Of the mass of jukebox musicals currently being performed across the world, there are not many that pack quite the emotional punch and structurally sound book (with minimum shoehorning) that Tina does.  

Showcasing the highs and lows of the Queen of Rock‘n’Roll, Tina Turner, the ambitious book by Katori Hall, Frank Ketelaar and Kees Prins, with direction from Phyllida Lloyd, takes the audience on an unforgettable journey from Anna Mae Bullock’s humble beginnings in Nutbush, Tennessee to her eventual status as legend. 

As the show’s namesake, Jochebel Ohene MacCarthy plays Tina with breathtaking emotional clarity- a performance that seems to radiate from the core of her spirit outward. MacCarthy literally embodies Tina with an energy that- even when the technical issues hit- floors the audience. She captures not only the ferocious power of her voice but the quiet resilience that underpins her rise to superstardom.  Every moment of Turner’s story feels lived-in, from the charged stillness of her most painful scenes showing the trauma she lived with from abandonment and basic human desire to be loved, to the explosive release of the musical numbers. It’s a portrayal that honours Tina Turner not just as an untouchable icon, but as a woman who fought- and won- her right to be heard. 

David King-Yombo’s Ike is equally compelling, though for very different reasons.  His delivery is steeped in charisma and underlying menace; disarming yet charming. King-Yombo’s performance is disturbingly believable with the flickers of vulnerability juxtaposing moments of explosive rage. A pantomime villain is nowhere to be seen- instead, we’re depicted a sharply drawn portrait of a man both shaped and undone by his own power, making the arc between him and Tina all the more gripping to watch. 

Costume design from Mark Thompson with wigs, hair and make-up by Campbell Young Associates ensure the cast stay the focus of the production, transforming every scene with beautiful gowns, iconic reenactments of Tina’s most memorable looks and allowing swift changes before the audience’s eyes. Bruno Poet’s popping lighting design is at its best during Tina’s performances but truly hits in the finale which seems a little overdue once you realise the potential. This is the opposite for Jeff Sugg’s fluid projections were throughout they allow the production to flow without the need for extravagant set design, allowing the cast and book to speak for themselves. The finale, however, just feels tawdry with a projected spark curtain and compressed ‘TINA’ for good measure. 

While there were some technical hiccups with sound throughout, meaning the first act and act two opener didn’t hit as they should (including pre-show announcements asking the audience to respect fellow patrons), the fluidity of the book is gold standard and is incomparable against other biopic productions, and with a cast of this calibre, we don’t need another hero- we have Tina. 

Playing at the Palace Theatre in Manchester until Saturday 3rd January 2026. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Johan Persson.