Review: Tina - The Tina Turner Musical; UK Tour, at the Palace Theatre, Manchester

After a successful West End run with over 2,400 performances, a Broadway run, as well as productions and awards from around the world, the hit musical Tina - The Tina Turner Musical has been on a UK Tour throughout 2025, and is currently playing in Manchester, for a Christmas season at the Palace Theatre. 

Quite a contrast to the family options on offer this Christmas 

This hit musical is based on the life on the life of the late great Queen of Rock and Roll. Born Anna-Mae Bullock in Nutbush, Tennessee, the play takes us from her difficult childhood to being discovered by her future husband Ike Turner, the time in his band, the fallout of their abusive relationship. 

From there, she sets out on a journey, despite ageism, racism and getting over a divorce, to claim the one thing that belongs to her: her name - Tina Turner. And soundtracked to all the hits you know, and perhaps didn't know she either wrote or sang. 

I should highlight first, that Tina's story is not an easy watch

The first half in particular does not at all shy away from the abuse that Tina suffered at Ike's hands, both physically and mentally. Fight director Kate Waters does a great job in choreographing the fights, in making them dark, intense and brutal to watch.

It's one of the powers of theatre, to have these threatening moments happen right in front of you, especially when it's not just Tina, but also her children who are not safe with Ike around. They are particularly uncomfortable. And then when the reverse happens, and it is Tina's first stand and payback moment against Ike, there are cheers throughout the audience. 

I must also say that before her passing, Tina herself was very much involved in the creation process, and was encouraging and approving of the way director Phyllida Lloyd and book writer Katori Hall chose to depict her life. 

Whoever casts this show has to cast the right people* to play Tina - the role is a beast!

* She has two regular performers play the role, as well as an alternate and understudies

My parents, seeing the show the week before, saw Elle Ma-Kinga N'Zuzi, and they told me that she was amazing; however, I saw Jochebel Ohene McCarthy in the role. She throws her all into this part, and I don't say that lightly. 

I've already mentioned that Tina is a very physical role, and I don't mean that in terms of just the fight choreography either. In a lot of songs, she cannot help but stand still, and said herself in the show that she made up the moves to her performances for her and the backing singers. She must have lungs of steel to dance like that and sing at the same time. 

Speaking of singing, what a set of pipes McCarthy has!

It hits you like a sledgehammer when she's growling out these songs. No one can have a voice as truly as unique as Tina Turner, but McCarthy's was so close to the original, while also making these songs her own: from Private Dancer, to What's Love Got To Do With It and River Deep Mountain High. It was full of spirit and pride, reaching the very back of the stalls. 

I should also say that Lola McCourtie is a young Tina Turner in the making - literally in this case as she sang her heart out in the few scenes she had as the young Anna-Mae Bullock. She is a talent to keep an eye on. 

It felt wrong to talk about Ike's performance before Tina's but David King Yombo's performance is a crucial key as to why the scenes between Ike and Tina are so brutal, a tornado of rage and pride. It was satisfying to see his pride last right until the end, turning on his head to make him look pathetic. It's the least he deserved. At Yombo's bow, the theatre was full of boos as if he was a panto villain. That's a sign that you know you have done a good job. 

Tina is not just a musical that sounds amazing, but looks that as well

Above is a mini exhibition in the Stalls Bar of the Palace Theatre, showcasing some of Mark Thompson's costumes for Tina. Looking at it before the show started was an amazing way to get myself immersed in the space, and get an idea of the times we were going to visit. Some of them are worthy of Strictly costumes! 

And just as much as the costumes, Campbell Young Associates' Hair and Make Up design were the final key to bringing the Queen to life; my favourites being the wig Tina wears in the final act of the show, as well as the look for William Beckerleg's Erwin Bach, making him look as suave as Steve Harrington (only with a German accent). And these looks look even more striking in Bruno Poet's lighting, going from soft to almost blinding in the big songs. 

With everything altogether, Phyllida Lloyd's production takes you rolling on the river (sorry, couldn't resist) that becomes a rapid torrent. 

If you're looking for a production that will end 2025 with a bang, then Tina could be the one for you

As I said before, Tina - The Tina Turner Musical is not an easy watch. It does not sugar-coat Ike's treatment of Tina, and is definitely not one for families. 

However, if you have teenage children, are a big Tina Turner fan, or want something alternative to the classic family show such as the panto at the Opera House, or The Lion, the Witch and the Wardrobe, which is back at Lowry for its festive season (along with Unfortunate and The Enormous Crocodile, which I am seeing next week). It is a powerful jukebox musical. Simply The Best? That's up to you. But it is certainly one of the most powerful bio-musicals that you can see on stage.