Full disclosure, the VHS of the film The Bodyguard was on fairly high rotation at home in the early nineties. More because of a slight Kevin Costner obsession than a love of Whitney’s epic tunes, although anyone growing up in the 1980s/90s had an intrinsic love of Whitney tunes, just by default: it’s in the genetic make-up of a generation*.
*not scientifically proven
Which tenuously brings us to tonight’s performance of The Bodyguard – The Musical, currently touring the UK under Thea Sharrock, director of countless theatre shows as well as feature films including box office hit Me Before You, based on the best-selling Jojo Moyes novel of the same name. With a slick set, full sequins by a costume design team headed up by the multi award-winning Tim Hatley, complicated choreography led by Karen Bruce (more awards, accolades and credits including BBC’s flagship dance show Strictly Come Dancing) and a production crew with a wealth of musical theatre experience, we were in very safe hands for a night of drama, dance and delectable vocals.
Then we have the cast, headed up by Sidonie Smith playing Rachel Marron, superstar chanteuse heading to the Oscars, with the threat of a dangerous stalker on her tail. What can I say? While it’s a brave person who takes on the legacy of Whitney Houston, Smith was very much up to the task with an absolute powerhouse of a voice and an ability to not only reach the unreachable notes, but also to maintain complete control over her vocals, even while being thrown around by the ripped ensemble (Magic Mike has nothing on these dancers). Juxtapose Smith’s star celebrity with the quiet stillness and strength of Adam Garcia’s Frank Farmer and the scene is set for an evening of sizzling romantic drama and action.
The musical follows the original 1992 film (screenplay by Lawrence Kasden) fairly closely and while some may see the plot as a little predictable or, God forbid, cheesy, I would disagree: despite being very familiar with the story from my hours of VHS viewing, I was gripped from the shockingly loud start of the show (I may have screamed, as did many fellow audience members) right the way through to the final curtain call and cheeky (and quite frankly obligatory!) singalong dance number that brought theatregoers to their feet, before we had to head out into the less glamorous real world.
I have to mention the other main players. While headliners Smith and Garcia were the heart of the show, there were standout performances from their fellow cast members. Notably, Sasha Monique’s portrayal of sidelined sister Nicki Marron was perfectly pitched, and her vocals were both soulful and sweet, with a strong pinch of melancholy thrown in for good measure. Matt Milburn’s ambitious, arrogant Sy Spector brings a chaotic energy while John Macaulay’s portrayal of manager Bill Devaney counteracts that with a quiet yet supportive calmness. Rachel Marron’s son, Fletcher, played in tonight’s show by Prince Conteh brings an unfiltered exuberant vibe to the show, and was a joy to behold.
As with any show worth its salt, there has to be a villain, and James Lee Harris approached his role of The Stalker with a sinister, controlled composure, which garnered good-natured boos from the audience when he took his bow.
One of the standout scenes for me was the club scene, where Marron is singing in a local nightclub and Farmer is trying to ensure the crowd cannot get near her. The incredible combination of lighting, sound and choreography had me gaping and covered in goosebumps by the time the curtain came down.
While this may not be the first time I have seen the storyline played out, it is the first time I have seen the musical adaptation and with bangers aplenty (I haven’t even touched on the music – it’s Whitney Houston, what is there to say? Magnificent) it certainly will not be the last time. An absolutely triumphant mix of incredible vocals and choreography, punctuated with moments of jumpy drama and a foundation of quiet, if problematic, romance. All brought together by sensational production values.