An uneven selection of recordings but with some standout interpretations from Adrienne Warren

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Translating a ‘jukebox musical’ into a cast album is a potentially futile endeavour. While many may enjoy the spectacle of a jukebox musical when experienced live, why should fans of the source material entertain any recordings other than the originals? In this case: why listen to someone imitate Tina Turner when one can simply listen to the iconic Queen of Rock herself?

As imperfect as Tina: The Tina Turner Musical is, its secret weapon is Adrienne Warren. Handpicked by Tina Turner herself to play the eponymous role, Warren is to depart from London shortly and will be premiering the role on Broadway where the production is likely to be met with similar commercial success. Warren, who deserves to win the Olivier Award for best actress in a musical, combines stunning vocals with fearless performance on stage.

With the focus purely on the audio, Warren is still able to soar. And therein lies the strength of this cast album. While affecting a throaty and raspy tone in Turner’s likeness, Warren has the interpretive skill to colour outside of the original templates, rather than provide exact note-for-note takes. She emotes powerfully through ‘Private Dancer’, ‘I Can’t Stand the Rain’, and ‘Better Be Good to Me’. Nuances in her vocal delivery, coupled with slight tweaks to the arrangements, make these recordings worthwhile. Her delivery of ‘I Want To Take You Higher’, interspersed with some disturbing narrative from the show, is particularly thrilling. She rides the psychedelic arrangement and stretches her voice to its limit.

Admittedly, there are a few of Warren’s recordings which struggle to translate (‘What’s Love Got To Do With It’/‘The Best’/‘Nutbush City Limits/Proud Mary’), paling in comparison to the iconic source material. Some glossy overproduction – stripping away the rawness of the original tracks – is also to blame.

The songs featuring the supporting cast struggle to compel outside of the context of the show. However, a few benefit from conscious rearrangements. For example, ‘Don’t Turn Around’, one of Turner’s 1980s power ballads, is delivered semi-acoustically and turned into a sad goodbye between Turner and her grandmother (played by Lorna Gayle). ‘Let’s Stay Together’, Turner’s successful cover of the Al Green classic, is turned into a romantic duet between Turner and her first partner Raymond Hill, played by the gravelly-voiced Natey Jones. Aisha Jawando (playing Turner’s sister Alline and an Ikette) also showcases a muscular tone on a rendition of ‘Shake a Tailfeather’, performed with her female cast members.

Standout Tracks: ‘Higher’, ‘Private Dancer’, ‘Don’t Turn Around’

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