DULUTH — The Duluth Entertainment Convention Center’s Symphony Hall resonated with applause Sunday night, long after the final notes of “Tina: The Tina Turner Musical” faded, as audience members rose to their feet for an extended standing ovation and an impromptu mini-concert led by the cast.
The touring production, which concluded its single-night run in Duluth on February 15, attempts to capture the complex life and extraordinary career of the late Tina Turner, from her humble beginnings in Nutbush, Tennessee, to her ascent as the “Queen of Rock n’ Roll.” The musical, written by Katori Hall, Frank Ketelaar, and Kees Prins, with Turner’s direct involvement and approval, doesn’t shy away from depicting the darker chapters of her life, particularly her tumultuous relationship with Ike Turner.
India Shelbi Boone, who performed the role of Tina Turner on Sunday, delivered a compelling portrayal of a woman striving for artistic recognition while navigating personal hardship. Monty Kane, as Ike Turner, embodied a volatile and controlling figure, highlighting the abusive dynamics that defined their relationship. The production skillfully juxtaposed the onstage glamour with the offstage realities, a choice that prompted a palpable discomfort among audience members during the first act, according to reports from attendees.
The musical’s first half focuses on Tina Turner’s early life and her rise to fame alongside Ike, portraying a professionally successful but personally devastating partnership. The second act chronicles her courageous journey to independence and her remarkable comeback in the 1980s. While the first half garnered a rapt and attentive response from the audience, the second half, according to one reviewer, “sags,” requiring a reprise of “Proud Mary” with both the adult Tina and a young Anna Mae Bullock to reignite the energy.
The production’s staging choices were often bold, including a scene where Ike Turner is depicted engaging with another woman in the midst of a concert, visually representing the intertwined nature of their success and his abuse. This willingness to confront challenging truths, including the impacts of racism and domestic violence, was a key element of Turner’s vision for the musical.
The show’s exploration of Turner’s later life, including her relationship with German music executive Erwin Bach (played by Colin Kilfeather in this production), received less attention. While the connection between Turner and Bach was a significant part of her personal story, the musical’s portrayal of their relationship was described as a “gag” that didn’t fully develop the character.
The musical incorporates Turner’s iconic songs in a variety of ways, sometimes as concert performances and other times as emotional expressions within the narrative. A notable example is the reimagining of “Better Be Good to Me,” which is directed at Ike Turner in the musical, rather than a post-Ike lover as in the original release. The tender rendition of “Tonight,” originally a duet with David Bowie, was presented as a message of support from young Anna Mae to the adult Tina.
The production’s finale, featuring a powerful rendition of “We Don’t Require Another Hero,” was particularly impactful, despite the somewhat unconventional use of the song in the context of Turner’s mother’s death. Boone’s performance, according to observers, successfully conveyed the emotional weight of the moment.
The Broadway at the DECC series will continue on March 16 with “Hadestown,” followed by “The Music Man” on April 29.
