Latest news with #Tina–TheTinaTurnerMusical
Daily Mirror
05-07-2025
- Entertainment
- Daily Mirror
Saturday Kitchen halted as celebrity chef calls in
This week's edition of Saturday Kitchen descended into chaos when a huge name from the culinary world called in Saturday Kitchen halted its usual proceedings today (Saturday, 5th July) when a major celebrity chef called into the show. Following a segment with Rick Stein in Lancashire, the show returned to presenter Matt Tebbutt in the studio after rustling up a carbonara with Gennaro Contaldo. However, before moving onto Matt's interview with Fleur East, the current star of Tina – The Tina Turner Musical, Gennaro interrupted the show to take a phone call. He revealed none other than Jamie Oliver was on the phone, causing an eruption of laughter from the rest of the guests. Jamie, the beloved chef, TV presenter and restaurant owner, exclaimed 'Hello everyone!' down the line as the Saturday Kitchen stars all applauded. The phone call continued with Jamie revealing his Saturday morning plans and promising to tune into the show soon. "Just come back from the market," he shared. "I'm going to be home in two minutes and I'm going to turn the TV on." Matt's guests this week, which also included Clare Smyth, wine expert Helen McGinn and chocolatier Paul A. Young, all let out an "Aww". BBC presenter Matt then quipped: "Jamie's just been down the market, he actually lives that life. "He goes down the market, buys his stuff, then goes home on his little scooter." As Gennaro told Jamie, "I love you and miss you!", Matt swiftly moved on to the next segment to prevent any more disruption. Italian chef Gennaro is a firm fan-favourite of the show and many viewers took to X (formerly Twitter) to praise him for another classic Saturday Kitchen appearance. "Gennaro is the GREATEST!!" one user exclaimed. "I had the honour and privilege to get to know him years ago during the opens of all the Jamie's Italians. "His passion and love is second to one. Plus his food is always perfection." And another fan declared: "27 minutes in and this is already a vintage #SaturdayKitchen. Gennaro putting in an all-timer performance - but you come to expect the best from Matt and co." Saturday Kitchen airs Saturdays from 10am on BBC One and BBC iPlayer.
Time Out
13-05-2025
- Entertainment
- Time Out
‘Tina: The Tina Turner Musical' will close on the West End after seven years
It's been some time since a really big West End musical has closed on us, but alas: Tina – The Tina Turner Musical has just announced that it'll be ending its run this September after seven years at the Aldwych Theatre. That's no mean feat – a handful of behemoths like Les Mis have enjoyed decades-long runs, but with its mix of massive pop hits and gripping true story, the autobiographical Tina has enjoyed a lifespan far greater than the average musical, and it must stand as one of the more successful jukebox shows in history, beaten only by Mamma Mia!, We Will Rock You, Buddy and Jersey Boys. It certainly feels like it opened in a different world – legendary rock singer Turner was still with us on its press night, where she made one of her final public appearances. Now it's due to be off, but it leaves in good order, with a final four months left to go before it departs London as the longest running show to ever play the 1,200-seat Aldwych. On the plus side, where one door closes another opens and we're liable to see something new at the theatre shortly thereafter. There is no word yet on what it'll be and the the usual theatre rumour mills are largely stumped: historically the Aldwych tends to to play host to musicals, though a play could easily plug the gap temporarily; there are a lot of Broadway hits sloshing around that could easily move in, or a new show like A Knight's Tale, currently having out of town tryouts in Manchester. Tina announcing its departure strongly suggests the next show is a done deal, however, and we'll probably hear something about the next one relatively soon.
Time Out
13-05-2025
- Entertainment
- Time Out
Tina – The Tina Turner Musical
Is a feelgood jukebox musical the absolute best medium to tell a story about domestic abuse? Put crudely, that is the problem at the heart of big-budget global premiere 'Tina – The Tina Turner Musical'. The erstwhile Anna Mae Bullock's eventful life and beloved back catalogue are perfect subjects for adaptation. But too often Phyllida Lloyd's production struggles to make a sensitive synthesis of the two. Where 'Tina' undoubtedly succeeds is in the casting of its lead. Broadway performer Adrienne Warren is virtually unknown over here, but it's instantly apparent why she was tapped up for this. She doesn't so much imitate Turner as channel her: her technically dazzling but achingly world-weary gale of a voice feels like it should be coming out of a woman decades, if not centuries, older. And while Warren doesn't really look anything like Turner, she perfectly captures that leggy, rangy, in-charge physicality. From a musical standpoint, she virtually carries the show, singing nigh-on every song and even giving us an encore at the end. Almost as good is heavyweight Brit actor Kobna Holdbrook-Smith, who brings a demonic charisma to the role of Ike Turner. Tina's abusive bandleader and husband is monstrous in his self-pitying, manipulative rage, but it's not hard to see the appeal of his raw wit and powerful sense of certainty. It is a deadly serious performance. But the talented creative team of director Lloyd and writer Katori Hall never really crack the correct way to use their leads. At its absolute best, the first half of 'Tina' conveys the sickening lurch of the '60s spinning out of control, all twitchy druggy dancing and wailed vocals under Jeff Sugg's queasily churning projections. Needless to say, this doesn't necessarily sit that well with the idea of having a jolly good singalong to Tina's hits. Hall's book is not exactly gratuitously grim, and certainly avoids painting its subject as a helpless victim. We know she's strong. But there's no getting away from the fact that 'Tina' contains upsetting scenes of spousal violence, not to mention a fair amount of swearing and frequent use of the N-word. It certainly feels complicated telling this story via the medium of showstopping musical numbers, and it's difficult to exactly enjoy it, even though we're clearly being invited to do so. The second, post-Ike half is less problematic and essentially details Tina's efforts to drag herself out of her wilderness years and become a bona-fide solo superstar. It has a much less compelling story than the first half, though, and there's perhaps something a liiiiittle awkward about the way in which the story is pushed along by a couple of white saviour figures (a record label wonk and an affable German boyfriend) who descend from the gods to drag Tina out of the doldrums. Lloyd directs fluidly and at a pace, but there is, also, a weird feeling of it being clogged with ephemera. Do we need interludes about Tina's Buddhism? A load of stuff on her not-very-interesting new boyf? A studio scene featuring Heaven 17? Her cover of Iggy Pop's 'Tonight'? I can't help but wonder if one price of the real Turner's involvement in the show was incorporating elements of her life that feel more important to her than us. Don't get me wrong: it's an entertaining night, brilliantly performed. By the time Warren busts out 'The Best' and reprises of 'Nutbush City Limits' and 'Proud Mary' for the mini-concert at the end, the roof is suitably blown off. But the inevitable closing euphoria doesn't feel like it vindicates the queasy journey. Turner was, apparently, not greatly in favour of the project but decided to lend her support on the grounds that it was going to happen anyway. I'd say her ambivalence was justified.
