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The Tina Turner Musical Excites in San Francisco

The Broadway musical about the late Tina Turner was developed in 2016, previewed in England in 2018, brought to Broadway in New York from 2019 to 2022, is now touring nationally, ending it’s San Francisco run on Aug. 27. It will run from Aug. 29- Sept. 3, in San Jose at the San Jose Center.

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Naomi Rodgers portrays Tina Turner in the Broadway production of “Tina: The Tina Turner Musical.” Courtesy photo.
Naomi Rodgers portrays Tina Turner in the Broadway production of “Tina: The Tina Turner Musical.” Courtesy photo.

By Lee Hubbard

“Tina: The Tina Turner Musical” brings the life of the soulful rock star to vibrant life onstage at the Golden Gate Theater in San Francisco.

The three-week run was well received, unfolding the story of Tina Turner, the Queen of Rock n’ Roll, who started out as a talented child whose given name was Anna Mae Bullock.

Her life story was made into a successful movie starring Angela Bassett as Turner in 1993, where it was met with worldwide acclaim and newfound stardom for Bassett and a refocus on Turner’s career.

The Broadway musical about the late Tina Turner was developed in 2016, previewed in England in 2018, brought to Broadway in New York from 2019 to 2022, and is now touring nationally, ending its San Francisco run on Aug. 27. It will run from Aug. 29- Sept. 3, in San Jose at the San Jose Center.

The two-hour and 45-minute production opens with Turner, born in Nutbush, Tenn., with a young Anna Mae Bullock, portrayed by Ayvah Johnson, singing in a church.  Johnson has a strong and very mature voice and gets the crowd excited in the scene opening, prompting her mother, Zelma (Roz White), to tell her to tone it down.

Abused by her husband, Zelma takes her daughter, Alline (Paris Lewis), to St. Louis and leaves Bullock to be raised by her father and grandmother, Gran Georgeanna (Ann Nesby).

The now-grown Bullock, played by Naomi Rodgers, moves to St. Louis to reconnect with her mother and sister. There is a slight resentment from her mother, but Tina’s sister bonds with her, and the two are happy. Alline wants to get her out of the house and away from doing daily chores.

Out one night, the two sisters go to a nightclub where they meet Ike Turner (Roderick Lawrence) and his band, the Kings of Rhythm. Anna Mae jumps on stage and mesmerizes the crowd; the rest is history. Ike sees a star and goes to Zelma to ask permission to have Anna Mae join his band.

Bullock joins and becomes the female lead. Ike then renames her Tina Turner, and the two have a rocky friendship, relationship, marriage, and music career that spanned the 1960s and most of the 1970s. She garnered several No. 1 hits with Ike Turner and then as a soloist with Grammy-winning producer Phil Spector.

After divorcing Ike, Turner is at a low point, but her career gets a second wind in the 1980s after she meets a young producer, and she goes to Europe to record. An emancipated Tina Turner recorded the hits “What’s Love Got to Do With It,” “Private Dancer,” and “The Best,” making her a household name in her own right.

As Tina, Rodgers has a commanding stage presence, and she is a star.  Full of energy, she is relentless on the stage.  She meshes well with Roderick Lawrence, who, as Ike Turner, is also a compelling figure.

“Ike was a complex and broken man,” said Lawrence in an interview.  “He went through a lot of trauma as a young man.  He was a man who started Rock n’ Roll and never got the credit for it.”

He also had an eye for talent. At one time, Turner had Jimmy Hendrix in his band, but he kicked him out for using drugs.  It would be his own drug use that would turn Ike Turner into a batterer and abuser in his personal relationships.

Once he got the role as Ike Turner, Lawrence wanted to make sure he didn’t go back and watch “What’s Love Got to Do With It.”

“He had everyone taken from him and a lot of things taken from him,” continued Lawrence.

As a result, Ike was always on edge, leading to his drug usage and worsening things in his musical and personal life.  Ultimately, at the end of Zelma’s life, in real life and in the play, Ike asks Tina for forgiveness.

“I was able to sit down and talk to his family members, who saw the play,” said Lawrence.   “He was like an August Wilson character, a very complex man, and I wanted to make sure I really made him more well-rounded.”

Lawrence said he is pleased with his portrayal of Ike and the reception of the play in San Francisco and across the country, where it will be running through the spring of 2024.

“The reception to the play has been great,” continued Lawrence. “It has been phenomenal.”

“Tina: The Tina Turner Musical” is playing at the Golden Gate Theater at 1 Taylor Street in San Francisco through August 27 and from Aug. 29-Sept. 3 in San Jose at the San Jose Center.  For more information on the play,

https://www.san-francisco-theater.com/theaters/golden-gate-theater/tina-the-tina-turner-musical.php

Black History

Listening as a Lifeline: A Doula’s Witness to Black Maternal Health

OAKLAND POST — Maternal mortality and pregnancy-related mortality use different time frames and methods and are not interchangeable. Finalized 2024 CDC data recorded 649 maternal deaths nationally. The overall rate was 17.9 deaths per 100,000 live births, but for non-Hispanic Black women it was 44.8, compared with 14.2 for White women and 12.1 for Hispanic women.

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Antoinette Stewart-Eneh.

Word Count: 1058

Note: Client A, B & C, names are withheld for privacy; these accounts reflect my recollections as their Doula.

Client A rocked her hips on a birthing ball, surrounded by pale wood and warm textiles in a softly lit Scandinavian-style office. I was her doula through a Southern California maternal health company combining nurse-led care, technology, and wraparound support.

She was a healthy Black woman in her thirties. Her baby girl was doing well; her partner took notes as we discussed labor and advocacy.

Then we turned to their chosen hospital. I knew it well—and remembered a phrase from another client’s experience: “Policy of Sovereignty.”

Client B had been told she needed a repeat cesarean as a precaution, though the reasoning was unclear. Her obstetrician, who performed her first cesarean two years earlier, had assured her throughout pregnancy that she was healthy, healed, and ready for a vaginal birth. We asked staff to review her chart, consult her obstetrician, and reconsider immediate surgery. Instead, they invoked the “Policy of Sovereignty.”

The physician on duty, we were told, had final authority, regardless of her established care plan. I asked whether an ultrasound or reassessing the baby’s position could offer clarity. Cesareans can be lifesaving. But were Client B’s history, informed consent, and circumstances guiding this decision—or was routine overriding individualized care? We kept asking for her obstetrician. Beneath every request was a deeper question: Was she being heard?

The Numbers Behind the Stories

Statistics arrive in clean columns. The experiences behind them do not.

Maternal mortality and pregnancy-related mortality use different time frames and methods and are not interchangeable. Finalized 2024 CDC data recorded 649 maternal deaths nationally. The overall rate was 17.9 deaths per 100,000 live births, but for non-Hispanic Black women it was 44.8, compared with 14.2 for White women and 12.1 for Hispanic women.

In California, Black birthing people experienced 56.5 pregnancy-related deaths per 100,000 live births during 2020–2022—3.8 times the White rate and four times the Asian rate.

As a doula serving Los Angeles and San Bernardino Counties, I see faces behind those numbers. I remember concerns raised softly, then firmly, then desperately. I am tired of watching Black families enter spaces meant to protect them, only to discover they must defend themselves while laboring, bleeding, trembling, or recovering.

Returning to Client A

Client A’s labor stretched nearly 48 hours. As her condition worsened, she, her partner, and I asked whether a cesarean should happen sooner. A provider questioned my place as a doula, then said she was next.

Six more hours passed.

She entered surgery visibly ill with a serious uterine infection, her baby malpositioned and stuck. Her partner later recalled the provider saying, “This baby would never have made it through the birth canal.”

Those words landed like a blow. Our urgency had been treated as ignorance. With Client B, we questioned why surgery was inevitable. With Client A, why it was delayed. Doula advocacy is not about one kind of birth. It is about informed consent, individualized care, and timely action. Hospital routine should never outweigh the person carrying the risk.

Survival Cannot Be the Standard

The Black maternal health crisis includes unequal care, untreated conditions, racial bias, delayed referrals, poor communication, and inadequate postpartum support. It is about birth plans respected only until a hospital becomes less busy and postpartum care that asks whether a mother survived, not whether she has what she needs to recover.

Survival cannot be the standard. Technology can support care, but it cannot replace human connection. An algorithm cannot detect fear in a patient’s eyes, and a mission statement alone cannot ensure adequate staffing or culturally responsive care.

The Story of Client C

Before I arrived, I heard the chaos through Client C’s phone. Staff struggled to locate her baby’s heartbeat on an external monitor as her fear and blood pressure rose. I pleaded for an internal electrode before surgery.

“There’s not enough time,” a nurse said.

“I would like to wait for my doula,” Client C called out.

But she was medicated, hurried through consent, and wheeled away while I listened.

In the operating room, after a shift change, another nurse placed an internal electrode and said, “The previous monitor wasn’t working.”

No one responded.

According to her father, the obstetrician avoided eye contact: “We need to move forward.”

Surgery may still have been necessary; that was not mine to determine. But if faulty equipment helped create the emergency, the family deserved acknowledgment and explanation—not silence. No family should have to wonder whether major surgery followed an unavoidable crisis or a machine failure no one recognized in time.

From Prevention to Accountability

After supporting nearly 100 families, I have learned that danger often begins before admission. I have urged clients to seek care—and heard why they feared returning: dismissed pain, harsh words, shame for asking questions.

Care cannot be holistic where Black families do not feel safe enough to speak or return. Representation matters, but providers of color cannot repair inequity alone. They need adequate staffing, mentorship, culturally responsive training, reliable equipment, and colleagues that are reflective of all the aforementioned. It’s not the Black providers job to care for just the Black patients, everyone should have the same goal.

The Momnibus Act, California’s Medi-Cal doula benefit, the Transforming Maternal Health Model and the Perinatal Equity Initiative require more than promises; they need sustained funding, reliable reimbursement and accountable implementation.

Birth should be sacred. Yet too many Black birthing people arrive carrying the burden of proving their pain is real. A doula can listen, educate, comfort, and advocate—but cannot repair a system that refuses to listen. The true measure of progress is what happens when a Black birthing person says, “Something is wrong.”

Are they believed? When equipment fails, is that failure acknowledged? Do families leave not merely alive, but safe, respected, supported, and whole?

Until those answers are consistently yes, California’s maternal health success story remains unfinished.

About the Author

Antoinette Stewart-Eneh is a mother of two, holistic maternal wellness advocate, and birth and postpartum doula who has supported families since 2019. She serves as program operations coordinator for Frontline Doulas, a volunteer client coordinator with the Joy in Birthing Foundation and a childbirth educator in South Los Angeles. She is studying to become a midwife and lactation educator.

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Activism

Oakland Post: Week of September 30 – October 6, 2026

The printed Weekly Edition of the Oakland Post: Week of September 30 – October 6, 2026

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Black History

IN MEMORIAM: The Rev. Leon “Sonny” Clark, Longtime Orange County Pastor and Community Leader, Dies at 72

Rev. Leon William “Sonny” Clark, the longtime pastor of New Spirit Baptist Church in Santa Ana and a prominent faith and community leader in Orange County, passed away on September 9 at the age of 72. Born in Bennettsville, South Carolina, Clark was a U.S. Navy veteran who dedicated his life to service. He served various Southern California churches before leading New Spirit Baptist Church for over 22 years, extending his work into counseling, mentoring, and civic engagement, and supporting the African American community. To learn more about his life and contributions, read more.

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The Rev. Leon “Sonny” Clark. File photo.

Rev. Leon William “Sonny” Clark, longtime pastor of New Spirit Baptist Church in Santa Ana and a respected faith and community leader in Orange County, died Sept. 9. He was 72.

Born Oct. 2, 1953, in Bennettsville, South Carolina, Clark was a U.S. Navy veteran who later built a life of service centered on family, faith, ministry, and community.

Clark began his formal ministry at Metropolitan Baptist Church in Altadena in 1978. After acknowledging his call to ministry in 1980, he preached his first sermon and went on to serve churches throughout Southern California, including Second Baptist Church in Riverside, Mount Vernon Baptist Church in Rubidoux, Antioch Missionary Baptist Church in Pomona, and Friendship Baptist Church in Yorba Linda.

In November 2003, Clark was called to lead New Spirit Baptist Church in Santa Ana, where he served as pastor for more than 22 years. His work extended beyond the pulpit through counseling, mentoring, civic engagement, and efforts to strengthen Orange County’s African American community.

Clark served on the Orange County Heritage Council and supported efforts to preserve and celebrate African American history and culture. He helped organize the Orange County Black History Parade and Unity Festival, served on the Interfaith Committee and the Orange County Transit Authority, and served as president of the Orange County Ministers Conference.

In 2024, the City of Santa Ana recognized Clark for his contributions to the community. He also received the Orange County Southern Baptist Association Hall of Faith Award and was previously honored as Pastor of the Year by the Orange County Heritage Council.

Clark is survived by his wife, Andrea Joyles Clark; six children, Shawn Williams, Le Ondra Clark Harvey, Kyla Coward, Joshua Clark, Marissa Clark and Ashley Clark; grandchildren and great-grandchildren; siblings; extended family; and the New Spirit Baptist Church congregation.

A wake will be held Thursday, Oct. 1, from 4 to 8 p.m. at New Spirit Baptist Church, 701 S. Sullivan St. in Santa Ana, with a remembrance service from 5 to 6:30 p.m.

A Celebration of Life will be held Friday, Oct. 2, at Friendship Baptist Church, 17145 Bastanchury Road in Yorba Linda. Viewing begins at noon, followed by the service at 1 p.m.

Burial will take place Monday, Oct. 5, at 10:15 a.m. at Riverside National Cemetery.

Clark often shared a guiding principle that shaped his ministry: “Start where you are. Use what you have. Do what you can.”

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