Turner in her early years with Ike and then during her solo career was known as one of the hardest-working performers in showbiz.
Groover captures that commitment even if the book doesn’t entirely get to the heart of Turner’s drive.
The show is also flawed, but in intriguing ways. Jukebox musicals typically chart the music chronologically. Here, Turner and the show’s creators have tried something different. Hits are woven through the biography. A tune from the 1980s might well show up in a scene from Tina’s earlier life. The effect is inventive, but mixed.
A few scenes later, she’ll make her escape across a busy interstate and into a roadside hotel. “I Don’t Want to Fight,” which ends the first act, was recorded in 1993. She escaped to that hotel in 1976. Yet the scene of Tina holding keys to the hotel room and her freedom is one of the show’s most emotionally triumphal moments.
The Buell itself seems built more for ballads than rock. Even well conducted by music director Anne Shuttlesworth, the more jamming numbers often sounded muddy. The ballads fare better. When Gran Georgeanna nudges Anna Mae to go to St. Louis, she resists . Before Ike lays utter claim to his star, Anna Mae and bandmate Raymond had a nice romantic rapport .
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