Simply the Best: TINA – The Tina Turner Musical Shines Bright in Belfast

A powerhouse performance filled with soul, struggle, and searing vocals, TINA is a triumphant celebration of resilience, music, and the enduring legacy of a rock 'n' roll icon.

From the moment the first beat drops in TINA – The Tina Turner Musical, currently electrifying audiences at Belfast's Grand Opera House, it’s clear we’re not just watching a jukebox show, we’re witnessing the story of a woman who refused to be broken. This high-energy, emotionally charged production doesn’t just honour the music of Tina Turner; it honours her life, her pain, and her unshakable power.

Directed by Phyllida Lloyd and written by Olivier Award-winning playwright Katori Hall (along with Frank Ketelaar and Kees Prins), the musical traces Turner’s journey from humble beginnings in Nutbush, Tennessee to global superstardom. It’s not a sanitised fairytale. Instead, it boldly confronts the racism, domestic abuse, and industry sexism Tina endured and ultimately overcame.

Leading the cast is an astonishing performer in the role of Tina  Jochebel Ohene MacCarthy, whose vocal range and physical stamina are nothing short of phenomenal. From the youthful exuberance of Anna Mae Bullock in Act I to the seasoned, defiant diva of Act II, she captures every nuance of Turner’s transformation. Her renditions of classics like “River Deep – Mountain High,” “Private Dancer,” and the explosive “Proud Mary” earned spontaneous mid-show applause and a roaring standing ovation by curtain call.

Opposite her, David King-Yombo portraying Ike Turner delivers a complex performance, resisting the urge to play him as a caricature. While undeniably the villain of Tina’s story, his portrayal adds uncomfortable authenticity to their volatile relationship, a testament to the show’s unflinching honesty.

Supporting cast members also shine. From Tina’s spiritual and strong-willed grandmother GG, to her loving yet conflicted mother Zelma, every role is well-developed and contributes to the emotional stakes. Due to the time period the show covers many actors played multiple roles.The ensemble deserves praise for their seamless choreography and dynamic vocal support throughout the performance.

Musically, the show is a triumph. The score features over 20 of Tina Turner’s greatest hits. What’s particularly moving is how cleverly the songs are embedded into the narrative, not just as performances, but as emotional expressions of turning points in Tina’s life. “What’s Love Got to Do With It” becomes a chilling moment of self-realisation, while “I Don’t Wanna Fight” is delivered with quiet heartbreak.

The costumes and styling take the audience on a visual time warp, with glittering sequins, ‘70s fringe, and show-stopping gowns that mirror Turner’s iconic looks through the decades. Tina’s signature mini-dresses and wild wigs are all present, but so too is a subtle evolution of fashion that reflects her personal growth. Set design is minimal but effective, shifting from Southern churches to dressing rooms, tour buses to stadiums with the help of clever lighting, sound design, and projection.

One of the production’s greatest strengths is its pacing. At just over two and a half hours, the show never drags. Each scene builds to the next with mounting intensity, culminating in a concert-style finale that had the Belfast audience on their feet, clapping and singing along to “Nutbush City Limits” and “The Best.” It’s rare to leave a theatre feeling like you’ve both seen a moving biography and attended a live gig but TINA delivers both.

The emotional heart of the show lies not just in Tina Turner’s music, but in the deeply human moments between songs, the quiet conversations, the painful choices, the small acts of defiance. It’s a story of survival and empowerment, and it resonates far beyond the stage.

TINA – The Tina Turner Musical is more than a night of brilliant music, it’s a masterclass in theatrical storytelling, anchored by stunning performances, pitch-perfect direction, and an unwavering celebration of one of music’s most powerful voices. Whether you're a lifelong fan or a newcomer to her legacy, this show is essential viewing. It's loud, it's proud, and it’s full of heart.

Don’t walk — run to the Grand Opera House before it leaves town. This is one show that truly is... simply the best. Very few tickets remain visit GOH.co.uk or call the box office on 028 9024 1919