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Somehow, even when she was singing lead, she wasalsodancing her own backup.
She races back to her microphone, then leaps into the line again.
Can we feel that same excitement and energy and vicarious resilience while watching someone pretend to be her?
But when shes moving, she overcomes all that.
For more than two and a half hours, barely with a second offstage, Warren is Pure Work.
The impersonation itself isnt perfect.
Its never a barrier, and its all forgotten the moment she sings.
Warren doesnt bear up under themshe rises up and smashes down too.
The musical thats assembled around these tsunamis is … okay.
In content and execution, the moment is tacky.
But, as I say, it hardly matters.
The book moves us through Turners stations of the cross, and at each one, songs rise.
you’ve got the option to hear this kidin space.)
Everywhere you look there is movement and character work and razzle-dazzle.
These are the sections in my notes where I just give up writing things down entirely.
Lloyd isnt afraid of an empty stage, though.
Projections designer Jeff Sugg gives her many different scenes of painterly loveliness, which she uses to powerful effect.
Its these villainsIke in the first half, white power structures in the secondthat give the musical its thrust.
(Watts was even booed a bit at his bow, like a melodrama baddie.)
Warren is doing something everybody, everywhere should attempt to come see.
I think of Tina Turner herself, running back into line so she can dance with the others.
Tina: The Tina Turner Musicalis at the Lunt-Fontanne Theatre.
