Name: Tina - The Tina Turner Musical
Start: 2021-07-07
End: 2024-06-26
Location: Aldwych Theatre at the End of the Strand

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TEST From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock &lsquo;n&rsquo; Roll, Tina Turner didn&rsquo;t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.One of the world&rsquo;s best-selling artists of all time, Tina Turner has won 11 Grammy Awards and her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history.Featuring her much loved songs, TINA - The Tina Turner Musical is written by Olivier Award-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd.

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TEST From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock &lsquo;n&rsquo; Roll, Tina Turner didn&rsquo;t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

Born on the Isle of Man in 1990, Samantha Barks is best known for her critically-acclaimed performances as Eponine in *[Les Miserables](href=/show/300)* and Elsa in the West End premiere of *[Disney's Frozen])*.

Growing up in Laxey on the Isle of Man, Barks attended numerous stage schools as a child, before attending Arts Educational School for her A Levels. At the age of 18, Barks was a contestant on BBC’s *I’d Do Anything* in 2008, a reality competition that searched for an actress to play Nancy in *Oliver*. During the competition, Barks sang musical theatre numbers including “Defying Gravity” from *[Wicked](https://www.londontheatre.co.uk/show/wicked)* and “When You Believe” from *[The Prince of Egypt](h)*.

Two years after the competition, Barks was cast as Eponine in *Les Miserables*, playing the role for 12 months. During her run, she also starred in the musical’s 25th anniversary concert at the O2 Arena, before going on to eventually play Nancy in the UK tour of *Oliver*.

While on tour, Cameron Mackintosh announced that Barks was to reprise her performance as Eponine in the film adaptation of Les Miserables, starring alongside Hugh Jackman, Russell Crowe and Helena Bonham Carter. Her rendition of “On My Own” reached number 43; Barks’ first time on the British music charts.

Her notable London theatre credits include [*City of Angels*]() at the [Donmar Warehouse](https://www.londontheatre.co.uk/theatres/donmar-warehouse) in 2014, playing the role of Mallory/Avril and Cathy in *The Last Five Years* at the St. James Theatre (now [The Other Palace]()).

She’s also found success in America, making her Stateside debut as Velma Kelly in *Chicago* at the Hollywood Bowl, later playing the title character in *Amelie* at California’s Berkeley Repertory Theatre. However, she’s best known in the United States for originating the role of Vivian in [*Pretty Woman: The Musical*](). Barks played the role at the Oriental Theatre in Chicago, before reprising her role, and making her Broadway debut in the production in July 2018.

Barks returned to the West End as Elsa in the premiere of *Disney's Frozen* at the [Theatre Royal Drury Lane]().

Samantha Barks - LON

*This isn’t your typical *Oklahoma!** in London. A seven-piece band play reorchestrated arrangements of all the musical theatre classics, like text __*“People Will Say We’re In Love,” “Many a New Day,” as well as an electrifying 15-minute dream ballet. *__

Similar to Oklahoma’s lengthy transition to becoming a state, this *Oklahoma!* musical journey to the stage took many years. Daniel Fish’s adaptation started out at Bard SummerSpace in 2015, but quickly gained momentum with an Off-Broadway run at St Ann’s Warehouse. The show then transferred to the Circle in the Square Theatre on Broadway, picking up eight Tony Award nominations. 

## What To Watch For:

- Lynn Rigg's 1931 play, *Green Grow the Lilacs,* inspired Rodgers and Hammerstein to create their debut musical. While *Green Grow the Lilacs* only ran for 64 performances, *Oklahoma!* earned Rodgers and Hammerstein an honorary Pulitzer Prize, and regular revivals on Broadway and in the West End.
- Two of the *Oklahoma!* cast members continue with the musical in the West End. Patrick Vaill and Patrick Davis played Jud Fry and Will Parker on Broadway, in the Young Vic, and now in the West End.

Recommended for children aged 8 or over; children under 5 will not be admitted. All persons aged under 16 must be accompanied and sat next to the accompanying adult. They may not sit on their own within the auditorium. If children do have separate seats, e

Les Misérables - LON [300]

Les Misérables

Les Misérables (do not edit fee) - Testing a long name to see if this is working fine

Another fantastic chapter in West End history has been gloriously (re)written, with not one but two spectacular reinventions -&nbsp;first of a theatre itself, in which the Queen's on Shaftesbury Avenue has been reincarnated as the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a> and completely refurbished by its owner Cameron Mackintosh to restore it from a threadbare functionality to which it had previously been brought back 61 years ago from wartime bomb damage to a glowing and welcoming new warmth. Meanwhile, its current tenant -&nbsp;already the West End's longest-running musical -&nbsp;has itself been entirely overhauled, with Mackintosh taking the opportunity of its temporary 20-week closure for the theatre's refurbishment to replace the original landmark RSC production with a touring version that was first created for a UK tour as part of the show's 25th-anniversary celebrations in 2010. It was briefly seen in London that year at the Barbican - the show's original London home - running contemporaneously with the West End edition, and is even now on a new European and UK tour, currently playing in Zurich before it returns to continue across the regions in March. The first thing to say about it is that it still owes a lot to the original Trevor Nunn and John Caird production -&nbsp;the famous revolve of John Napier's original design may have gone, for instance, but now the actors merely mime the identical movement (originally the work of Kate Flatt, with musical staging now credited to Geoffrey Garratt, long an associate on the original production) as they advance across the stage in the ever-rousing Act One finale of "One Day More" as the iconic red flag is waved above them. Fans of the original will check off numerous such instances, including the indelible image of a dead Enjolras lying across the back of a cart. Crucially, too, the original costume designs of Andreane Neofitou are also retained, so visually there are plenty of references to the original production. There are also several cast veterans of the previous incarnation, including principals Bradley Jaden who was Javert in the final cast of the original and reprises that role now; Jon Robyns, previously Marius and Enjolras, who now graduates to the role of Jean Valjean; and <a href="/actor-profile/carrie-hope-fletcher">Carrie Hope Fletcher</a>, previously Eponine and now playing Fantine (and all three in spectacular voice); amongst others in the ensemble who also include fellow West End returnees Ciaran Bowling, Sarah Lark and Luke McCall. The show remains an ensemble effort, as it was when it was first created by Nunn and Caird. That establishes a welcome sense of continuity from past to present versions, but it is also given a fresh 21st-century inventiveness with Matt Kinley's sets being complemented by stunning painterly projections, inspired by Victor Hugo's own paintings, that have been niftily realised by Fifty-Nine Productions and Finn Ross, all of which are lavishly lit by Paule Constable. Mick Potter's sound is also thrilling, wrapping the theatre is swathes of sumptuous melody, richly played by the pit orchestra under the direction of Steve Moss. As both a producer and theatre owner, Cameron Mackintosh has always been about attention to detail; the reopening of this theatre and show gives him an opportunity to prove his meticulous care in both. But I also love fresh new details, whether it be the reintroduction of rear dress circle boxes that are newly named in honour of Maggie Smith and Judi Dench, or new cast members like West End regular Josefina Gabrielle, who - cast entirely against her usual sophisticated type as Madame Thenardier -&nbsp;is virtually unrecognisable and truly hilarious. The show remains a thrilling triumph. Here's to the next 35 years, as it looks set to become <a href="/show/the-mousetrap">The Mousetrap</a> of musical theatre; but unlike that murder mystery, there's hardly any mystery to why it's such an enduring success.<a href="/show/les-miserables">Les Miserables</a>&nbsp;is at the <a href="/theatres/sondheim-theatre">Sondheim Theatre</a>.<a href="/show/les-miserables">Les Miserables&nbsp;tickets</a> are available now.

Review - Les Miserables at the Sondheim Theatre

Read our review of Les Misérables at the Sondheim Theatre on London Theatre.

Les Misérables at the Sondheim Theatre Review | London Theatre

‘A THRILLING INSPIRATION’ The Guardian
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The&nbsp;Sondheim&nbsp;Theatre is situated on Shaftesbury Avenue in the West End of London, close to Piccadilly Circus tube station. This 1045 seat venue was built in 1907.\nThe first production at the&nbsp;Sondheim&nbsp;Theatre was&nbsp;Madeleine&nbsp;Lucette&nbsp;Ryley&rsquo;s comedyThe Sugar Bowl, which opened on October 8 1907. Among the countless notable shows to have graced this venerable West End theatre&rsquo;s stage since then are The Fanatics, The Trial of Mary Dugan, Halfway Up A Tree and Shadowlands.&nbsp;\nToday, the&nbsp;Sondheim&nbsp;Theatre enjoys consistent success and has established a solid reputation for staging Shakespearean revivals, dance and musical theatre. &nbsp;\nBut, like any long-serving institution, its fortunes have varied over the years. In the late 1920s two plays were staged that generated a sensation: &nbsp;Miles Malleson&#39;s The Fanatics, and The Trial of Mary Dugan. The former especially caused great controversy, as it explored sex and marital problems with a frankness that had never before allowed by the Lord Chamberlain.\nThe theatre sustained considerable damage during WWII. The exterior was completely destroyed and significant damage was done to the front of house and dress and upper circles. The theatre remained closed for almost twenty years after the war, until it was finally restored and reopened in 1959.\nThe theatre underwent further refurbishment in 2009, increasing the capacity and generally improving the front of house experience for patrons. &nbsp;\nThe layout, size and atmosphere of the&nbsp;Sondheim&nbsp;Theatre make it the perfect place to see comedy, drama and musical theatre. Recent successes include The Hobbit, Contract, The Rocky Horror Show, Les Mis&eacute;rables, the RSC&rsquo;s The Taming of the Shrew and The Tamer Tamed.\nWhatever you decide to see at the&nbsp;Sondheim&nbsp;Theatre, we wish you an entertaining and rewarding visit\n

Sondheim Theatre LONDON

Sondheim Theatre

Tina - The Tina Turner Musical - LON [8547] 

If you drew up a list of everything you wanted from a <a href="/actor-profile/tina-turner">Tina Turner </a>musical, you wouldn't be disappointed by <a href="/show/tina-the-musical">Tina</a>, which gets its world premiere at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a>. It's got the anthems, it's got the moves, it's got the hair. But on a deep-dive into the life of one of the world's best-selling recording artists, we witness some of the moments of genuine turmoil she's had to endure on her way to stardom.Born Anna Mae Bullock, the young Turner grew up in the small Tennessee town of Nutbush, whose Black residents were expected to stick to picking cotton and keep to themselves. Her first experience of violence is over the kitchen table as her father beats her mother. It draws gasps from the audience who may have bought tickets solely expecting a jaunty musical, but also provides a harrowing insight into the life that lies ahead.Anna Mae was discovered by Ike Turner, who put her centre stage leading his band alongside him. He made her change her name to Tina Turner, and made her his wife. Tina became embroiled in Ike's life: he would beat her for seeing men before they were married, for not performing the music in his vision. And it's pretty brutal stuff.The second half focusses much more on Turner's music: working with Beatles producer Phil Spector; finding her rock 'n' roll mojo; facing record labels who would only have one Black woman on their books. It brings Turner's current husband, record executive Erwin Bach (Gerard McCarthy), into the frame, though his involvement in the story feels shoe-horned in.<div style="text-align:center"><figure class="image" style="display:inline-block"><img alt="" height="603" src="https://images.ctfassets.net/6pezt69ih962/1SERDLCaKw4ajWsd5DDCKQ/847292bf4c976386fc2a8a88501d44d5/10_2.jpg" width="904" /><figcaption>Adrienne Warren as Tina Turner. Photos by Manuel Harlan.</figcaption></figure></div>Making her West End debut, Adrienne Warren absolutely storms it in the title role. Her impersonations of Turner are pretty spot-on, from her low-smooth tones to iconic howls - best demonstrated in a scene in the recording studio where Ike pushes the singer to go higher and higher. She's got the moves too, imitating Turner's distinctive moves and during the finale, transporting us from the Aldwych to the 180,000 capacity Maracana Stadium; from a musical to a rock concert.&nbsp;As you would expect, Tina is constantly at the centre of this story. Katori Hall's book does tackle the issues head-on, it covers racism in the Deep South, adversity in the music industry, and relationships of domestic abuse - all very current issues too. The only respite comes in the music.&nbsp;The whole show has more of a rock musical vibe than I expected. Many scenes begin on stage or at a recording session, giving us full-power renditions of "River Deep. Mountain High" and "The Best" (which is a pretty high-octane finale that drew the audience to its feet). &nbsp;But a highlight could be act two opener "Private Dancer", as Tina struggles to cope after Ike uses copyright to stop her from performing any of the songs they worked on together.Phyllida Lloyd's staging includes the extensive use of video as a backdrop which works well to transport us from rainy London ("I Can't Stand the Rain") to trippy, colourful scenes like "Higher". The choreography is some of the most giddy and energetic in the West End (the faster the better) and while Warren's spot-on as Turner, the speed means it's noticeable if one dancer is a touch out of time.<a href="/theatre-news/interviews/kobna-holdbrook-smith-interview-work-hard-tina-ike-turner-musical">Kobna Holdbrook-Smith</a>, performing in a musical for the first time, plays the villainous Ike with ferocity, though it is slightly grating that the character can hardly go one song without grabbing a guitar.It's everything you expected, executed well and packs in a few surprises. Simply the Best? If you're a Tina fan, it'll definitely be pretty close.<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/e3GY4mTJF8E?rel=0&amp;controls=0&amp;showinfo=0;color=white" width="560"></iframe><hr /><a href="/show/tina-the-musical">Tina - The Tina Turner Musical</a> is booking at the <a href="/theatres/aldwych-theatre">Aldwych Theatre</a> until 20th October.&nbsp;<a href="/show/tina-the-musical">Tina - The Tina Turner Musical Tickets</a> are available now.&nbsp;<hr /><h3>What the popular press said...</h3>"Born in the USA, made in England. That's the thesis of this slickly choreographed, beautifully designed and roof-raisingly well-sung bio-musical about Tina Turner." Dominic Cavendish, <a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">The </a><a href="https://www.telegraph.co.uk/theatre/what-to-see/tina-musical-aldwych-review-joyful-lungs-bursting-show-simply/" target="_blank">Telegraph</a> (five stars)"This is a great show that is going to be a hit and its star, Adrienne Warren, is, as someone once sang, simply the best." Ann Treneman, <a href="https://www.thetimes.co.uk/article/16432644-4288-11e8-9618-96ec7a8a2ce5" target="_blank">The Times</a>&nbsp;(four stars)"[<a href="/show/tina-the-musical">Tina</a>]&nbsp;offers a heady celebration of triumph over adversity and boasts a whirlwind performance by Adrienne Warren that left the audience, though not the star herself, breathless." Michael Billington, <a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">The </a><a href="https://www.theguardian.com/stage/2018/apr/17/tina-review-turner-musical-aldwych-theatre-london?CMP=twt_a-stage_b-gdnstage" target="_blank">Guardian</a> (four stars)"Two things make this new West End mega-musical incredible: one, her life story - the fact that the unwanted daughter of poor black sharecroppers in racist small-town Tennessee became Tina Turner; two, Adrienne Warren as Tina." Tim Bano, <a href="https://www.thestage.co.uk/reviews/2018/tina-turner-musical-review-aldwych-theatre-london/" target="_blank">The Stage</a> (four stars)"Phyllida Lloyd's production is a rollicking rollercoaster ride, delivered with stylistic verve and fireball energy by a high-caliber cast and crew." Stephen Dalton, <a href="https://www.hollywoodreporter.com/review/tina-theater-review-1103339" target="_blank">Hollywood Reporter</a>"Warren is a livewire performer with a belter of a voice and the hits, as well as that iconic clothing combination of leather and denim, are all present and correct." Fiona Mountford,&nbsp;<a href="https://www.standard.co.uk/go/london/theatre/tina-review-tina-turner-musical-is-not-quite-better-than-all-the-rest-a3816741.html" target="_blank">Evening Standard</a> (three stars)&nbsp;"From the second she takes over from the child actor playing her young self, Warren ignites the theater." David Benedict, <a href="http://variety.com/2018/legit/reviews/tina-review-tina-turner-musical-1202755932/" target="_blank">Variety</a>&nbsp;

Review - Tina - The Tina Turner Musical at the Aldwych Theatre

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Aldwych Theatre London at the end of the Strand

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Aldwych theatre

The Aldwych Theatre is a West End theatre, located in Aldwych in the City of Westminster, central London. It was listed Grade II on 20 July 1971. Its seating capacity is 1,200 on three levels.

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Aldwych Theatre, 49 Aldwych, London WC2B 4DF Photo taken by User:Edward on 19 March 2006 with a Casio EX-S600.

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