DPAC's TINA—The Tina Turner Musical Inspires Viewers to Live Out Loud

Karis Anderson as Tina Turner in TINA The Tina Turner Musical, credit Manuel Harlan.

The road to success is rarely a smooth and easy one. For legendary musician Tina Turner, it was particularly tumultuous. Her seemingly insurmountable challenges and her rise to the top against the odds are all covered in glorious detail in TINA—The Tina Turner Musical, onstage now at the Durham Performing Arts Center in a limited three-day run.

The production features an extensive book by Katori Hall with Frank Ketelaar and Kees Prins, skilled direction by Tony Award nominee Phyllida Lloyd, and incredible, eye-catching choreography by Anthony Van Laast, also a Tony Award nominee.

Through these expertly combined forces, Tina’s (Darilyn Burtley) full story, which sweeps across decades, is explored with the depth it deserves. Her tale begins when she’s just a young girl named Anna-Mae Bullock (Claire Davy). She lives in an abusive home with her parents, including her domineering, dismissive mother, Zelma, believably portrayed by K. Bernice in a rough, gruff performance. Suddenly, though, she finds herself shipped off to live with her loving grandmother, Gran Georgeanna (Eva Ruwé).

Together, Burtley and Ruwé offer the production’s first heartwarming moments. While this is not a show that’s bursting with tenderness and affection—Tina’s real life wasn’t ripe with these things either, at least not early on—the soft moments do exist, and they’re made all the more real and touching because of their scarcity. This duo shares a sweet, loving connection, which shines through in their delivery of “Don’t Turn Around.”

This song, carried equally by both strong voices, also marks an unexpected use of one of Turner’s hits. This tendency to take a popular song that seems to be about one thing and then to use it in a new and startling way is one of the features that makes TINA so intriguing. It never does the predictable, and, as a result, it keeps viewers on their toes and enables them to see Tina and her music in a whole new light.

Tina’s story takes its most pivotal turn when she moves to St. Louis and meets the infamous Ike Turner (Monty Kane). While, at first, their relationship is merely professional, at least in Tina’s young eyes, it quickly progresses into one built on control, abuse, and violence. As they journey to the top of the musical charts, they’re met with both personal and external challenges. From disgusting displays of racism to infidelity and abuse, this script spares no detail. Its unflinching look at Tina’s hardships, which continue even after she has left Ike, makes Tina’s story all the more incredible and inspiring. 

As her life plays out onstage, Mark Thompson, who pulls double duty as both scenic and costume designer, perfectly sets every moment. Costumes change to show the passage of time, and a full range of settings—from starry, airy skies to glitzy stages and gritty Vegas bars—is aptly and often beautifully represented. Similarly, Campbell Young Associates pulls out all the stops with its wig, hair, and makeup design, successfully recreating many of Tina’s most iconic looks.

At the heart of the story, however, is its most central character. Burtley is thoroughly convincing and completely lovable as Tina. With her stunning smile, long legs, and gentle demeanor, it’s often hard to remember—especially at the end when she performs a couple of “encore” songs for the crowd—that you’re not actually watching Tina Turner. It’s as if Burtley has channeled some magical energy, perhaps from Tina herself, and combined it with her own talent and powerhouse voice. She’s also backed by a stellar supporting cast, including an adorable Brooke Aneece as Tina’s giggling but capable sister, Alline, and a serious, empowered Eleni Kutay as Rhonda Graam, Tina’s devoted manager and friend. Other standouts include Collin Kilfeather, with his endearing portrayal of Erwin Bach, and young Claire Davy, who brings a surprisingly strong voice and a sparkling energy to each of her scenes. Even Kane is convincing, though frequently deplorable, in his angry role as Ike. The actor received a few jeers at the opening night performance, but he took them in stride. After all, they only serve as a testament to the believability of his performance.

The costumes, performances, choreography, and music may be the most memorable “stars” of this show, but there’s something else here too, something equally important. There’s a quiet kind of strength that comes through in the writing, a whisper of hope that pervades every moment. It comes across most clearly in the production's recreation of Tina’s real-life escape from domestic violence, a scene which features some of Burtley’s most beautiful and understated acting, but it’s there all along. It’s what makes TINA so inspiring and unforgettable, and it’s what elevates it to a level beyond your basic jukebox musical. TINA will remind you of who you are and inspire you to live your life as fully and as freely as possible.

-Susie Potter