TINA – the Tina Turner Musical
★★★★☆ Affecting
Playhouse: Tue 11 – Sat 22 Nov 2025
Review by Hugh Simpson
TINA – The Tina Turner Musical, at the Playhouse for two weeks, succeeds in the ways you would expect, as well as in some ways you might not be so prepared for.
This is the story of rock icon Tina Turner, from her childhood in Tennessee through marriage to the violent Ike Turner and her later solo success.
Elle Ma-Kinga N’Zuzi as Tina in TINA – the Tina Turner musical. Pic: Johan Persson
While you’ll get the obligatory triumph as the former Anna Mae Bullock finally wrests control of her destiny, this is certainly no feelgood romp. The depictions of domestic violence and racism are unstinting and very hard to watch at times, with at least one sequence being decidedly nightmarish.
But then, you’re not going to hire Katori Hall, writer of The Mountaintop, to provide the book (with Frank Ketelaar and Kees Prins) if all you want is a run-of-the-mill jukebox musical.
There are the odd appearances of those perennial problems of the form, particularly when it is a biography – weirdly telescoped time schemes, clunky and over-literal exposition, the signalling that a particular song is about to arrive – but it is notable how rare these are.
imagination and pizzazz
Not only is this a particularly well written musical, it is directed by Phyllida Lloyd with real imagination and pizzazz. Anthony van Laast’s choreography, meanwhile, makes good use of a huge and very talented ensemble. There is also a proper live band, which is not always the case nowadays – and it is a powerful, ten-strong one excellently led by MD Sarah Burrell.
A scene from TINA – The Tina Turner Musical. Pic: Johan Persson.
Mark Thompson’s set and costume design are beautifully considered, aided by Jeff Sugg’s thoughtful video design, while Bruno Poet’s lighting design and Nevin Steinberg’s sound design also dial everything up to maximum with great effect. The wig, hair and make-up designs from Campbell Young Associates also unsurprisingly play their part.
However much of a spectacle it may be, it is still going to stand or fall largely on the performance of its Tina, and Elle Ma-Kinga N’Zuzi (who alternates the role with Jochebel Ohene MacCarthy) is certainly up to the task. This is a real tour de force, with astonishing levels of energy, a huge voice and considerable presence.
visceral atmosphere
The trouble with portraying Turner is that no-one else (excepting possibly James Brown or Prince) has ever been able to move quite the way she did, but N’Zuzi has a real go at it. The obligatory musical finale seems less tacked-on here than it usually does, having the visceral atmosphere of a genuine live experience.
There’s sterling support throughout from that huge cast, with Lola McCourtie (one of a rotating cast that plays young Anna Mae) simply magnificent. Mariah Martinez, who plays both her sister and her son as children, is also very good.
A scene from TINA – The Tina Turner Musical. Pic: Johan Persson.
Elsewhere, there are notable performances from Claude East, Georgia Gillam and Letitia Hector as Tina’s grandmother, sister and mother, but the whole cast (more than 20-strong) make their mark. David King-Yombo is suitably frightening as the appalling Ike Turner.
That the narrative wants to include so much of Tina’s life, and so many characters, is its greatest weakness. Some of the characterisations tend to the superficial and clichéd, and there is simply too much going on. As a result, it is slightly too long and the narrative does drag occasionally. Overall, however, as a performance it has a really powerful impact.
Running time: Two hours 55 minutes including one interval
Edinburgh Playhouse, 18-22 Greenside Place, EH1 3AA
Tuesday 11 – Saturday 22 November 2025
Mon – Sat: 7.30 pm; Matinees Thurs, Sat: 2.30 pm
Tickets and details: Book here.
ENDS
