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An electric celebration of Tina Turner’s discography and rise to stardom.

I knew Tina Turner had a turbulent relationship with her husband, Ike Turner but I wasn’t fully aware of just how much of a struggle Tina Turner, born Anna Mae Bullock preserved. At the hands of her husband, and her mother, Tina Turner suffered years of domestic violence – and also faced struggles surrounding racism, poverty and abandonment.

This show is no easy watch, at 2 hours and 44 minutes long, it’s a heavy watch with, as expected, lots of uncomfortable topics covered. Within moments of the show beginning, we’re already diving straight into the first instance of domestic violence and her mother walking out. The beginning of a stream of violence that will play out on stage, continuing the cycle long into adulthood. My only complaint would be that the fighting didn’t look or sound real – though that might have been because I was seated to the side so was able to see.

If you’re heading into the show with the desire to hear some of Tina Turner’s impressive discography, you won’t be disappointed. Simply The Best at the end is an incredible performance, visually stunning, brilliant executed and Jochebel Ohene MacCarthy captured the presence of Tina incredibly.

It starts as a quiet moment, a woman, a microphone, and the weight of a lifetime behind her. The moment to reflect, and meditate with her beads and we almost get that big performance right there and then, but instead we are pulled back right to the beginning with an impressive opening and on stage transition. We are met with a powerhouse vocal in church with Chizaram Ochuba-Okafor as young Anna Mae. She is a reminder that the next big stars are on the way.

The second MacCarthy steps into the spotlight, this isn’t just a role playing a part. She embodies Tina Turner in every rasping note, every defiant movement, every ounce of sweat and soul. The role demands vocal power, physical stamina, and sheer presence, and MacCarthy delivers all three with force.

Phyllida Lloyd’s production thrives on spectacle, and when the big numbers hit, the fire ignites. The band powers through Private Dancer, River Deep – Mountain High, and What’s Love Got to Do With It?, but it’s Simply the Best which is the sensational performance it deserved. Mark Thompson and Jeff Sugg’s designs of stripped back staging transform the stage into a rock arena of dazzling lights, swirling smoke, busy highways, and cinematic cityscapes, while Bruno Poet’s lighting bathes it all in moody reds, golds, and purples. Anthony van Laast’s choreography is a vibrant tribute to Tina’s signature style. Sharp, kinetic, and pulsing with life. It’s the performances that split stage into moments of abuse or motherhood that truly reflect the battle backstage and the sheer power onstage, they are brilliant.

Despite staging being basic, the visual effects help paint a picture of a scene. The scene in which Tina runs out on her concert, fights with Ike, then runs across a busy highway and into the motel to deliver a pleading monologue that was most poignant for me. The sounds of horns and passing traffic, the use of lighting and visual effects to create headlights, MacCarthy’s delivery and the addition of stage make up. It’s a moment of change. A new start.

The supporting cast paints a vivid picture of Tina’s turbulent rise, from Letitia Hector’s embittered mother to Georgia Gillam’s sweet sister and Claude East’s warm, faith-filled grandmother. Martin Allanson’s Phil Spector, Isaac Elder’s sharp-eared music exec, and Kyle Richardson’s Erwin Bach are just a few of the industry figures shaping her journey, and love life. The Ikettes handle seamless onstage transformations, charting her evolution in real time. Meanwhile, David King-Yombo delivers a bone-chilling turn as Ike Turner, his swagger laced with a menace that makes every confrontation feel visceral. His every move made my skin crawl, even before the abuse started. Sign of a great performance.

Tina truly belongs to its leading lady. MacCarthy doesn’t just sing, she commands. Her voice is a smoky powerhouse, her movements embody strength and resilience, and she never once lets up. The sheer physicality of this role is staggering, yet she makes it look as effortless as Tina herself always did.

And when it all comes full circle with red leather, spiked hair and the poised stillness before the music kicks in, there’s a palpable charge in the air. The journey has led to this moment, and the audience knows it. The invitation to join in with Simply The Best quickly builds into a standing ovation… it’s cathartic. Not just for the legend herself, but for a performance that does her justice in every way.

On at Curve until 22nd March 2025.