In the glitzy world of jukebox musicals, the rhythm of legendary lives often finds harmony on stage. But in the touring production of Tina: The Tina Turner Musical, which wraps its run at the Denver Center for the Performing Arts this weekend, the story of the celebrated artist’s life and music falls surprisingly flat. Though brimming with potential, the production fails to do justice to the famed singer, leaving audiences yearning for the spark that lit up her beloved discography.
Based on the life of the late performer, the musical chronicles Turner’s journey from her humble beginnings in Nutbush, Tennessee, to her rise to fame alongside her abusive husband and musical partner, Ike Turner. The story follows her escape from Ike, her struggle to rebuild her career and her eventual emergence as a global superstar.
Ari Groover, who shares the role of Tina Turner with Parris Lewis and portrayed the character on opening night at the Denver Center for the Performing Arts, gave a wildly inconsistent performance at the heart of this underwhelming production. Groover’s portrayal reduced Turner, a multifaceted force of nature, to a one-dimensional victim who rises above her circumstances. The complexities of the character, which are crucial to understanding Turner’s incredible journey, were conspicuously absent, disconnecting the audience from the icon they expected to see.
Groover also struggled to match Turner’s vocal prowess. Monster hits like “What’s Love Got to Do With It” were rendered with all the fervor of a lackluster karaoke performance, leaving theatergoers longing for the soul-stirring renditions that once shook arenas around the world. The disjointed nature of the performance was exacerbated
by Phyllida Lloyd’s directorial choices.
The opening sequence, “Etherland-Sound of Mystic Law,” was a rare bright spot, offering a promising ode to Turner’s spiritual and ancestral connection. This abstract and imaginative sequence, replete with metaphors and symbolism, sparked excitement for what was to come. This promise, however, quickly faded as the production settled into a standard, unimaginative rhythm, with the majority of the musical numbers staged naturally. The transition from abstract to realistic scenes was sloppy, giving viewers a disjointed experience.
‘What’s love got to do with it?’
Further marring the experience was the inexplicable reliance on over-the-top stage violence, which elicited uncomfortable laughter from the audience. Turner’s turbulent past certainly merits acknowledgment, but the lack of subtlety in its portrayal left a sense of crassness, detracting from the overall narrative’s emotional impact.
The visual aspects of the production were equally wanting. Jeff Sugg’s uninspired set design — a wall of projections — filled the stage with cheesy graphics that failed to evoke the grandeur and creativity expected from a production celebrating a musical titan. Compounding this visual disappointment was scenic designer Mark Thompson’s decision to shrink the stage via a false proscenium, relegating the production to a smaller scale than one would anticipate at the Buell Theatre.
Thompson, also responsible for the costume design, managed to salvage a glimmer of authenticity through skilled recreations of Turner’s unforgettable concert looks. Yet, these moments of visual brilliance were few and far between, failing to compensate for the otherwise lacking designs that dominated the stage. Thompson squandered the opportunity to visually tell the decades-spanning story through clothing, instead outfitting the ensemble in bland, interchangeable pieces.
With all this working against the show, Tina struggles to carve out its own identity in a landscape saturated with jukebox musicals. At a time when audiences crave innovative storytelling and immersive experiences, this production falls short, leaving viewers with a sense of missed opportunity and unfulfilled potential. This disappointment is heightened by the recent passing of Tina Turner, a legend who deserved a memorial fit for the fervor and passion she brought to her work.
In light of this unfortunate misfire, I recommend theater enthusiasts seek out a different musical experience. Despite being a work of fiction, Dreamgirls, performed by a local cast at the Lone Tree Arts Center and masterfully directed by the talented Kenny Moten, loosely adapts the Supremes’ lives and crafts a narrative that resonates far more deeply than Tina. Also running through Oct. 29, Lone Tree’s production promises a theatrical journey that captures the essence of musical greatness with a finesse that this touring Tina Turner tribute sorely lacks.
ON STAGE: Tina: The Tina Turner Musical. Various times through Oct. 29, Denver Center for the Performing Arts – Buell Theatre, 1350 Curtis St., Denver. Tickets here.
