“A charming, feel-good show, a light-hearted crowd-pleaser”
Based on the 1992 film starring Whitney Houston, ‘The Bodyguard’, which features Houston’s music throughout, tells the story of the romance between singing sensation Rachel Marron and her bodyguard Frank Farmer. Despite a predictable plot and some dramatic instances that may induce eye-rolling from the more jaded audience members, the show excels in its spectacle, with superb vocals and killer choreography making for an excellent evening of entertainment. Audiences will quickly become invested in this action-packed tale, whilst the actors do not attempt to mimic Houston’s performance (this is no tribute act), but rather ‘make it their own’, adding their own unique flair and character to the musical numbers.
The show starts with a bang, with opening number “All At Once” setting the stage alight in a performance that can simply be described as ‘hot’ – partly due to the topless backing dancers, and partly due to the actual flames that surround understudy Mireia Mambo as Rachel. There is an immediate assault on the senses, with Karen Bruce’s choreography featuring high kicks and backflips that are sure to set your heart racing, whilst the orchestra, led by Charlie Ingles, adds an extra touch of spectacle to proceedings, the music loud and intense. Mambo is able to craft a character that we immediately care about, and whilst she may come across as a little breathless during Chaka Khan’s “I’m Every Woman”, she delivers a standout performance of “One Moment in Time”, which is unfortunately cut short due to the nature of the plot as things take a dramatic turn.
That dramatic turn comes in the form of James-Lee Harris’ “Stalker”, who is obsessed with Rachel and keeps sending her threatening messages. Whilst Harris comes across as formidable, the character is never properly developed (he isn’t even given a name), and we don’t get a true sense of his motivations beyond the fact that he is infatuated with Rachel. Duncan Mclean’s video design adds to the sense of foreboding here, with projections showing Harris preparing to confront Rachel, which perfectly melt into onstage performances. For all the tackiness of the somewhat dated romantic plot, this production is incredibly polished and sophisticated in its design.
As protection, bodyguard Frank Farmer (Adam Garcia) is hired, and he becomes a stalker of a different kind, refusing to allow Rachel out of his sight and interfering in her various personal engagements. Frank is sickeningly perfect, never putting a foot wrong and being an ideal gentleman throughout, yet we never get a sense of what he’s like off the job, bar a shoe-horned conversation in the second act about his deceased mother. It’s no wonder all the ladies immediately fall in love with him, but beneath the suave attitude and crisp suits, one cannot help but feel there is very little to his character. The highlight comes when Frank finally lets down his guard on a night at a karaoke bar, and we are treated to a comical rendition of “I Will Always Love You”, before a more serious take on the song in Act Two.
This musical finds a way of drawing in even the most cold-hearted audience members, and although it is fairly obvious from the first time you meet them that Rachel and Frank are destined to be together, their relationship is built up nicely, particularly through Frank’s interactions with Rachel’s son Fletcher (Mason Dyett). Dyett is a ball of energy, bringing bounds of enthusiasm not often seen in child actors. His starring role in “How Will I Know” is a joy, and he becomes the focus of Rachel’s song “Greatest Love of All” (although this is contrasted with “All the man that I need”, where Rachel claims that Frank is “all I got in this world”, her son seemingly forgotten).
There is a little more drama thrown into the mix thanks to Sasha Monique’s Nicki, Rachel’s sister who also falls for the irresistible Frank. Monique is possibly the strongest singer on the stage, an effortless quality to her voice during “Saving all my love for you”, which strips away any zany choreography and just allows us to appreciate her performance. “Run to you” is a particular highlight, which is performed as a duet for both Rachel and Nicki as both sisters daydream about the handsome bodyguard. There are various other characters involved (Matt Milburn’s publicist Sy, John Macaulay’s manager Bill and Jonathan Alden’s head of security Tony), but they make little impact on the plot, although are given the opportunity to show off their vocals during the curtain call.
Tim Hatley’s set design transitions neatly between well-populated set pieces for Rachel’s home and rehearsal rooms, to open spaces for Rachel’s performances, which allows the dancers to take centre stage. The scene transitions are mostly smooth (although there is an odd blackout towards the start of act one), yet are hampered by a particularly noisy motor as pieces of set are raised and lowered. This motor intrudes upon many of the quieter scenes, and is seriously distracting – this seems like a major issue with this production, and should be rectified, continually ruining the immersion. Towards the end of the show, Rachel and her family take refuge in a log cabin, and here Hatley’s design is second-to-none, perfectly supported by Mark Henderson’s lighting, which casts eerie shadows and sets the scene for a delicious jump scare.
If you’re dairy intolerant, you may want to avoid this one, as there is a serious amount of cheese on display. The plot is flimsy and predictable and may not be to everyone’s taste, but the performances are no less than exceptional, and when this production is firing on all cylinders, it is an impressive watch. Switch off your brain for a couple of hours, sit back and enjoy – this is a charming, feel-good show, a light-hearted crowd-pleaser that is sure to have you on your feet dancing with the cast by the end of the night.
Tom Morley, July 2026
For more information on how I decide on star ratings, see here: Star ratings – Broken Legs Blog
Review Round-up:
Beyond the Curtain: The Bodyguard – A 4* review for The Bodyguard, which commends the choreography, saying “Karen Bruce’s choreography is sharp and dynamic, blending a range of styles that keep the movement fresh and exciting”
Fairy Powered Productions: The Bodyguard – Another 4* review from Fairy Powered Productions, who say “For fans of the movie and those who want to hear some great pop hits performed with powerhouse energy, it is an immersive, nostalgic experience that hits all the right notes”
Theatre and art reviews: The Bodyguard – A measly 2* from reviewer Olivia Ruggiero, who concludes by saying that the show “remains powered by a catalogue of iconic songs, but without strong direction, compelling acting and vocal bravura, nostalgia alone cannot carry the night”
Broken Legs Blog 