State Theatre New Jersey's 'TINA—The Tina Turner Musical' is mostly 'The Best'

One of the greatest allures of Broadway is its ability to sweep up audiences in a spellbinding odyssey. Whether it's a distant land where witches and monkeys defy gravity in "Wicked," or a power struggle in the heart of the jungle in "The Lion King," once the lights begin to dim and the curtains are raised, everything becomes secondary. Anything that's ever mattered is on that stage.

Though there are no talking animals or fantasy creatures in "TINA–The Tina Turner Musical," it's just as dazzling. Retelling the musical icon's life in the most grandiose, yet fitting manner, there's an undeniable fairy tale-esque quality flowing throughout the approximately three-hour runtime.

While there are instances when the show stalls and leans too heavily on the typical biopic formula, there's no denying the palpable energy that fills the auditorium when a rock 'n' roll classic or a piano ballad begins to play.

The beginning of the jukebox musical transports patrons from the State Theatre New Jersey, located in the bustling downtown New Brunswick, to the quaint pews of a church in Tennessee. Here, the audience is introduced to young Anna-Mae Bullock (Taylor Brice), the girl who would eventually become a Grammy-winning megastar.

Regrettably, the production doesn't devote much time to her early childhood, but Brice still manages to leave a lasting impression. Her infectious energy and passion for singing serve as an effective introduction to the character. Additionally, her father Richard Bullock (Darius J. Manuel) delivers one of the most memorable vocal moments early in the show, belting out a powerful performance.

Years later, Anna-Mae, now performed by Jayna Elise, takes her first tentative steps into the St. Louis music scene. She meets Ike Turner (Sterling Baker-McClary) in a nightclub, who initially helps launch her into stardom, but paradoxically serves as an unstable, oppressive force within her life.

Ike is a complex character, and Baker-McClary skillfully captures this duality, shifting effortlessly between being charming and menacing. His performance is commendable, but a larger problem lies in the writing, which struggles to balance tones and flesh his character out enough. 

Most scenes portray him as a womanizer and an abusive husband, which makes it impossible to laugh when the script suddenly demands he become the comedic relief.

Despite a flawed antagonist and a one-dimensional love interest, Maurice Alpharicio, who plays Raymond Earl King, and the other actors elevate the material, supported by impressive set design and effective use of lights and sound effects. Even as the musical falls into the typical format of biographical retellings by simply recapping bullet points in an individual's life, its unique visual flair keeps things engaging.

For example, as Tina goes through the process of securing a recording deal, Elise mesmerizes the audience with an impassioned delivery of "River Deep - Mountain High" as colorful, psychedelic soundwaves glimmer on the screen behind her. 

While the musical numbers were a clear standout of the first act, the second act rectifies the glaring mistakes from the first and results in a far more balanced product. Ike is largely absent, allowing the story to concentrate on a specific period in Tina's career.

After her divorce, Tina finds herself struggling in her career. Burdened by debt, she takes on less-than-ideal performances, which inadvertently attract the attention of a young, ambitious producer, Erwin Bach (Steven Sawan).

With much less exposition to spit out at the viewer, the production zeroes in on the relationship between Erwin and Tina, which is far more compelling than her dynamic with Raymond. Elise and Sawan portray believable underdogs, empowering and uplifting each other through the tumultuous moments in their characters' lives.

Though many characters from the first act don't return, "TINA–The Tina Turner Musical" takes time to provide resolutions for those that matter most. Tina's mother, Zelma Bullock (Elaina Walton), and Ike make brief reappearances, and in a powerful moment, Tina finally stands up to these unlikable figures. This reinforces the play's central themes: the importance of self-discovery and finding family in unexpected places.

Riding off a wave of momentum into the final act, "TINA–The Tina Turner Musical" culminates in a show-stopping rendition of "The Best." As Elise ascends a long flight of stairs in the singer's signature red dress and high heels, it's nearly impossible to distinguish between the actor and the subject of the musical. There aren't any special effects or high-octane thrills, but this scene in particular had a special kind of magical aura that had all audience members out of their seats and dancing along.

Even with its imperfections, "TINA–The Tina Turner Musical" proves to be a feel-good experience, particularly for its empowering finale, sure to provide you with enough adrenaline and motivation to complete any challenge, whether it's realizing a lifelong dream or a karaoke night with friends.

While the final production of "TINA–The Tina Turner Musical" wrapped up on October 5, the venue has plenty of more exciting entries in its ongoing Broadway series this fall. Fans can catch "Masters of Illusion" and "Ain't Too Proud—The Life and Times of The Temptations" later this month and "Dr. Seuss' How The Grinch Stole Christmas! The Musical" next month.