Whitney Houston’s legacy looms large in a vocally stunning but dramatically uneven ‘The Bodyguard’
I love musicals – always have, always will – but there’s a particular kind of heartbreak when a great story doesn’t quite find its footing on stage. Some adaptations sparkle; others stumble under the weight of what came before. The Bodyguard, drawn from the classic 1992 film starring Whitney Houston, sits awkwardly between the two.
As a production, The Bodyguard is vocally phenomenal, but dramatically uneven. You might hope for the same cheesy magic that made the movie iconic, but then comes the question: can anyone ever really play Rachel Marron without playing Whitney Houston? Do we expect our powerhouse leading lady Sidonie Smith, to reimagine her entirely, or to fully commit towards that once-in-a-lifetime voice and presence? Maybe the tension between imitation and originality is the point — a blurred boundary between a real-life superstar, her fictional movie counterpart, and today’s musical theatre powerhouse and her musical theatre character.
Ideally, The Bodyguard should plunge us into a fever of nostalgia — those smokey soul bars and neon-lit dance clubs of the eighties and nineties. Instead, its setting is strangely ambiguous. It seems vaguely 2010s: Rachel Marron in frumpy leather jackets, oversized scarves and skinny jeans. There could be so much more exciting and nuanced fashion for an off-duty superstar in the modern day. Likewise, a blurry projected Instagram screenshot (supposedly a pivotal plot point, as Rachel and Frank are pictured together in public) felt like an afterthought.
Speaking of the projections, at times they hit their mark. An overhead shot of the stalker writing a lovelorn letter to Rachel Marron reminded me of Eminem’s cult music video for ‘Stan’, putting us in the haunted mind of a dangerous fan with parasocial obsessions. It also worked when lyrics were projected above a trio of lovable karaoke-goers, as they sang their hearts out in a humorous warble. But other visuals, like a silhouetted shoot-out or black-and-white clips of Rachel and Frank embracing, missed their tone entirely – neither sincere enough for drama nor self-aware enough for camp.
It’s refreshing that the score is dominated by female voices — Sidonie Smith and Sasha Monique absolutely soar. Huge congrats to Prince Conteh, who played Rachel Marron’s adoring son, Fletcher, with so much spirit. He’s a truly fantastic singer and dancer; I have no doubt he will soar in his future career.
Yet the supporting cast never gets their musical moment. Rachel Marron’s loyal team – composed of Sy Spector (Matt Milburn), Tony Scibelli (Jonathan Alden) and Bill Devaney (John Macaulay) – could have been perfect for a fun ensemble number, à la Mamma Mia’s beloved “dad trio.” They’re clearly fantastic singers; we only hear them right at the end, post–curtain call, in “I Wanna Dance With Somebody.” Characters in a musical who don’t sing feel oddly out of place.
Same goes for the antagonist of The Bodyguard, the menacing stalker, where a musical motif or number could have added real psychological texture. James Lee-Harris portrayed some very chilling moments as the character – with one really terrifying jumpscare feeling entirely appropriate for this Halloween month. I wish we’d learnt more about his motivations; it would have let the character breathe, rather than being a panto-esque villain that appears on stage wealding a knife. Not to make the show a deep-dive into toxic masculine (or dare I say, incel culture), but it would have had more impact if the very current issues of stalking and chronic onlineness were addressed. Hence the desperate need for a rewrite.
Crucially, there’s also no duet between the romantic leads. What is a musical without that? The absence leaves their relationship feeling underdeveloped and lacking chemistry — neither torturous, forbidden love, nor star-crossed sweetness. The only genuine duet comes between the sisters, which could have been rich with emotional contrast – two women in love with the same man, equally talented but unequally celebrated – yet the script never gives space for the dynamic to evolve. It was a strange choice to cast Adam Garcia, famed for his musical abilities, as someone whose only time at the microphone was with a monotonous karaoke rendition of ‘I Will Always Love You’.
To its credit, the ensemble injects bursts of life into every dance number, and the finale “I Wanna Dance With Somebody” is a triumph. I felt Smith, Garcia and the rest of the cast truly relax into the fun of the piece. It’s joyous, high-spirited and gets everyone on their feet. But it also exposes what the rest of the production lacks: that same sense of verve throughout. Some numbers fell flat, perhaps due to opening-night nerves or the occasional technical hiccup (a haze of fog and some eye-watering club lights didn’t help). Still, The Bodyguard can’t rely solely on Whitney Houston’s legacy to carry it.
What this show proves is what a challenge it is to reimagine an icon – a challenge well worth attacking. A jukebox musical can’t just recycle hits, it needs a narrative pulse strong enough to justify the nostalgia. The audience skewed older, but it would be utterly patronising to suggest they’re less discerning. A strong story, slick production and clear tone appeal to any generation.
It’s always a privilege to see a live musical – to watch performers pour themselves into song and movement. The New Theatre deserves credit for a wonderfully hosted press night, complete with warm staff and a lively drinks reception. It was the perfect setup for reflecting on what a musical in 2025 can and should be: creative in production design, competent in storytelling, addressing current issues and unafraid to reimagine the familiar.