse of domestic abuser that Turner married. He mostly plays the role with low key menace, like a time bomb waiting to explode. It’s an impressive performance and we can admire the actor whilst hating the character.

It’s a delight to see Deni Gordon grace the stage again, as she has for over half a century. Her repose and stage presence add gravitas to the important role of Gran – who shaped the woman Tina became.

Ibinabo Jack (if you’re a fan of TV’s Vera you will recognize her immediately) gives a strong and convincing performance as Tina’s alienated mother and Nadia Komazec shows why she has become such a sought after performer in Musical Theatre. She tempers the brittle exterior necessary as Rhonda Gramm - Tina’s confidante and then manager – with a soft interior and empathy that endears her to the audience.

As always, it’s the ensemble that shines brightest (with the exception of Ms Ngwnya). I never cease to marvel how much star power is in the “back row” in Australian musical theatre and there are some stand-out performances amongst the consistently excellent chorus.

John O’Hara (one of my favourite performers) is excellent as both Phil Spector and Terry Britten. He gives us two hilariously drawn yet credible figures and his stage presence is always palpable. Mat Verevis has already proven himself as a tour de force on our stages and embodies the spirit of the young and brash Roger Davies. It’s hard not to be impressed by all that talent and versatility. Jayme-Lee Hanekom is a delight as Tina’s sister Alline and Mathew Prime is impressive as the lovestruck Erwin Bach. Rishab Kern continues his journey of impressive performances as Tina’s first love Raymond Hill. But, although the cast is too large to name everyone, kudos to every single member of the stellar ensemble. The young actress playing the 12-year-old Young Tina isn’t named in the programme but she was quite amazing and was brought back in the encore to sing with the star herself.

Kirsten King recreates the original choreography with great precision, and the energy levels throughout are both awe-inspiring and exhausting.

A stellar band of top musicians handles the score. Sadly most are not named, despite being integral to every aspect of the show, but extra props to the Saxophonist solo and to the drummer (Abim Onamade). whose drive and tempos kept the peripatetic score on track throughout. The band is under the more than capable musical direction of Christina Polimos who also plays second keys.

Despite some opening night sound glitches, the show is a technical triumph of the highest order. But ultimately, it is Ngwenya you will come away talking about, which is both a blessing and a curse because Tina may well be the best night’s entertainment and bang for your buck you will see in your lifetime. You’ll love it.

Coral Drouyn

Photographer: Daniel Boud