Tina: The Tina Turner Musical at Nottingham’s Theatre Royal doesn’t begin with the explosive, high-octane spectacle one might expect from a show about a global music icon. Instead, it opens in stillness, in a church of Tina’s childhood, quietly setting the stage for a story that is as much about survival and spirit as it is about stardom. This gentle, haunting opening subverts expectations in the best possible way, drawing the audience into the emotional roots of Tina Turner’s life before unleashing the full force of her legacy. What unfolds is a gripping and deeply human journey, told through a seamless fusion of storytelling, movement, and music.
At the absolute core of this production is Jochebel Ohene MacCarthy — a talent so magnetic and commanding that it’s difficult to imagine the show without her. MacCarthy is Tina Turner — not in mere imitation, but in something much deeper: a full-body embodiment of the woman’s strength, vulnerability, and spirit. There’s an unrelenting, electric intensity to her performance, as if she’s containing a barely-suppressed nuclear force at all times. That energy, that tightly wound power, makes every movement, every look, every vocal note feel alive and precise.
She doesn’t just hit the notes — she drives through them, shaping each lyric with emotion so potent it borders on catharsis. In quieter moments, she reveals Turner’s inner conflict with heartbreaking nuance, and in explosive ones, she commands the stage with jaw-dropping ferocity. This is a role that demands immense stamina and soul, and MacCarthy delivers both in abundance.
Her connection with Loren Anderson, playing Tina’s sister Alline, adds a layer of grounded intimacy to the story. Their dynamic is filled with believable affection and warmth, best displayed in the natural, unspoken interactions in early club scenes- a testament to the strength of both actors’ craft.
As Ike Turner, David King-Yombo provides a complex, unsettling counterbalance. He resists caricature, instead presenting a slow-burning portrayal of manipulation and volatility, which makes his scenes deeply uncomfortable, and appropriately so. The emotional stakes of Tina’s journey feel all the more urgent because of this measured and compelling performance.
Phyllida Lloyd’s direction boldly navigates the darker currents of Tina’s life story while never losing sight of the music’s power and joy. The first act delves deeply into Turner’s traumatic past, and the second offers a redemptive, emotionally satisfying arc. Lloyd smartly mirrors the duality of Anna Mae versus Tina- a dual identity reflected beautifully through the pacing, staging, and tonal shifts.
Anthony van Laast’s choreography deserves full praise, evolving fluidly with the decades, reflecting the changing musical styles while keeping the stage pulsing with energy. The ensemble is electric, particularly in background numbers where movement and music blend into storytelling with stunning fluidity.
Mark Thompson’s costume and set design enriches every beat of the show. Costume changes are frequent and era-accurate, capturing Turner’s style evolution while providing strong visual storytelling. One minor note: greater visibility into the transitions between looks might have added symbolic weight to Tina’s transformation, given the emotional roots driven through the audience getting to know ‘Anna-Mae’, rather than masking them — but this is a small consideration in an otherwise wonderful design.
Bruno Poet’s lighting and Jeff Sugg’s projections add layers of atmosphere, from gritty realism to glamorous stage fantasy. These elements allow the show to shift effortlessly between personal trauma and dazzling performance, and they enhance the emotional rhythm of the piece beautifully.
Nicholas Skilbeck’s musical arrangements are woven expertly throughout, switching between diegetic and non-diegetic moments with purpose. Every song feels organically embedded into the story, not simply tacked on for fan service.
Tina stands as more than a celebration of a music legend, it’s a powerful and emotionally rich portrait of survival, strength, and self-definition. With outstanding performances, sharp direction, and striking design, the production balances grit and glamour to tell a story that resonates well beyond the music. It’s moving, memorable, and masterfully done.
Tina plays at the Theatre Royal Nottingham until Saturday 2nd August 2025 where it will continue its tour. For more information, click here.
Photography throughout from Johan Perrson.
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