Adrienne Warren Is Absolutely Astonishing In 'Tina: The Tina Turner Musical'

Many of us grew up listening to Tina Turner's soulful vocals, and learned about her personal life from her revealing memoir, I, Tina, and the 1993 biopic What's Love Got To Do With It? As much as Angela Bassett embodied the queen of rock n roll, the spirit of Tina Turner also lives within powerhouse talent, Adrienne Warren. Her performance in Tina: The Tina Turner Musical is electrifying. (Nkeki Obi-Melekwe steps into Turner's dancing shoes during matinees.)

Like the film's iconic opening scene, the play begins with a young Anna Mae Bullock singing in a Nutbush, Tennessee church during the 1940s. Matching her elder counterpart's out of this world vocals, actress Skye Dakota Turner blew the top off the theater with a gospel rendition of "Nutbush City Limits." From that moment, it was clear that Tina is something special.

Helmed by director Phyllida Lloyd and written by The Mountaintop playwright Katori Hall with Frank Ketelaar and Kees Prins, Tina follows the traditional beats of a musical biopic. A teenage Turner, at the urging of her ailing Gran Georgeanna (Myra Lucretia Taylor), leaves behind her southern hometown for St. Louis. Turner moves to the city with her stern and emotionally withholding mother, Zelma (A Different World alum Dawnn Lewis), and sister Alline (Mars Rucker). There is, of course, a significant focus on the icon's relationship and marriage with the volatile Ike Turner (Daniel J. Watts), and their work as The Ike and Tina Turner Revue. However, Lloyd and the writers' handling of the Ike and Tina years, as well as Warren's passionate and tireless performance, elevates Tina to one of the most exquisite performances on Broadway.

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The Cast Of 'The Lion King' On Broadway Unpack The Show's Majestic Blackness And Its Incredible 20-Year Legacy

For twenty years, Simba’s coming of age story has reigned on the Broadway stage. I saw it once as a child in the mid-'90s and again a few weeks ago to celebrate the show’s 20th anniversary. The experience was even more magnetic than I'd remembered. As the sun rises (literally) over the darkened theater, actress Tshidi Manye’s voice reigns out loud and clear as she belts, "Nants ingonyama bagithi Baba" opening the show with the iconic song "The Circle of Life." And with that, the audience is transported to Africa's Sahara. Giraffes move nimbly across the stage, and birds and elephants come swooping up through the aisles. It's enchanting to watch the majority black cast electrify the audience. It’s an experience that has become ingrained in actors Lindiwe Dlamini, James Brown-Orleans and Bonita Hamilton -- veterans of the show. Dlamini has been with the show since it opened in 1997. A lioness and shadow puppets operator, the South African native also acts as a den mother helping to integrate newer cast members into the show. Brown-Orleans and Hamilton aren’t novices either. Brown-Orleans has been with the production for sixteen years handling the puppets and portraying the hyena Banzai, while Hamilton has been with The Lion King for fourteen years as the hyena Shenzi. All three of the actors sat down to chat with Shadow and Act about The Lion King’s legacy and what the show has meant to them.

For Hamilton, The Lion King was an awakening. "It's one of the first shows that I'd ever seen," she said. "I saw it when it was in LA like in 1998 when I was in graduate school. I was sitting there, and I was watching it and it was the most amazing thing that I had ever seen in my life. The whole show I was like, ‘I don't know who I would play or what I would do in this show, but somehow I have to be a part of it.’ I'm from Montgomery, Alabama, and I had never seen such African influences on stage and African American excellence on stage. I'd never witnessed anything like that. It was a coming of age thing for me. I also think that it resonates with audiences throughout the world because it transcends. It transcends cultural barriers, race barriers and age barriers."

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