I think you're looking for too much in a musical, in my opinion. I'm no connoisseur or expert, that's for sure, but to me a musical is about the music. Here the music is Tina's, so how could they go wrong. Moreover, from the reviews, Adrienne Warren's performance is outstanding. What more can you ask for? To me, at least, the story in a musical is secondary (I'd say just to give context, but apparently they got that wrong - and who cares). It's like a concert with dialogue. The story is just a excuse to break into song and when the songs are Tina's and the performance excels, just sit back and enjoy it. I think it is unfair to base a review of a musical on it's story. But what the heck do I know, I enjoyed "American Idiot" - three times.
5
Sorry, I was fan girling real loud last night as she arrived for her show.
I am not into celebrities and did not know was opening night.
I just happen to be passing by as she got out of her car and into a sea of adoring fans, including yours truly.
Go Tina! you go girl!
5
I personally prefer traditional broadway musicals to these homages to a particular performer or group. But asserting, as some here have, that a high quality production such as this doesn’t deserve to be mounted in the New York theater district, or telling fans to get out of my Broadway, go home and buy CDs, is just wrongheaded. There is room on the Great White Way for both Tina and Hadestown. One does not diminish the other.
12
It isn't meant to be "a real musical." It's a worship service, in the church of celebrity.
3
I heard it's fantastic.
4
Saw three shows in the last three weeks,all good but Tina was the best.Ms Warren owns the roll with her energy and focus.The Show should run it’s course and end in five years,that is how good it is.
8
I don't think the review does justice to Ms. Warren. She blows the roof off! But not merely as a mimic - which is what I feared before the show. She grabs the audience as both Tina and herself. There is an intensity and electricity only a star can create. I am not a pushover, but Ms. Warren is worth the price of admission.
14
Saw 'Tina' at a matinee with the alternate Tina, Nkeki Obi-Melekwe (she does all the matinees). I cannot imagine a better Tina Turner. If Adrienne Warren is a 10 in her performance, then Ms. Obi-Melekwi must be a 9.9999 because she was great. Maybe the Times could have another reviewer see the show during the day time and give her her due.
21
It's never too late to add script.
4
This show is about Tina Turner and, more impressively, what Ms. Warren does with it.
5
When a performer is in recent memory or experience, it is pathetic to see someone else try to embody them. Either they overdo it and make the original look bad, or they underdo it and make themselves look bad. When will we please get back to real musicals?
3
Most musicals today are glorified rock concerts. The songs are already written. You don’t need a storyline. They are freeze dried concerts, just add water and mix. If you’re gonna pay Broadway prices, see a real Broadway musical. And if a rock star’s name is in the title, that ain’t it. You like Tina Turner? Buy a CD. It’s way cheaper and you’re getting the real deal.
10
I didn’t see this because it was a traditional musical, whatever that is these days. Basically, I cannot stand melodic outbursts in a script, which stand out in many of this genre. And the only jukebox one I saw was Jersey Boys, which was lackluster except for the songs. I appreciated how the linear storytelling in TINA was accented with familiar songs, sometimes out of sequence. I have never wanted to see a show twice, but this one I would. It was a triumph.
3
A good musical it is not. A great performance from Adrienne Warren is the reason to see the show. 'What's Love Got to Do With It' tells Tina Turner's inspiring story better.
Interesting a few criticize Jesse Green's attitude toward jukebox musicals. He's not the problem. The problem is the lowering of the bar on Broadway, charging more and more for less and less.
Will you have a good time at this show? Absolutely. Other than Warren, will you remember anything else? Nope.
25
@Alan Gary, regarding "charging more and more for less and less".
It was supposed to be special 50 seats for the unusual hit like "The Producers," but does anyone really believe they didn't intend to expand this all along, and now it's the whole downstairs of almost every success? (Jersey Boys, ironically at the populist-sounding August Wilson, already had row O on the side at premium by 2006.). Look where we are by 2010 - premium price is assumed as the norm when there's a hit, whatever the show's running costs, in proposed profit flows now.
https://www.nytimes.com/2001/10/26/theater/for-the-asking-a-480-seat.html
How can this closing line spoken in 2001 by Tom Viertel not look ominous from where we've gotten in the 2010s, that the last words in the article are ''We're selling access.'' (Translation: Not a VIP? Got money to burn? Presto, you're a VIP! Like that line from Billy Flynn, very slightly reworded : I never asked did she do it. I only asked do you have $5,000, you said you did. You lied to me. It's almost 50 years or so since "Chicago" first opened 1975 saying "In 50 years or so, it's gonna change you know," - what's changed is that $ gets you anything now is the rule of Broadway!)
The 2001 article looks non-subtle - Could it not be they were lying in wait for the smash to try this on. In the 1990s they were adding an extra seat every row to all center section in "certain" theaters; I guess that's what the restoration fee helped do, LOL!
2
I am struck by the image of Tina on stage with the logo of The Ritz. That great East Village venue in the early-mid 1980s (when it was known as The Ritz rather than Webster Hall) was the most exciting live music venue anywhere (Prince, Pretenders, Police, etc.). I joined the stage crew at The Ritz on the weekend in Spring, 1981 that featured three sold nights headlined by Tina. It's true: Tina's show was over the top. I'll never forget her deep sultry funky version of Don Henley's "Dirty Laundry" in those gigs. Tina's shows at The Ritz were a major event, leading to her huge comeback in 1984 with "Private Dancer". I'm so bored by autobiographical jukebox musicals, but Adrienne Warren may be reason enough to go.
15
Once again, Jesse Green is far more disappointing than the show he is reviewing. No surprise, since he has been critical of every jukebox musical that he has reviewed. I saw the show in London, and anyone who likes Tina Turner will think that the music is great, and that the show is therefore worth seeing. And that’s why we would go to this show . . . for the music. The story, rather than “thin” per Jesse, is fairly dark (which the review doesn’t convey), as was much of Tina’s life. But it’s sufficient to remind us about the challenges that Tuna faced, and the talent and courage it took to get away from Ike and then succeed.
12
@Rick Bronstein Jukebox musicals are inexcusable productions. They belong in arenas, if anywhere, not on Broadway. You are disappointing in supporting them. If you want the music, listen to the originals.
7
That’s because they are all bad. Your endorsement shows a lack of respect, understanding, and appreciation for for real musicals.
7
What’s a “real musical?” The form has always been mutable. And if it isn’t then we should relegate it to a museum. The form as we understand it in the R&H sense is less than 100 years old. And even “classics” don’t follow any set form- regardless of what Broadway elitists say. The only thing most successful musicals share is an attempt at commercial entertainment. Some are more artsy, some don’t even pretend. But even classics started with pop music ambitions. From that standpoint, it’s ludicrous to try and minimize the form by limiting it to 1 thing. I’m personally not a fan of jukebox musicals. Or bio-musicals. But that’s a personal aesthetic choice, not a dictatorial standard. And even then I’ve seen several I enjoy. Mostly- the only thing a musical needs to be is true to itself. Form follows function not the other way around.
3
You see the show for Adrienne Warren' performance. Nothing else. But I'd never pay full price for this.
7
Having seen in previews, I was in all honesty expecting the NYTimes to grace Tina with a Critics Pick -- and when I learned that did not happen, I was incensed.
However, after reading the review, I'll concede that I agree up to a point. (The Thunderdome song was completely misapplied and went on far too long, for example.)
But no no no no no no -- if you feel Tina Turner like I feel Tina Turner, you will have NO problem with this show and just might have the time of your life. (Seriously, I know my Tina: Proud Mary 45 purchased upon initial release, caught Tina on tour in the '80s, more recently here in Philly, wish the show had touched upon her turn as the Acid Queen in Tommy, sorry, I digress.)
FAR AND AWAY, the best jukebox bio-musical since Jersey Boys, make no mistake. Cher may have had Bob Mackie, but Cher never worked half as hard onstage as Tina Turner. Seriously, you need to see how numbers like Proud Mary are recreated in their full, live intensity. God almighty. "Musical theater" maybe not, but seldom have I been so electrified. Literally, dancing in the aisle come curtain call.
If the advice of an aging gay Tina acolyte from way back when means anything, I completely recommend this show.
37
@Brian
Amen, Brother. Fat old straight Woman here, and I’ve loved Tina since about age 10, when I did lip-syncing and dancing to “ Proud Mary “. Dressed in a costume that I made myself, miniskirt and halter top from a discarded
Red faux-leather skirt given to my Mother. A great regret: no pictures.
Cheers.
18
@Brian I loved the show! I saw it in previews as well in mid-October for my 34th birthday!
5
@Phyliss Dalmatian
Also, the outfit was “ made “ by using scissors and duct tape, but only taped in the back. Looked great from the front.
Lol.
2
Jesse Green has repeatedly voiced his dislike for what he calls “jukebox musicals” yet you continue to ask him to review them. When I saw his name on the review I knew that a negative review was coming. To me, he has no credibility when reviewing these shows.
16
Jukebox musicals are a subpar genre, like Marvel superhero movies (see Martin Scorsese's insightful essay in this paper a few days ago).
12
@Rich Corso
The book for Sound of Music is pretty thin too, even though the underlying story is true. A thin story is the basis of Sweet Charity and Oklahoma. Flower Drum Song is no literary masterpiece either. I would challenge Jesse Green to identify more than a handful or two of much-loved musicals that have a book that isn't thin.........or at least not propped up almost entirely by the music and performances. No, jukebox musicals aren't the highest form of musical theater, but that doesn't make them unappreciated. They just need to be recognized for what they are.
13
@Susan - The books of "traditional" musicals can't be compared to books for jukebox productions.
The music and lyrics for Sweet Charity, Oklhaoma, and Flower Drum were written for the musical, and thus can serve part of the story telling role. With jukebox productions, the old songs were not written as any part of a narrative vehicle, so storytelling is entirely reliant on the book.
6
Were we watching the same show? I haven't seen a juke box musical this satisfying since Beautiful. These songs were not meant for this medium, but Katori Hall did more than an admirable job crafting them into momenta that have genuine dramatic purpose. The songs feel as though they were intended exactly for the dramatic moments in the story. The entire cast is beyond exceptional! I cried watching River Deep, Mountain High. Such an incredible show!
5
The show and Adrienne Warren blew me away. The story may have been a bit "thin", but the powerful performance by Ms. Warren is unforgettable. I levitated all the way to the R train.
15
50+ years ago, I experienced Tina Turner at a club in Durham, NC. From a fan's distance, I knew her and Ike and Tina Turner from an early album, Dynamite. An appropriate title. But I had never imagined a real, live Tina Turner. That I was awed is an understatement. I am old now and can't imagine that I'll ever again experience something as vivid and emotionally engaging as the performance she delivered that night--and probably did every night of that tour. It was, most literally, unforgettable. And so here I am, wishing that I could see this new Tina Turner incarnation on Broadway, but suspecting that it could never live up to the still alive memory I have. But of course, I'd love to be wrong, and I may try to find out. Your review did not excite me, but it did not convince me that I could not find comfort there. This is a show I want to love.
9
@Charles F Adams, regarding "I experienced Tina Turner at a club in Durham, NC... But I had never imagined a real, live Tina Turner. That I was awed is an understatement."
Totally different style of diva, but for me, that club experience was seeing Betty Buckley doing an almost-no-theater-songs concert at the Bottom Line. She was still at a time when her being a TV star was not that long before, and it seemed it was not just theater fans. I think it was long before surreptitious recording was so easy, and some of what was shared through songs we hadn't heard that much from her were feelings about not just normal disappointments, but what she felt was outright being lied to by money people and even by directors who she felt as fellow artists should gave known better - like being led to believe she had a chance at parts while they hid that they were using her as interim while the one they really wanted couldn't do that engagement. What you said about Tina Turner's club event for you, "as vivid and emotionally engaging as the performance she delivered that night" - that was that night at the Bottom Line for me.
2
Aside from Warren's channeling the real Tina, there are other moments in the show that shine--for instance when young Anna Mae pulls out the jeans jacket and mini skirt combo when Tina was resisting the next steps in her career. The show could use many more scenes that rise to this level. Thankfully there are so many Tina songs that one leaves the theater exhilarated with so many of these songs staying with you for the next couple of days--and that is part of the definition of what a musical should be. Go!
4