Broadway Review: ‘Tina’ – Riveting, Heartfelt, and A Testament To Tina Turner’s Indelible Star Power

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Photo: Manuel Harlan

Upon hearing that the Tina Tuner musical was coming to town, I had trepidation and a bit of skepticism. As a theatre and musical lover, I had no choice but to succumb to a new rendition of one of my childhood idol’s life portrayed on the Broadway stage. Would the actress playing Tina measure up? Would she be able to convey this powerhouse of a woman justly? Would the music move me? The answer to all my resounding questions: Absolutely! Tony-nominated actress, Adrienne Warren (Shuffle Along, Bring It On: The Musical) reprises her role of rock legend, Tina Turner; Warren had performed ‘Tina’ in London’s West End this past spring with rave reviews. And, now she’s traveled to New York to shatter all expectations of fans and critics alike. Warren’s portrayal of Tina Turner is sensational. The octaves in her similarly raspy voice to Turner’s are spectacular. Warren interprets Tina’s signature moves with grace, sans mimicry.

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Photo: Manuel Harlan, Steven Booth as Phil Spector, Adrienne Warren as Tina

The musical begins with Warren seated on the stage floor wearing Turner’s iconic red leather dress reciting a Buddhist chant. Turner, a Buddhist since 1973, credits the religion for helping her endure life’s hardships. Then the audience is introduced to a young Tina (given name: Anna-Mae Bullock) played by Skye Dakota Turner masterfully, belting out church songs with fervor in her hometown of Nutbush, Tennessee, where her mother, Zelma, played by the talented Dawnn Lewis (A Different World, This Is Us) isn’t too pleased and constantly scolds her for being to loud and boisterous. At the behest of her grandmother, played by Myra Lucretia Taylor (Macbeth, A Streetcar Named Desire), she pursues her talents as a singer, and moves to St. Louis to be with her mother and sister.

The pacing of the musical is perfection. There are no lulls. We transition through the different phases of Tina’s life with Tina’s hit songs and sets so visually stimulating the rest of your senses have to play catch up! The scenes between Tina and Ike are electrifying. Their chronicled relationship is replete with success and abuse at the hands of Ike Turner played by Daniel J. Watts (Hamilton, The Color Purple). Ike Turner is undoubtedly the villain from what is known about his persona and documented past relationship with Turner. Watts does an excellent job of balancing the complexities of Ike, as the abusive husband, yet talented musician that discovered Anna-Mae Bullock’s talents at 17 years-old, Watts is able to convey this atrocious man, with comedic flair at times, while showcasing his singing and dancing abilities. After all, this is a musical and the tone shouldn’t be too gloomy.

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Photo: Manuel Harlan, Adrienne Warren as Tina, Daniel J. Watts as Ike Turner

Executive produced by Tina Turner, directed by Phyllida Lloyd (Mamma Mia, The Taming of the Shrew), and choreographed by Anthony Van Laast (Mamma Mia!, Sister Act) ‘Tina’ is a true gem for biopic and musical aficionados. Run! Don’t walk to see this fantastic production of the Queen of Rock n’ Roll. Tina, The Tina Turner Musical will be on Broadway at the Lunt-Fontanne Theatre through September 2020, for upcoming performances, click here.

 

PRODUCTION: A presentation by Stage Entertainment, James L. Nederlander, Tali Pelman, Feste Investments B.V., David Mirvish, Nattering Way, Teg Dainty, Katori Hall, Mark Rubinstein Ltd., Warner Chappell, Peter May, Eva Price, No Guarantees, Caiola Productions, Jamie DeRoy, Wendy Federman, Roy Furman, Independent Presenters Network, John Gore Organization, Marc Levine, Carl Moellenberg, Al Nocciolino, Catherine Adler, Tom Perakos, Daryl Roth, Iris Smith, Candy Spelling, and Anita Waxman, in association with Tina Turner, of a musical in two acts, with book by Katori Hall (with Frank Ketelaar and Kees Prins), originally produced at the Aldwych Theater in London, by Stage Entertainment, Joop van den Ende and Tali Pelman.
CREATIVE: Directed by Phyllida Lloyd. Choreography, Anthony Van Laast. Sets & costumes, Mark Thompson; lighting, Bruno Poet; sound, Nevin Steinberg; projections, Jeff Sugg; hair & wigs, Campbell Young Associates; orchestrations, Ethan Popp; musical supervision, arrangements, additional music & conductor, Nicholas Skilbeck; production stage manager, Kristen Harris.
CAST: Adrienne Warren, Dawnn Lewis, Nkeki Obi-Melekwe, Myra Lucretia Taylor, Daniel J. Watts, Steven Booth, Nick Rashad Burroughs, Gerald Caesar, Holli’ Conway, Kayla Davion, Charlie Franklin, Judith Franklin, Matthew Griffin, David Jennings, Ross Lekites, Robert Lenzi, Gloria Manning, Jhardon Dishon Milton, Destinée Rea, Mars Rucker, Jessica Rush, Carla Stewart, Jayden Theophile, Skye Dakota Turner, Antonio J. Watson, Katie Webber.

 

‘Hurdle’ Review: Palestinian Youth Combat Political Strife With Inspiring Creative Outlets

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Photo: Courtesy of Hurdle Film

The world is in political turmoil domestically and internationally as evidenced by the ongoing deadly protests in Hong Kong, Venezuela, Chile and Bolivia. Reaching its 50th year of Israeli military occupation, Palestinians have mastered the virtue of resiliency in fighting for their rights to exist and living with the oppression that brings social injustice; they’ve taken to the streets for half a century, and attempting to reclaim their land is nothing new. But what has emerged, and shed light on this age-old Middle Eastern conflict, is a fresh perspective by documentary filmmaker, editor, cinematographer, producer: Michael Rowley. In his film Hurdle, audiences can judge for themselves what Palestinians are fighting for.

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Photo: Courtesy of Hurdle Film, Mohammed by Wall In Occupied Palestine

Hurdle begins with Mohammed, a Palestinian photographer examining a wall built to confine Palestinians to their “territory” by the Israeli military. Mohammed is clearly anxious and frustrated by his and his family’s current situation, but uses his photography business to enlist the youth in his community to find what’s beautiful and intriguing in the midst of all the violent attacks on their people. It’s gut-wrenching yet hopeful to see this community persevere and strive for a better life and brighter future.

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Photo: Courtesy of Hurdle Film, Parkour Team Member Jumping

The film then follows Sami, a parkour instructor who teaches young men to jump and flip over rooftops and structures with measured form. Apart from the mental and physical demands the sport requires – it invokes the spirit of these young men to persevere, to attain the unattainable and overcome obstacles in currently occupied Palestine, even with all the violence and bloodshed simultaneously consuming their daily lives.

Rowley’s Hurdle film is candid. It shows daily Palestinian life: the celebrations, familial moments, triumphs and tribulations that connect us on human level. There are devastating violent attacks that can strike at a moment’s notice. On one side, we see people (Palestinians) fighting for their very existence, and on the other, Jews waving their flags rejoicing as they claim victory over their enemies. It’s an eye-opening experience to see basic freedoms we are all entitled to, squashed, but in succession, witness a movement of self-preservation and determination. Rowley documents the breathtaking landscapes and energy of Jerusalem with captivating cinematography and music. Winner of the Best Documentary Feature Film from the 2019 Tulsa American Film Festival, Hurdle is destined for more accolades and world-wide recognition. To learn more and check out future screenings of the Hurdle documentary, click here.