Thank you all for posting more videos and photos of the Tina Turner Musical.
They are great! 😀
First of all, from the program book, this is the setlist:
A Fool In Love, Better be good to me, Be Tender With Me Baby, Disco Inferno, Don’t Turn Around, Higher, The Hunter, I Can’t Stand The Rain, I Don’t Want To Fight, It’s Gonna Work Out Fine, It Takes Two, Let’s Stay Together, Matchbox, Nutbush City Limits, Open Arms, Private Dancer, Proud Mary, River Deep Mountain High, Shake A Tail Feather, Simply The Best, Tonight, We Don’t Need Another Hero, What’s Love Got To Do With It.
And here are the latest photos and videos:
Thanks to Kabir Nadoo, Frank Schmidt and James Brown for the photos!
And keep sending us your photos and videos. The fans really appreciate it. 😀
And we conclude with an interview Adrienne Warren did for Broadway.com:
The Voice, the Moves, the Hair! Tina: The Tina Turner Musical Star Adrienne Warren on Playing the Queen of Rock & Roll in London
Adrienne Warren received a 2016 Tony nod for the Broadway musical Shuffle Along and is now making a hugely anticipated West End debut as none other than rock goddess Tina Turner in the new show, Tina: The Tina Turner Musical, now in previews at the Aldwych Theatre, prior to an April 17 opening. Broadway.com caught the eager, excited Warren during a rehearsal lunch break to talk about seizing the opportunity of a lifetime.
How crazy-wonderful-amazing is it that you are playing Tina Turner in the world premiere of a West End musical about her?
You know what, if Tina Turner gives you the blessing to play her, I think you go wherever she says! I’ve been a Tina Turner fan for as long as I can imagine, and she’s one of the reasons I decided to be a performer at a young age. Being here means that I can help share her story and be part of that legacy.
When and how did you first meet the actual Tina Turner?
The first time I met her was when I was playing her—or, rather, after I did the performance. It was during our workshop and I actually did not look at her until I got to “Proud Mary.” I thought at that moment I had to look her because even if this doesn’t work, it would be something to tell my grandchildren. And there she was just singing along with me; it was such a beautiful moment.
What happened after the performance?
I just kind of went and bowed at her feet. We hugged and embraced and cried.
Were you worried that having Turner so actively engaged with the project might be inhibiting to you in some way?
I feel really lucky and honored to have her as part of this process and of our creative team. She was with us in the rehearsal room, for instance, remembering choreography that she used to do back in her Ike days, so it feels important to me to be able to sit down with her and tell her “thank you”. She’s been so gracious, and I am so grateful for all the information she has given me.
Have you got any notes from Turner herself?
Not so far, but we haven’t had any performances yet. [Previews began March 21] She has given me a lot of information about the origins of her movements—how she never shakes her hips from front to back but always side to side, and always stands with her feet apart from one another in a very strong and powerful position. That’s all been extremely helpful.
How far does the musical take her story, given that Turner now is an amazing 78?
Our story finishes around [age] 40. We’re following her journey from humble beginnings in Nutbush, Tennessee up through the Ike and Tina days until she becomes the queen of rock and roll that we know and love. There’s still a long way [for her] to age. [Laughs.]
You mention the Ike and Tina days: have you been watching the 1993 Angela Bassett/Laurence Fishburne film What’s Love Got to Do with It by way of homework?
I haven’t since I accepted the role, though Angela Bassett was incredible in it. I’ve just been trying to learn as much as I can through my own research talking with [Turner] while making this.
What have you had to do physically to get match fit?
I have been working and training physically for months now to try and be the strongest Adrienne I can possibly be. I think people are going to be pleasantly surprised. For Shuffle Along, I got rid of a lot of the muscle mass to play someone from the 1920s, but I’ve built that back up. It’s important that I get the essence of her, both vocally and physically.
You mention vocally: how is that part of it going?
Well, I do have an alternate [Jenny Fitzpatrick]! I’ll do six shows a week and she will do two. I’ve been working very closely with [vocal coach] Liz Caplan out of New York to build up my larynx strength and vocal stamina, and so far, I feel very confident about that. It’s extremely challenging in any situation to sing in a style that is not your own, so what I am trying to do is to find Tina’s voice within Adrienne’s voice.
What does that mean in practice?
One thing I have to think about is Tina’s tongue tension when she sings in the way she forms her vowels. What is her breathing technique? How does she syncopate her phrases? The thing with Tina is that she never had any formal training; she’s just this unbelievable singer naturally.
How does it feel opening Tina right next door to another Phyllida Lloyd-directed musical, Mamma Mia!, which long ago became a global phenomenon?
I just trust Phyllida and this creative team so much. She didn’t have to direct another musical if she didn’t want to, and she went and chose this one. This woman is absolutely incredible, and I will follow her into battle. She’s got this!
And what about your book writer Katori Hall, a Tennessean herself who won an Olivier Award for her play The Mountaintop?
The greatest thing about the show in my opinion is that if you just sit and read the book [of the musical] it stands on its own. It allows you to listen to these songs in ways that you’ve never done before; audiences should come in expecting the unexpected.
Did you get any advice from your Shuffle Along co-star, Audra McDonald, about London living, since McDonald spent last summer here performing in Lady Day in the West End?
No, I didn’t really get anyone’s advice; I should have, right? [Laughs.] I had talked to quite a few people and everyone said that I would love it, so I kind of wanted to have my own experience and see.
What was it like packing up your New York home to come here?
I feel with this as if I am starting a new chapter in my story. New York isn’t going anywhere, and I’ll be back, but right now I am doing this.
Do you feel as if your career has led you to this place right now?
That’s a great question! I do think everything has been leading to a moment like this. When I did Bring It On that was a very physically demanding show and Dreamgirls was a very vocally demanding show, and then with Shuffle Along, I was singing in two other women’s voices and fully embodying a biographical story. So, this feels to me as if I am putting it all into one pot and stirring it up. This is a very exciting time!