I went in full of excitement and anticipation, having heard nothing but glowing feedback about the show. I’ll admit, though, I went in relatively blind, without a deep understanding of Tina Turner’s background or personal story.
Under the assured direction of Phyllida Lloyd — who also directed Mamma Mia!, a global phenomenon seen by over 56 million people across 40 countries — this production is in incredibly safe hands. I left the theatre not only with a far clearer insight into Tina’s life, but with immense respect and admiration for her extraordinary journey — both privately and as one of the world’s most iconic music stars.
This production does not shy away from the darker, more complex chapters of Tina’s life. It boldly tackles her experiences of an abusive relationship, the racism she faced growing up in middle America, her fractured relationship with her mother, and her rediscovery of herself as an older Black female artist in the 1980's — a reinvention that ultimately found its home in the UK. These moments are handled with honesty and sensitivity, giving real weight and depth to the story being told. At times, you could hear a pin drop in the theatre; the tension was palpable, and I could feel it sitting in my shoulders — an atmosphere clearly shared by the audience around me.
At its heart, TINA – The Tina Turner Musical charts Tina’s rise from a young girl with big dreams to a global superstar who refused to be broken. The storytelling is seamlessly woven with hit after hit, delivered relentlessly across the show’s two-plus-hour running time — and Tina herself is barely off the stage. By the end, the lead actress must be utterly exhausted; judging by the conversations among the audience leaving the theatre, many of us felt exhausted just watching her. It’s an exhilarating, emotionally charged journey that never lets up.
A whole paragraph simply isn’t enough to do justice to Elle Ma-Kinga N’Zuzi, who plays Tina Turner, but I’ll try. Her performance is nothing short of phenomenal. Vocally, emotionally and physically, she is Tina. Her stage presence is something I genuinely haven’t seen before — commanding, electric and completely mesmerising. She perfectly captures Tina’s mannerisms to the point where it genuinely feels like you’re watching the real woman on stage. And that voice… oh my word. When she sang Let’s Stay Together, I had goosebumps from start to finish. The energy, passion and sheer talent she brings to this role is outstanding. I had tears in my eyes during We Don’t Need Another Hero — a moment that was raw, powerful and unforgettable.
The supporting cast are equally impressive. David King-Yombo takes on the challenging role of Ike Turner and plays it brilliantly. Given the context and nature of the character, this cannot be an easy role to inhabit, yet he delivers a performance that is both unsettling and compelling. Letitia Hector, as Tina’s mother Zelma Bullock, commands the stage with a powerful presence and a beautiful voice. As she barked orders and instructions at her daughters, Anna Mae and Alline, the theatre fell silent — every word landing with authority.
Which brings me to the young actresses Lola McCourtie (Anna Mae) and Mariah Martinez (Alline Bullock), who are absolute superstars. Lola McCourtie (who plays young Tina), in particular, already shows extraordinary talent at such a young age. She was a complete joy to watch on stage, bursting with energy and confidence — I have no doubt she’s destined for incredible things in the future (I’m already imagining her as Effie White in Dreamgirls one day). Together, the entire cast worked seamlessly, each performance complementing the next to create something truly special.
The staging, costumes and lighting all work beautifully to reflect the various eras of Tina’s life. Huge kudos must go to Mark Thompson (Set and Costume Designer) and Bruno Poet (Lighting Designer) — every visual element felt authentic, polished and perfectly aligned with the story being told. For a show of this scale, however, praise must go to the creative team behind the music and movement. Anthony Van Laast’s choreography is electric and unmistakably Tina — powerful, precise and packed with attitude — while Sarah Burrell’s musical direction, alongside Nicholas Skilbeck’s musical supervision, arrangements and additional music, ensures the score hits with maximum impact. Every song feels alive, every transition purposeful — at times, it genuinely feels like you’re watching Tina Turner herself perform live on stage.
I cannot overstate how much I enjoyed this show. There was an undeniable buzz in the theatre, an energy that carried right through to the audience spilling out at the end, filled with “wows”, wide smiles and the look of 'what did I just watch'. I’ve already spent today enthusiastically telling everyone they must go and see it. And just when you think it couldn’t get any better, you’re invited to get on your feet for an encore that alone is worth the price of the ticket.
TINA – The Tina Turner Musical is in Milton Keynes until Saturday 7 February — do not miss it before it goes rollin’ out of the city. It is, quite simply… Simply the Best. 🎤✨
Note - Age guidance: 14+. The production includes scenes depicting domestic violence, references to suicide, racist language, strong language, loud music, strobe lighting, haze, and gunshots
