From the thunderous opening chords to the standing ovation finale, TINA – The Tina Turner Musical delivers far more than a jukebox of hits—it’s an emotional, electrifying stage experience where the raw pain, strength, and triumphant rebirth of a music legend are brought to life through unforgettable performances, dazzling choreography, and a lead actress whose transformation into Tina borders on the supernatural. Click the link to read more.

In the ever-expanding world of biographical musicals, TINA – The Tina Turner Musical stands as a towering achievement, blending powerful storytelling with an exhilarating musical experience that leaves audiences emotionally wrung out and physically energized. More than just a tribute to a living legend, it is an unflinching look at one woman’s battle to reclaim her identity, her voice, and ultimately, her freedom.

From the moment the show begins, the tone is clear: this is not a fairytale. It’s gritty, it’s painful, and it’s honest. The musical opens with Tina, played with astonishing intensity by Naomi Rodgers, backstage before a concert in later life. What follows is a cinematic unraveling of her past—from childhood in Nutbush, Tennessee, to the abusive relationship with Ike Turner, to her phoenix-like solo comeback.

Rodgers’ performance is nothing short of phenomenal. She doesn’t merely imitate Turner; she channels her. From the famous strut across the stage to the growl in her voice, every movement feels earned. Rodgers balances Turner’s vulnerability with her explosive stage presence, allowing us to witness both the woman and the icon. In quieter scenes—like young Anna Mae singing in church or adult Tina collapsing in a hotel room—the performance is restrained, internal. But when the lights go up and “Proud Mary” kicks in, she transforms, and the room goes electric.

The supporting cast is also excellent, especially Garrett Turner (no relation) as Ike Turner. His portrayal is chilling in its complexity. He is manipulative, charming, and violent—sometimes all in the same breath. The musical does not excuse Ike’s abuse, but it also doesn’t flatten him into a caricature. Instead, it provides a chilling window into the cycle of control and trauma that dominated Tina’s early career.

The show’s book, written by Katori Hall with Frank Ketelaar and Kees Prins, wisely avoids glossing over the darker chapters of Turner’s life. Scenes of domestic abuse, racism, and spiritual crisis are woven into the fabric of the story. But they are balanced with moments of joy, humor, and above all, music.

And the music—it is, of course, the heartbeat of the production.

The score includes all the hits you’d expect: “What’s Love Got to Do with It,” “River Deep – Mountain High,” “Better Be Good to Me,” and “The Best.” But these songs are not simply performed—they are embedded into the narrative. “I Can’t Stand the Rain,” for example, becomes a haunting lament as Tina struggles to rebuild her life post-Ike. “Private Dancer” plays out as both a metaphor and a literal description of her survival in the male-dominated music industry. The arrangements strike a delicate balance between Broadway and rock, retaining the raw power of the originals while giving them theatrical texture.

One of the most emotionally powerful moments comes during the performance of “We Don’t Need Another Hero.” Positioned at a turning point in the second act, the song is less a showstopper and more a declaration—a quiet, grounded anthem that brings the audience to tears. Here, the musical stops being about stardom and becomes a story of survival.

The set design, while not overly elaborate, is effective. Sliding panels, projection screens, and rotating platforms allow the show to shift locations swiftly—from dingy nightclubs to glittering arenas, from suburban kitchens to Buddhist temples. The lighting design is particularly strong, using silhouettes and flashes to underscore moments of trauma and catharsis alike.

Costumes play a major role in the visual storytelling. Tina’s signature fringe dresses, high heels, and bold colors reflect her evolution. In early scenes, she is buttoned up and muted, but by the finale, she’s in full rock regalia—legs pumping, hair flying, commanding the stage like the queen she is.

While some biographical musicals fall into the trap of hero-worship, TINA never does. It respects Turner’s legacy by showing her not as flawless, but as fiercely human. Her Buddhist chanting is presented not as mysticism, but as her anchor—one of the few things she controlled in a life often dictated by others.

Perhaps the most telling moment comes not in a song or a monologue, but in a silent beat: Tina standing alone on stage, looking out into the audience as applause rains down. In that stillness, we understand what she fought for—not just success, but selfhood.

As the final number unfolds—a full-blown concert recreation with the entire cast joining in—the audience is no longer just watching a musical. They are participating in a celebration, singing along, clapping, and for a moment, standing shoulder-to-shoulder with a woman who refused to give up.

TINA – The Tina Turner Musical is not just a night of entertainment. It’s a reminder of what it means to endure, to overcome, and to sing through the storm. It is both eulogy and resurrection. For longtime fans, it’s a love letter. For newcomers, it’s an introduction to a woman whose fire never went out.

And for everyone in the room, it’s a call to rise.