Devisers Pete Brooks and John Miller reclaim the form's simple but effective attributes in Brooks's co-production with Bob Eaton. Eaton is a safe pair of hands, having defined the rock and roll musical while running Liverpool's Everyman Theatre, but it is nevertheless significant that there is no writer's credit in what amounts to a strip cartoon summation of church-going teenager Anna Mae Bullock's rise, fall and subsequent reinvention in what is now regarded as Turner's 1980s heyday.
This was initially down to Bullock meeting one Ike Turner, a driven musical genius smart enough to see the potential in Bullock's voice and put her centre stage. As the pair become entwined personally and professionally, Turner's ambition turns to rage, misogyny, drug addiction and wife-beating. This is played out here against a backdrop of American social and political upheaval, with archive footage of Martin Luther King, JFK, Malcolm X and Vietnam and newly-filmed narrative links to speed the action along. Turner's own emancipation comes via a form of trickle-down feminism that allows her to really find her voice.
While the audience boo Ike like a panto villain, it's the music they are there for, and the cast, led by a vivacious Emi Wokoma as Tina with Chris Tummings as Ike, give it the full-on soul revue treatment. At times it's as if an episode of Ready Steady Go! had been brought to life in a fast-moving piece of pop theatre with a social conscience.