The Bodyguard at New Wimbledon Theatre

Whitney Houston needs little introduction. Before her untimely death, the gospel, pop and R ‘n’ B singer was critically acclaimed and universally admired across the world, and part of her legacy is the few films she starred in. She made her film debut in 1992 in The Bodyguard, a film about a famous singer who is relentlessly stalked by an obsessed fan and hires a former Secret Service agent as a bodyguard to protect her and her family. The film didn’t exactly break any new ground, but it was elevated by a fantastic soundtrack and the electric chemistry between Houston and leading man Kevin Costner (The Untouchables, Dances with Wolves). Numerous stage adaptations of the beloved film have emerged over the years, and the current production at the New Wimbledon Theatre starring Sidonie Smith as Houston’s Rachel Marron and Adam Garcia as Costner’s Frank Farmer is certainly a treat.

The production kicks off with a literal bang, and from then on, keeps the audience on the edge of their seats, managing to capture the romance, intrigue and tension of the storyline. Smith successfully portrays Marron’s fierce persona and reluctance to accept her own vulnerability. Garcia is dashing as the serious bodyguard trying to protect his client, and together, whilst their connection might not be as magnetic as their cinematic counterparts, Smith and Garcia do succeed in making their attraction feel believable.

Houston is widely considered to be one of the greatest singers of all time, and the film’s infamous soundtrack allowed her angelic voice to shine with hit singles such as Run to You, I Have Nothing and the iconic I Will Always Love You. Alongside renditions of these admired tracks, the musical also chooses to showcase other popular songs by Houston. Consequently, Smith has a hard hill to climb vocally, having to perform one powerful song after another, and the struggle of that feat becomes clearer as the stage production progresses, with certain songs in particular not being the best match for Smith’s vocal style. By comparison, Sasha Monique, who plays Nicki Marron, Rachel’s overshadowed and oft-forgotten sister, submits the strongest vocal performance of the cast, with the music highlighting the richness of her tone and the sweetness of her falsetto.

Given that The Bodyguard is a touring musical without the luxury of having permanent and better-developed sets, the production team does quite well in establishing different locations through its set design, though it is slightly simplistic and uninspired. Additionally, one of the most disappointing aspects of the production is the orchestration, and many of the songs feel quite rushed with no space factored in to let the instrumentals breathe, nor the emotional weight of the lyrics to be discerned. However, the overall strength of the ensemble cast ensures that the audience can enjoy the bigger group numbers. The spirited choreography of the dance routines and the energy of the cast are infectious, allowing the theatregoers to share in it with joyous enthusiasm. Whilst certain elements could be improved, The Bodyguard does well in providing an entertaining spectacle and an evening out at the theatre that is worth the admission price.