TINA the Tina Turner Musical is Tiny on Story but Soars with Titanic Talent

The Tina Turner Musical playing in San Francisco at the Golden Gate Theater is a jukebox musical based on the life of the iconic singer/entertainer Tina Turner who died this past May.  Known as the "Queen of Rock n' Roll" she rose to fame by singing with Ike Turner and then to even more fame with a solo career in her 40s with the release of "Private Dancer." Much of Tina's life has been in the public eye including the enlightening 2023 documentary, "The Incredible Life of Tina Tuner in Her Own Words."  TINA the musical opened on Broadway in November '2019.  The show closed during COVID and never recovered at the box office.  The whole story could be the show was never all that nice or easy to enjoy.  The story failed to delve deeply into Tina's life.  The music that was groundbreaking for its sound and style were not given its due.  Act One is overly long and lacking in hitting an emotional chord.  Born Anna Mae and abandoned by her father who was cruel to her mother and a mother who withheld love,  she was raised by her grandmother until age 16 when reunited with her older sister and mother in St. Louis.  Very little is remarkable about Anna Mae's childhood except for a propensity to sing loudly in church which was scorned by her mom and praised by her dad who served as the church's pastor.  A highlights of the musical was the musical number, "Nutbush City Limits" song by the young Anna Mae (Daelyanna Benson).  The other standout performance came from Anna Mae's grandmother (6X Grammy nominee, Ann Nesby).  There's little of interest diner her life until goes out clubbing with her sister in St. Louis and she's a standout singer alongside headliner, Ike Turner.  Ike shows up late at Anna Mae's home to convince her mom to allow her to go on the road with him.  It took only a little unctuous charm and the enticement of money to be sent home for her to acquiesce.  The show stays murky throughout the first Act where there is little tenderness between Ike and the renamed Tina.  Ike's abusiveness towards his wife and sons somehow feels forced and the closing number "I Don't Wanna Fight No More" feels nonplussed.  Act Two gives the musical some needed necessitation but it spins itself like a promo for the "Private Dancer" CD.  The down on her luck and stunning career revival got but little sentiment to do with it.  By the final numbers, "We Don't Need Another Hero" and "The Best" it was simply too little too late.  It did give its novice lead Naomi Rodgers her best shot to shimmer and shine.  Tina's life journey felt erratic and draining.  The show's salvation came from the strength of several iconic hits and razzle-dazzle numbers.  However, we don't need another jukebox musical that relies solely on hits and misses out on winsome storytelling.