Katie Barr
At the Theatre Royal Nottingham, something electric is happening. Tina – The Tina Turner Musical has roared into the city as part of its first ever UK and Ireland tour – and it’s nothing short of a triumph. Leading the charge is the phenomenal Jochebel Ohene MacCarthy, whose performance as Tina was not just captivating, it was transformational.
From the very first moment she takes the stage, MacCarthy channels the essence of Tina – not as an impersonation, but as a living, breathing embodiment of the icon’s strength, soul, and staggering talent. She moves with Tina’s unmistakeable swagger, sings with her fire, and most importantly, delivers a performance charged with emotional truth.
Whether tearing through the fierce rhythms of Proud Mary or capturing the quiet anguish in I Don’t Wanna Fight, MacCarthy commands attention with every breath. Her delivery of Better Be Good to Me is a highlight – defiant, aching, and absolutely electric. It’s a moment of raw confrontation wrapped in melody, and it hits with full emotional force.
The highs are euphoric, but it’s the lows and the grit with which … makes it unforgettable.
The production doesn’t just celebrate the music; it digs deep into Tina’s story. Written by Pulitzer prize-winner Katori Hall with Frank Ketelaar and Kees Prins, and directed by Phyllida Lloyd, the musical confronts the pain, abuse, and discrimination that Turner endured and transcended. It’s this honesty that gives the show its heartbeat. The highs are euphoric, but it’s the lows and the grit with which Tina claws her way back that makes it unforgettable.
The supporting cast is outstanding. David King-Yombo is chillingly effective as Ike Turner, capturing both his slick charm and violent volatility. Georgia Gillam delivers a heartfelt performance as Tina’s loyal sister Alline, while Letitia Hector as their mother Zelma is complex and emotionally resonant. Claude East brings warmth and grounding to the role of Gran Georgeanna, offering moments of comfort and wisdom as Tina’s fierce and faithful grandmother.
Visually, the show is a feast. The set and costume design by Mark Thompson effortlessly evoke each era; from the rural roots of Nutbush Tennessee to the electric dazzle of 1980s rock arenas. Bruno Poet’s lighting design creates mood and drama, while Jeff Sugg’s projections add visual dynamism that brings the stage to life. Anthony van Laast’s choreography is tight, punchy, and full of attitude, especially in the dazzling Ikettes numbers with D’Mia Lindsey-Walker, Alana Robinson and Sedona Sky lighting up every scene they’re in.
… doesn’t shy away from the trauma, but it never lets Tina be defined by it
This is not just a jukebox musical, it’s a deeply human story. TINA pays tribute to a woman who broke rules, defied expectations, and demanded to be heard on her own terms. This show doesn’t shy away from the trauma, but it never lets Tina be defined by it. Instead, it celebrates her unbreakable will and enduring legacy.
By the time MacCarthy leads the cast into a rousing encore of The Best, the atmosphere in the theatre is pure joy. The audience rises to its feet, not out of politeness but because it’s impossible not to. There’s an energy that lingers in the air, part nostalgia, part admiration, and part awe for a performer who has given everything and then some.
Jochebel Ohene MacCarthy … delivers a star-making performance that honours Tina’s legacy whilst simultaneously carving out a space for herself.
In Jochebel Ohene MacCarthy, this production has struck gold. She delivers a star-making performance that honours Tina’s legacy whilst simultaneously carving out a space for herself. Powerful, moving, and exhilarating from start to finish, TINA – The Tina Turner Musical is a must-see event that reminds us all what it means to fight, to rise, and to shine.
Playing at the Theatre Royal Nottingham until 2nd August 2025, this is a show you do not want to miss.
Katie Barr
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article image is of the courtesy of Johan Persson. No changes were made to this image.
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