Review: Tina the Tina Turner Musical

Review: Tina the Tina Turner Musical

★ ★ ★ ★

Palace Theatre Manchester 27-11-25 by Katy Ratican

TINA – The Tina Turner Musical comes with the kind of expectation reserved for true legends. Tina Turner’s life, music and legacy are so vast that distilling them into a single stage production feels ambitious. Yet this touring production succeeds by leaning into the truth of her story rather than sanitising it and by placing its faith firmly in a powerhouse central performance.

At our performance, the role of Tina was taken by Jochebel Ohene MacCarthy (who alternates with Elle Ma-Kinga N’Zuzi, sensibly so given the sheer physical demand of the role). From the moment she steps on stage, there is no doubt who this show belongs to. MacCarthy is scarcely offstage, and nor should she be. She carries the production with extraordinary stamina, fierce stage presence and mighty vocals.

Trying to replicate Tina Turner’s movements is a near-impossible task. Her dancing was never restrained or precise; it was raw, instinctive and utterly her own. MacCarthy doesn’t attempt a carbon copy but instead commits fully to the physicality of the role. It is relentless and she never lets the intensity drop. The result feels authentic rather than imitative.

This is not a jukebox musical that glosses over the tougher chapters. Tina Turner herself was heavily involved in the musical’s creation when it premiered in London in 2018 and her influence is felt in its refusal to shy away from the most painful parts of her life. The story of Anna Mae Bullock – from a traumatic childhood through to an abusive marriage and eventual reinvention – is told with unflinching honesty.

For those who know Tina Turner mainly through her back catalogue of hits, this may come as a shock. The musical centres firmly on the darker years: domestic abuse, drugs, racism and control within the music industry. These scenes are difficult to watch at times, but the payoff is that when success finally arrives, it lands with real emotional weight. Despite likely knowing how the story ends, you can feel the audience rooting for her survival and triumph.

The role of Ike Turner is one of the most challenging in the show. David King-Yombo plays it with menace, allowing glimpses of insecurity to surface without ever offering excuses. It is a measured portrayal that remains deeply unsettling. Strong support comes from Letitia Hector as Tina’s emotionally abusive mother, Zelma and Martin Allanson as obsessive producer Phil Spector. Both performances deepen the sense of a life repeatedly marked by exploitation.

If the production has a weakness, it lies in its ambition. With a running time of around two hours and 45 minutes, some pivotal moments – notably Tina Turner’s discovery of Buddhism – are rushed past. There are also occasional sound issues, with the band briefly overpowering vocals, though these are quickly corrected and don’t dampen the audience’s spirits.

The finale delivers in spectacular fashion. As the show transforms into a full-blown rock concert, the theatre comes alive. After witnessing her pain and perseverance, celebrating her success feels electric, emotional and deeply satisfying.

Tina – The Tina Turner Musical is not an easy watch, nor should it be. It honours the truth of an extraordinary woman and reminds us that Tina Turner was not just a star, she was a force of nature.

Tina – The Tina Turner Musical plays at Palace Theatre Manchester until 3rd January 2026 and continues its UK tour until April 2026.

Get tickets from the official site HERE