Review: THE BODYGUARD, The Alexandra - Tour
Photo credit: Paul Coltas
The Bodyguard returns for its fourth UK tour since its West End debut in 2012. Loosely based on the 1992 film starring Whitney Houston and Kevin Costner, this jukebox musical strings together many of Houston’s biggest hits in a love story that borders on a suspenseful thriller at times.
The show started with a bang – quite literally, as a loud gunshot echoes around the auditorium at The Alexandra. Moments later, Duncan McLean’s slick videography introduces the audience to the main character Rachel Marron (Sidonie Smith) in the style of an award-show VT package, before Smith bursts onto the stage in a sparkling gold costume to deliver an electrifying rendition of ‘Queen of the Night’, backed by a tightly choreographed ensemble and pyrotechnics so fierce the heat could be felt from the dress circle!
From here, we learn that Rachel is a world-famous music star whose fame has attracted the unwelcome attention of a persistent and dangerous stalker. Her devoted manager (John Macaulay) insists on hiring a professional bodyguard to keep her safe, though Rachel is far from convinced. Tasked with keeping her safe is Frank Farmer (Adam Garcia), a non-nonsense bodyguard whose disciplined approach quickly clashes with Rachel’s headstrong personality. However, desperate to keep her ten-year-old son Fletcher (Mason Dyett) and sister Nicki (Sasha Monique) safe, Rachel reluctantly agrees to hire Frank.
Adam Garcia’s Frank is quite stiff and guarded for much of the show and the writing of his character doesn’t leave much room for development. The romance between Frank and Rachel feels sudden and a little forced, and while both Garcia and Smith give solid performances, their chemistry never quite clicks in a way that makes the relationship feel believable. He is, however, surprisingly endearing during a karaoke scene in Act One, where he performs a deliberately awkward version of ‘I Will Always Love You’, offering a glimpse of personality behind his tough exterior. That said, it’s hard not to feel that casting Garcia in a role that requires little of either his singing or dancing talents is a missed opportunity. On the plus side, he has much more natural chemistry with Sasha Monique’s Nicki and especially young Fletcher, creating some of the show’s most genuinely charming moments.
Speaking of Fletcher, Rachel’s adorable son really steals the show whenever he’s on stage. Mason Dyett is cute, confident, and definitely talented, showing off some stylish dance moves during ‘How Will I Know’, which have the audience cheering. Rachel’s sister Nicki, by contrast, is a bit underwritten. Her character doesn’t have much depth, and her motivations feel a bit flimsy, but Sasha Monique’s vocals are absolutely stunning, with ‘Saving All My Love For You’ standing out as one of the show’s real highlights.
Meanwhile, Sidonie Smith’s Rachel Marron feels a little unsure in Act One, which could be down to opening night nerves. By the second act, however, she finds her footing, delivering a genuinely moving ‘One Moment in Time’ before closing the show with a powerful belting performance of ‘I Will Always Love You’.
Throughout, the ensemble shine, their energy and slick choreography bringing life to every scene and keeping the momentum high throughout. However, it’s unusual for a musical of this size that only Rachel and Nicki really get to sing, leaving characters such as the security guard, manager, and publicist feeling underused. A special mention must go to James-Lee Harris as The Stalker who creates some genuinely creepy moments that contrast with the show’s otherwise high-energy spectacle, and reminds the audience of the very real danger at the heart of the story.
Overall, we feel that the book is the biggest weakness of the production. The storyline feels rushed, leaving little room for convincing chemistry between Rachel and Frank, and their romance never fully lands. The show also struggles to balance its period setting with modern touches: while Tim Hatley’s costumes nod to the early 90s, the story simultaneously incorporates mobile phones and video projections of Rachel being spotted on Instagram, a concept that is mentioned in passing but never fully explored - despite social media being a potentially dangerous tool for the stalker. The result is a production that often feels over-the-top and uneven, with spectacle taking precedence over substance.
Despite its flaws, the show is undeniably a crowd-pleaser. Audiences were clearly having a great time and left the theatre singing along to their favourite tracks. The Whitney Houston soundtrack carries the production and keeps the atmosphere buzzing. Between the show’s cult-favourite status, the formidable vocals from Sidonie Smith and Sasha Monique, and a tight-knit ensemble, there’s plenty for audiences to enjoy, making it a really fun night out at the theatre.
*** Three stars
Reviewed by: Kirstie Ewer