She’s been crowned the Queen of Rock ‘n’ Roll, is regarded as of one the best-selling artists of all time, and has been reveredfor her powerful voice, supercharged dance moves and iconic style.
But in “Tina — The Tina Turner Musical,” running March 14 through April 2 at the James M. Nederlander Theatre, the music superstar is also revealed as the victor, surviving and persevering despite years of physical and mental abuse.
Turner has openly admitted she was initially reluctant to have the “painful memories” of her past play out on stage, and she carefully worked side-by-side with Pulitzer Prize-winning playwright and fellow Memphis-area native Katori Hall (“The Hot Wing King”) to bring her story to life.
“Tina” tells of her origins as Anna Mae Bullock, the daughter of sharecroppers in rural Tennessee to finding her path in music as a teenager and eventually meeting and marrying musician-producer Ike Turner (played by Garrett Turner), with the couple’s tumultuous and abusive relationship as much of a focus as their incredible musical output behind songs like the Phil Spector-helmed “River Deep — Mountain High” and the infamous cover of CCR’s “Proud Mary.”
The jukebox musical also delves into how, after a divorce, Tina Turner returned in the early ’80s as a solo artist, in one of the most successful comebacks of all time with the megahit “What’s Love Got To Do With It.” Now, at 83, and having settled into semi-retirement in Switzerland, Turner is quite happy baring her soul through the show.
“It has been years since I toured the U.S. and I am very excited that my own musical can now bring my music and story to my fans in their home cities across America. It’s a homecoming and that is very special to me,” Turner via statement for the show’s announcement.
“I think it took her a while to really open up and work with people because [many] have been telling her story so wrong. Now, she had her say-so,” says actress Naomi Rodgers (“Frozen”), who along with Zurin Villanueva (“The Lion King,” “Mean Girls,” “The Book of Mormon”) portray Turner in the 12-time Tony Award-nominated show, which debuted in London’s West End in 2018 and moved to Broadway in 2019.
Preparing for the incredibly demanding role was no small feat for Rodgers and Villanueva, who each portray Turner four times a week.
“I prepared with a lot of squats,” says Villanueva, laughing. “I watched [Tina’s] videos a lot just to remind myself of her physicality, and all of that helps me bring the rest of the performance out.” She adds, “I have done a lot of roles where I only used one part of myself, and I was really interested in this role in particular because it seemed to need all of me. I really wanted to know what it felt like to use every piece of my spirit, my physical body, my vocal stamina, all of it, to see just how far I could go.”
Rodgers adds she was actually “flabbergasted” when she was offered an audition.
“It just sat with me for a bit, but when I was in the audition everything just felt natural and free and it felt like I didn’t have to be anything but myself.”
For Rodgers, there was also a personal connection to Turner’s story that she says has motivated her portrayal.
“I’ve been trying to stay true to Tina but also staying true to what I know about life as well. She’s lived a hard life. I’ve lived that life also. In putting me and Tina together — a story about a strong Black woman in two different generations — it made sense after that.”
Neither actress has been able to personally meet Turner though they have sent her direct video messages and hope the opportunity is somewhere down the road.
Until then, Rodgers says she plays to the audience as if Turner was sitting among them.
“Tina has said, ‘I don’t want anyone to be like me, I don’t want anybody to copy or do a parody or anything like that, I want the essence of me to be shown, what you think Tina is,’” Rodgers said. “…To know that this woman put her foot in the show, it actually encourages you, it puts gas in your tank and fuels you to be able to go on stage and know this is going to be iconic.”
For Villanueva, honing in on some of the more devastating parts of Turner’s story (in particular topics of abuse and suicide attempts) has been challenging, though she takes heart with the ultimate message of “Tina.”
“It’s really heavy, but I’m so thankful for her surviving and for the people who have survived,” Villanueva said. “I feel like when you come back from something like that you are changed. And really nothing can stop you now.”
