‘Tina’ probably ain’t river-deep, but its talent soars mountain-high
Zurin Villanueva. Photo by Matthew Murphy.
Another spring, another batch of jukebox musical nostalgia trips. In the lineup this month is Tina: The Tina Turner Musical, celebrating (and revising) the life story of beloved pop icon Tina Turner. Produced by the titular legend herself, Chicagoans are in for jaw-dropping production values, pulse-pounding talent and an effective summary of a remarkable fiftysome-year career from rise to fall to phoenix-like ascendance. (Book by Katori Hall in collaboration with Frank Ketelaar and Kees Prins.)
That said, fiftysome years is a lot of ground to cover, and while the playwrights do distill a cohesive narrative from such a storied life, exposition is delivered through the most pat, declarative statements, much to the detriment of the show’s enthralling drama. Perhaps dangerously, this patness also affects the fight direction. Despite the infamous domestic abuse the real Turner endured, the stilted and sluggish violence design is a likely casualty of time budgeting and a they’re-here-for-a-good-time bottom line, an unfortunate compromise that often deflates the story’s dramatic peaks.
If these hold the production back from the resounding X-factor impact that it seeks to impart, the humor is charming, the characters are endearing, all of Turner’s hits are sung with resonant power, and it’s all framed with a powerhouse physical production. Expert lighting design by Bruno Poet paired with phenomenal projection design by Jeff Sugg turn Tina into both an arena show and a biography-turned-music-video, creating striking silhouettes, dynamic abstract backgrounds, and specific ambiance for every mood.
Commanding the Nederlander like it was her own arena, Zurin Villanueva shines as Tina Turner, alighting to the stage with utmost commitment and focus. Garrett Turner crafts a compelling and volatile portrayal of Ike Turner, fearless in plumbing the depths of a depraved character. Ann Nesby is a delightful highlight as the sagely wisened Gran Georgeanna, contrasted nicely with the inimitable and charismatic Roz White as Zelma. A particular cherry on top to the whole ensemble is the raw talent of Ayvah Johnson as Young Anna-Mae (read: young Tina). She’s one to watch.
If shaggy around the edges, Tina makes an impression as an entertaining and star-studded story to tap every toe in the house. High production value and an undeniably talented cast pull the slack to make for a “Disco Inferno” well-worth the admission price for any Tina Turner fan.
Tina: The Tina Turner Musical runs through April 2nd at the Nederlander Theatre, 24 W Randolph St. For tickets or more information, please call (800) 775-2000 or click here.
For more reviews on these or other shows, please visit theatreinchicago.com.