A dramatic show with musical fireworks, dampened by some fundamental structural defects. Rating
Good
The Bodyguard, playing this week at New Wimbledon Theatre as part of a new national tour, is a 2026 revival of a 2012 musical that in itself is based on the 1992 film of the same name. Originally conceived as a vehicle for singer Whitney Houston, who, back then, was at the very pinnacle of her career, it contains a paper-thin plot about a singer with a stalker who seeks protection from Frank Farmer, the eponymous bodyguard.
The film was largely panned by the critics at the time, not least of all for the lack of chemistry between its leads (Houston and Kevin Costner). But the public lapped it up and the soundtrack album became the best-selling soundtrack album of all time, with the lead single ‘I Will Always Love You’ setting a new record for the longest period at number one in the UK charts by a female artist.
A stage musical adaptation would always be tricky because, despite the public’s familiarity with the songs, they were not part of the storyline in the original film but were simply sung by Whitney’s Rachel Marron as a pop star. Here, these powerful songs are somewhat shoe-horned into the narrative as musical numbers, but only Marron (played here by Sidone Smith) and her sister Nikki (Sasha Monique) get to sing them. The splitting of some songs between the two sisters does create some dramatic impetus, but it’s clear that the lyrics are not serving the plot at all.
The book (Alexander Dinelaris) sticks very closely to the film script, revealing the lack of chemistry between the leads to be a structural rather than a casting issue in both film and show. Poor Farmer (Adam Garcia) is woefully under-utilised as the rather over-stoic bodyguard and implausible love interest. Similarly, the rest of Marron’s hangers-on are played with serious commitment and energy despite having very little to work with.
The songs that became a soundtrack to a generation are still familiar, powerful and, at times, tender. Despite difficult comparisons to Houston’s otherworldly voice, Smith largely holds her own as Rachel Marron, with a wide range and some moving warmth, particularly in act two. However, in the big dance numbers she comes across as somewhat stiff, particularly compared to the nimble dancers surrounding her, and these numbers expose the implausibility of her character as an unstoppable megastar. The show is saved by Monique, whose stunning voice means that hers are some of the most effective moments in it.
What the production lacks in heart it makes up for in drama: if you don’t like a good jumpscare, this is most definitely not the show for you. It is this, not the emotion, that drives the energy here, helped by effective direction (Thea Sharrock) that oscillates between front of stage and full depth to keep the theatrical language fluent and the pace tight. The set design by Tim Hatley also nicely echoes the contrast between public and private, between spectacle and sensuality and the stage is either washed with soft pastel lighting or dazzles us with strobes and a rather terrifying laser.
It was telling that the audience were genuinely shocked at the twists in the plot nearly 35 years on, indicating that this isn’t a show that will live long in your memory. Nevertheless, there is still lots to enjoy here: the music can be relished anew or enjoyed with nostalgia and it’s a gripping story told with plenty of pizzazz.
Original screenplay by Lawrence Kasdan
Book by Alexander Dinelaris
Orchestrator and additional music by Chris Egan
Lighting design by Mark Henderson
Sound design by Richard Brookner
Set and costume design by Tim Hatley
Directed by Thea Sharrock
Choreography by Karen Bruce
Presented by Playing Field (Theatre) Ltd, Mirvish Productions, ATG Touring and Michael Watt
The Bodyguard plays at New Wimbledon Theatre until Saturday 21 February, then tours teh UK throughout 2026.
