Is a feelgood jukebox musical the absolute best medium to tell a story about domestic abuse? Put crudely, that is the problem at the heart of big-budget global premiere...Don’t get me wrong: it’s an entertaining night, brilliantly performed.
Read more

What a pity, then, that this musical never fully sparks into life...Yet the material surprisingly lacks rigour, too often staying in soft-focus when a more forensic examination is required...
Read more

Despite the show’s creative pedigree, with Mamma Mia! director Phyllida Lloyd at the helm and a book by The Mountain-top writer Katori Hall, nothing about the production is particularly interesting or innovative. It’s a standard bio-musical...
Read more

Phyllida Lloyd’s musical is a heady celebration of triumph over adversity...As bio-musicals go, this is as good as it gets.
Read more

Katori Hall's book is too brisk...Even folk who are inclined to be sniffy about jukebox musicals will be overwhelmed by this one. It has everything going for it.
Read more

Simply the best way to tell the story of Tina Turner...I thought I knew Tina’s story but, after she leaves Ike, it gets even more interesting. This musical tells it like it is.
Read more

"The better pop/rock biomusicals all have substantial narratives; those without are merely concerts performed by impersonators...I’ve never seen a more one-sided portrait in a show like this. Lloyd, too, moves the action along and intercuts it fluidly, but spends the final phase of the show assiduously building up to a nakedly adulatory climax and concert-style encore."
Read more

If you drew up a list of everything you wanted from a Tina Turner musical, you wouldn’t be disappointed by Tina, which gets its world premiere at the Aldwych Theatre. It’s got the anthems, it’s got the moves, it’s got the hair.
Read more