Tina – A tumultuous journey to global fame
Naomi MacKay watched Tina: The Tina Turner Musical at Milton Keynes Theatre, which runs until Saturday 7 February.
Tina – The Tina Turner Musical delivers a high-octane, emotionally charged celebration of one of music’s most indestructible icons. While the show inevitably follows the familiar jukebox-musical arc, it distinguishes itself through powerhouse performances, inventive staging, and a clear-eyed portrayal of Tina Turner’s turbulent life.
The production traces Turner’s journey from her early years in Nutbush, Tennessee, through her abusive relationship with Ike Turner, to her eventual rebirth as a global solo superstar. What could feel like a greatest-hits concert is grounded by a surprisingly serious dramatic core. The book doesn’t shy away from the darker chapters of Turner’s story, and the domestic abuse is depicted with sobering intensity. These moments give real emotional weight to the triumph that follows, making her later success feel earned rather than inevitable.
The first act is not always an easy watch, with its themes of domestic violence and racism, but the second brings some comic relief in the scenes where Tina is recording in London with Heaven 17’s Martyn Ware and producer Terry Britten.
At the heart of the show is Ella Ma-Kinga N’Zuzi playing Tina (a role shared by Jochebel Ohene MacCarthy), who delivers a remarkable central performance. Vocally, she is sensational, capturing the grit, power and emotional rawness of Turner’s sound without resorting to simple imitation. More impressively, she conveys Tina’s inner strength and vulnerability, charting her evolution from a timid young woman to a defiant, self-possessed superstar. Her physicality – particularly the iconic walk, hair flicks and explosive dance sequences – feels completely authentic, and she commands the stage with magnetic authority.
The role of Ike is equally crucial, and David King-Yombo strikes an unsettling balance between charm and cruelty. He is initially charismatic and funny, which makes his gradual descent into manipulation and violence all the more disturbing. Rather than playing Ike as a one-dimensional villain, the performance reveals his insecurity and ego, creating a complex antagonist who is both repellent and tragically human.
A special mention must go to Young Tina (Lola McCourtie), who provides some of the production’s most affecting moments. She brings warmth and innocence to the role, with a clear, soulful voice that hints at the superstar to come.
Visually, the show is sleek and dynamic, using shifting platforms, projections and bold lighting to move fluidly between intimate domestic scenes and stadium-scale concert moments. The second act, in particular, soars as it leans into iconic hits including Private Dancer, What’s Love Got to Do with It and (Simply) The Best, culminating in a finale that feels more like a live rock concert than a musical.
Ultimately, Tina offers not just nostalgia, but inspiration. Anchored by outstanding performances, it honours not just a pop legend, but a woman who survived extraordinary hardship to reclaim her voice and her life.
Book your tickets now at atgtickets.com/MiltonKeynes.