Fourteen years since the West End premiere, The Bodyguard musical returns to Manchester’s Palace Theatre on its fourth replica UK tour, but does it continue to honour the legacy of ‘the voice’, Whitney Houston, or should it be left to One Moment in Time? 

Unfortunately, it’s not right, but it’s okay. 

For those uninitiated with the screen-to-stage adaptation of The Bodyguard, with original direction from Thea Sharrock and book by Alexander Dinelaris, the show starts with an unexpected bang, filling the audience with screams followed by giggles. This is a recurring theme throughout the show, which is often poised as a thriller rather than the romantic film we remember. It tells the fictional story of Rachel Marron (Sidonie Smith takes on this excessively demanding role), a global megastar at the height of her career in music and film and on the brink of achieving her dream of winning an Academy Award. Unbeknownst to Rachel, she has been receiving threatening letters, prompting her team to hire bodyguard Frank Farmer (Adam Garcia) to protect her and her family. The plot follows the development of not only the tumultuous relationship between Rachel and Frank, but also that of her sister, Nicki (Sasha Monique). 

Where the 1992 smash-hit film succeeds by balancing the developing dynamic between Rachel and Frank and the unnerving threats towards the superstar, the book of the musical is thin in narrative, rushing any connection the two leads could have to ensure the next shoehorned song is performed on time. 

The book is unfortunately only part of the problem, as previous tours have felt a much smoother ride. This tour lacks direction, both literally and musically. The slow-motion intimacy that should ground key moments feels overly choreographed and emotionally distant, undermining the credibility of its direction and preventing it from feeling truly intimate. 

When showcasing arguably the biggest movie soundtrack of all time, sung by the unmistakable voice of a generation, the bar is already ridiculously high- especially when reliant on two performers singing every track – but, as previously seen, not unachievable. There are occasions when the audience doesn’t feel safe that the notes can be hit, not because the cast lack capability, but because the arrangements remain pop-focused rather than that of a musical theatre performer. Previous casts had less vocal prowess than Smith and Monique, but some direction to home in on the tightness of the runs and draw back on riffs would allow their true ability to shine- a perfect example being in Act 2, where Smith is allowed to showcase her vocals through acting- easily the best acting in this role the musical has seen. 

Karen Bruce’s choreography is predominantly performed with gusto by the dynamic ensemble, full of passion and jaw-dropping lifts that create a visual feast, which is bolstered by Mark Henderson’s versatile and atmospheric lighting design. Video design by Duncan McLean adds a cinematic dimension to the production, but, like Tim Hatley’s design, doesn’t always quite hit. McLean’s video requires concise direction, which is not always present, and in one scene comes across as beyond cliché and feels more Marvel than romantic. Likewise, Hatley’s set is minimal but purposeful, though a lack of precision occasionally sees curtains concealing cast members before scenes have fully resolved. Where design doesn’t quite hit is with the costumes; I can’t forgive the choice to have a global superstar wear high-tops and jeggings to a promotional event, especially given the direct comparison to the iconic outfit from the film. Where is the glamour?! 

For those wanting a quick, easy fix of theatre, this show will scratch that itch, but from a critical perspective will have you begging the production team to either leave it in 2012 or go back to the drawing board and give Whitney’s legacy the justice it deserves. 

The Bodyguard plays at Manchester’s Palace Theatre until Saturday 31st January. Further information and booking details can be found here.

Tickets received in exchange for a review. #AD

Photography by Paul Coltas.