Curve Theatre, Leicester – until 16 May 2026
Reviewed by Leanne W
4****
Based on the 1992 film of the same name, The Bodyguard musical follows Frank Farmer (Adam Garcia), a former Secret Service agent turned professional bodyguard, who is hired to protect superstar Rachel Marron (Sidonie Smith) from an unknown stalker. Rachel is a headstrong diva who initially resists Frank’s rigid security protocols, viewing them as a hindrance to her career and lifestyle. As the threats from the stalker become more lethal, the professional ice between Frank and Rachel melts, leading them into a love affair. The tension peaks at the Academy Awards, where Frank must make the ultimate sacrifice to save Rachel’s life before they ultimately realise their paths must diverge.
Opening the show is a silhouetted backstory of Farmer, though it was not totally clear who was being depicted, it certainly gripped the audience. Next we are transported to a Rachel Marron gig, complete with distorted bass, flashing lights and pyrotechnics. Smith’s vocals show a real strength and ably mimic the power of Whitney Houston’s voice as she belts out ‘Queen of the Night’. Several times throughout the performance we witness these show-like performances and all are done extremely well creating a real sense of attending a concert. Direction and choreography here show the strength of Thea Sharrock and Karen Bruce respectively.
One issue I felt with this adaptation is that it appears to sacrifice character nuance in order to showcase the musical numbers. While Rachel Marron is granted some complexity through her dual role as a mother and a target, the supporting cast frequently felt like archetypes rather than fully realised people. By leaning heavily into the “jukebox” format, the script leaves little breathing room for the quiet, internal moments that might explain a character’s motivations, resulting in a narrative where the emotions sometimes felt lacking. The stalker (James-Lee Harris) was reduced to a looming shadow to maintain tension, which removed understanding of his obsession beyond a surface-level “villain” trope.
Tim Hatley’s set and costume design and use of Neutral Curtains provided a versatile “blank canvas” that allowed the audience to focus on the performers without distracting clutter. The use of dynamic lighting successfully transformed the mood from a cold, high-security mansion to the explosive energy of a world tour. However, some of the projections felt, at times, out of place, as did the use of sudden, loud sound when the Stalker arrived at the cabin where the Morran family were hiding out, the loud bang resulted in laughter and destroyed any hope of creating tension.
All in all, The Bodyguard serves as a high-octane celebration of Whitney Houston’s peerless discography and the cinematic legacy of the original film. While the narrative occasionally favors spectacle over deep character development, the production’s clever use of staging and brilliant lighting creates an atmosphere that frames the music perfectly.
Despite a few personal niggles, the show ultimately succeeds as a visual and audial delight. 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.