‘A thoroughly worthwhile evening.’
Based on the beloved 1992 film, The Bodyguard the Musical arrives at the Kings Theatre, Glasgow carrying considerable weight of expectation – and a soundtrack that, frankly, sells itself. The story centres on Frank Farmer, a steely former Secret Service agent engaged to shield superstar Rachel Marron from a shadowy, obsessive threat. What unfolds is a collision of worlds: his discipline against her dazzle, his guardedness against her vulnerability, until, inevitably, the armour cracks and something altogether more dangerous than a stalker takes hold. It is, at its core, a love story wrapped in a thriller wrapped in a Whitney Houston concert, and for the most part, it delivers.
The casting is where this production earns its confidence. Adam Garcia brings a grounded, quietly commanding presence to Frank Farmer – measured where others might overplay, and all the more compelling for it. Sidone Smith’s Rachel Marron is vivacious and deeply felt, with powerhouse vocals. Their chemistry builds with pleasing patience, and by the time the curtain falls on Act One, the kiss that closes it lands with genuine frisson.
Among the supporting company, two names demand particular attention. Mason Dyett as Fletcher offers a performance of striking maturity – a talent that feels well beyond his years and bears watching. Sasha Monique, meanwhile, is quietly devastating as Nicki Marron: her acting rich with heartbreak and complexity, her vocals possessing a raw, stop-you-in-your-tracks quality that ensures she is never overshadowed by the leading lady. A duet between Nicki and Rachel – Run to You – emerges as one of the evening’s most genuinely moving passages.
Tim Hatley’s set and costume design largely succeeds in conjuring Rachel’s gilded world, sweeping us from sumptuous boudoirs to stadium glamour with visual flair. The projections, too, are a well-judged touch – atmospheric rather than gimmicky. Occasional lapses in costume coordination jarred slightly – a glittering corset paired with flat black leggings in one number felt more wardrobe oversight than stylistic choice, but these are minor quibbles in an otherwise handsome production.
Karen Bruce’s choreography is a genuine highlight throughout: propulsive, inventive, and nowhere more effective than in the fight sequences, where slow-motion movement lends the action a cinematic chill that genuinely thrills.
Thea Sharrock’s direction draws out the romance and emotional stakes with a sure hand, though there are moments in Act One where the production seems uncertain of its own identity – the tone occasionally adrift, the connective tissue between scenes feeling loosely threaded rather than purposefully crafted. This contributes to a first act that, despite its bombastic opening number Queen of the Night – complete with pyrotechnics and full ensemble spectacle – can feel somewhat low on momentum. Smith carries so many of the act’s big musical moments almost alone, which, given the vocal demands of the Houston songbook, is understandable – but it does leave the production feeling slightly lopsided before the interval.
Act Two, however, is a different beast entirely. The company seems to exhale, finding their rhythm and their joy, and the vocals soar accordingly. Smith’s rendition of I Will Always Love You is the emotional apex of the evening – tender, immaculately controlled, and greeted with the kind of silence before applause that tells you a room has been genuinely moved. The finale, I Wanna Dance with Somebody, brings the house to its feet in a collective eruption of pure pleasure, and sends the audience out into the Glasgow night grinning.
The Bodyguard is not a perfect production, but it is an enjoyable one – generous in spirit, strong in talent, and backed by one of the greatest popular songbooks ever assembled. A thoroughly worthwhile evening.
This show runs at the King’s Theatre until May 30th. Tickets here.