They might seem worlds apart. TINA, THE TINA TURNER MUSICAL is a loud jukebox biography of a world-famous singer in a house that seats over 3,000 with an on-stage cast of 36 currently part of Shea’s Broadway series running through November 13. Across town, TONI STONE, a play with 9 actors, is about the first woman to play major league baseball, in the Negro Leagues, presented by Ujima Theatre Company at the intimate 140-seat Lorna C. Hill theatre on Plymouth Avenue in Buffalo’s West Side. But after that, there are so many similarities. So many.
Let’s start with the obvious. Both are stories of ambitious black women, overcoming overwhelming odds, being told over and over what they could and could not do, told this by men, and often white men. Traveling from town to town, both encountered Jim Crow racism, were denied access to motels, and had to sleep on the bus. But the biggest similarity is that, in these productions, the lead actress is, stealing from a Tina Turner song, “simply the best.”
At Shea’s, the night we went, the role of Tina was played by Naomi Rodgers, who is almost constantly on stage for the full two hours and forty minutes, a little longer than usual due to the extended curtain calls which are not to be missed. And, at Ujima, the role of Toni was played by Gabriella McKinley, in a breakout performance that is also not to be missed.
Let’s start with TONI STONE.
THE BASICS: TONI STONE, a play, by Lydia R. Diamond, co-directed by Phil Knoerzer and Curtis Lovell, presented by Ujima Co. Inc., starring Gabriella McKinley in a cast of nine (hey, it’s about baseball) opened November 4 and runs through November 20, Friday – Saturday at 7:30, Sunday at 4, in the Lorna C. Hill Theatre, 429 Plymouth Avenue, Buffalo. (716) 322-5178 ujimacoinc.org Runtime: 2 hours and 20 minutes.
THUMBNAIL SKETCH: As the play progresses, we see how Toni Stone, a “tomboy,” born in 1921, has to fight for her chance to play the game she loves, a “boy’s game.” While baseball is the framing device, it’s more of a human-interest story, all the more interesting as we see how Stone is on the spectrum and added to the problems of being a woman in a man’s world, we see how she has trouble reading other people.
the Indianapolis Clowns put on a show as they take the field | Photo by Rafael C. Mencia
THE PLAYERS, THE PLAY, AND THE PRODUCTION: We have been big fans of Gabriella “Gabby” McKinley, a 2021 Buff State graduate, who starred there as “Shug Avery” in THE COLOR PURPLE, and then went on to a variety of roles (she’s also very good at Shakespeare) but this could be considered her “breakout” role. It is simply a tour de force, magnificently acted, as she’s on stage for the entirety of the play.
She interacts with her teammates, the team’s owner, and a local “entrepreneur,” Alberga, an older man whom, after a long campaign on his part, she finally marries. But what’s mesmerizing is when she looks directly into the eyes of the audience, to convey to you what it is about baseball, “the weight” (of the ball) and “the reach” (to excel) that she loves.
Johnny Rowe, a South Georgia native, brings an easy sense of gravitas to the performance as “Alberga.” Brian Brown is outstanding in a drag role as the prostitute “Millie.” Outstanding. We first saw actor Julius Land (who plays both “Stretch” and owner “Syd”) in Dominique Morrisseau’s SKELETON CREW at the Paul Robeson Theatre and it was so good to see him again. Gerald Ramsey is a regular with Ujima and has several roles, including player “King Tut” and, at one point, with several other black actors, he is one of the white owners at a meeting. That’s pretty funny.
Raynard Shedrick also has a variety of roles, all well played, as does one of the younger actors, Jerai Khadim. And it was so good to see two old favorites on stage, Vincenzo McNeill, as “Woody” who symbolizes the hate that many of the players felt towards Toni Stone, but also plays a drag role, as that of Toni’s Mother. Now THAT’s talent. And, another favorite, Jake Hayes, who has been on stage at every single theater in Buffalo, played baseball player Jimmy, but also a very amusing Irish priest, Father O’Keefe. Well done all.
Gabriella McKinley talks to the dugout | Photo by Rafael C. Mencia
You don’t have to know anything about baseball. But, for background, Toni Stone was the first professional female baseball player in America, signed for the 1953 season by Syd Pollock, owner of the Indianapolis Clowns, to play second base, the position Hank Aaron had played for the team before joining the (then) Milwaukee Braves. Pollock was a partner in several business ventures with Abe Saperstein, owner of the Harlem Globetrotters, and, just like that basketball team, The Clowns provided clown-style entertainment while also playing high-quality baseball.
The acting is all first-rate, all Five Buffalo stuff, but the play itself (and this is also a problem with TINA, the musical) in trying to stick close to the autobiographical facts, lacks a big dramatic arc. So I’m giving it Four and a Half Buffalos which I’ll define as “Both the production and the play are of high caliber. Provided that this is the kind of show you like, you’d be a fool to miss it!”
THE BASICS: TINA: THE TINA TURNER MUSICAL, book by Katori Hall, music by various, part of the M&T Broadway series at Shea’s for 2022-2023, runs November 8-13, Tuesday-Friday at 7:30, Saturday at 2:00 and 8:00, Sunday at 1:00 and 6:30, at Shea’s Buffalo Theatre, 646 Main Street, Buffalo, NY 14202. (716) 847-1410 sheas.org The Tina Turner Musical is recommended for ages 14+. The production includes loud music, strobe lighting, haze, gunshots, scenes depicting domestic violence and strong language. Please note that Tina Turner herself, who turns 83 on November 26 and lives in Switzerland, does not appear in this production. Runtime: 2 hours and 40 minutes
THUMBNAIL SKETCH: This is a jukebox musical biography of Tina Turner from her start singing in church as a girl, to her career as part of the “Ike and Tina Turner Revue” with her abusive husband, Ike Turner, to her solo comeback. Why does this production go over 2-1/2 hours? When you see the choreographed curtain call, you’ll understand. Yes, it’s that good.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: As with Toni Stone, so much of this musical’s appeal depends upon the lead actress, and on opening night, Naomi Rodgers was on fire. To me, the real-life Tina Turner is famous for her voice, her attitude, and her legs, and Naomi Rodgers used hers to get all over that big Shea’s stage, upstairs and down, up at the microphone and beaten down to the floor. I honestly don’t know how she does it, all the while with an infectious grin. She had the audience in the palm of her hand.
Naomi Rodgers as Tina Turner singing What’s Love Got To Do With It | Photo by Matthew Murphy for MurphyMade
I believe that Namoi Rodgers alternates with Zurin Villanueva which is entirely understandable, given the energy level that this show demands, with 8 performances per week.
And what a crowd, with more black audience members in attendance than usual for Shea’s, which is a good thing. And, with the exception of a few white actors playing Europeans, the cast is entirely black.
Usually, I don’t like child actors. Really, musicals such as ANNIE, or MATILDA, or even SCHOOL OF ROCK leave me cold. But here, on stage, from Slidell, Louisiana, Ayvah Johnson sings the role of “Young Anna-Mae” (young Tina) and really belts it out. When she appeared during the curtain calls, I thought the place was about to explode.
I can’t imagine a musical with a wider age-range appeal. If you were born in the 1940s, you’ll resonate with Ike Turner’s “Rocket 88” , considered by many music historians to be the first-ever rock’n’roll hit, the birth of rock’n’roll. If you were around in the 1960s and 1970s, you’ll love “I Want to Take You Higher,” “River Deep, Mountain High,” and “Proud Mary.” And if your musical tastes were formed or refined in the 1980s and early 1990s, you’ll love “Private Dancer,” “We Don’t Need Another Hero,” “What’s Love Got to Do With It,” and “(Simply) The Best.”
And, again, best…choreographed curtain call…ever.
As with TONI STONE, reviewed above, I felt that the book by Katori Hall was constrained by trying to cram in too many true biographical facts. But that aside, this is one feel-good show. Don’t miss it.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!
The post TINA at Shea’s, TONI at Ujima, both must-see performances appeared first on Buffalo Rising.
