The BodyGuard: The Musical

Chemistry is the king of film and entertainment. It’s the glue that makes everything believable even on a night when the public are searching for a fantasy escape. So when The Bodyguard returns for another UK tour, there’s a sense that flames of passion will rise, especially as the opening press night at New Wimbledon Theatre comes just a few days after Valentine’s Day.

For the generation that missed the early '90s Warner Brothers film that pitched Whitney Houston and Kevin Costner together when both were at the peak of their powers, The Bodyguard tells a story of singer Rachel Marron (Sidonie Smith) who, reluctantly, needs the services of new security as her mega rise brings unwanted attention. Rachel is a headstrong woman. Frank (Adam Garcia) doesn’t care about her demands. Where she goes is his business, because it’s his duty. While Rachel thinks about an Oscar, Frank makes a bond with her ten-year-old son, confidently played by Cale Cole. The new man in her life even has enough time to drop in on her sister’s low-key gig.

The fact that relations between Frank and the ever so slightly jealous big sister (Sasha Monique) is the most interesting part of the first 40 minutes, isn’t a strength. The big set numbers tick the blue boxes and Sidonie has a good range. The choreography is good but rather clinical in its entirety, like a set of mechanical arms and legs that do their thing and then move away to make space for the main players. However, the audience clearly root for her sibling with the stronger voice, and that family tension never really gets going between them. It’s a missed opportunity although the Bodyguard book and film both have rather thin scripts.

The energy ramps up when the two stars start to chill with each other on a karaoke evening. That setup works well, showing Frank with his guard down, and letting Rachel drop hers too as she takes the stage in the kind of small town arena where anonymity is welcome. Well, until she sings.

There’s just something that doesn’t quite gel enough, though. When the mysterious stalker tracks Rachel down at Frank’s old family haunt, the he comes through the door in a scene that causes a jolting scream from a member of the audience. The poor "other" sister has her card marked from the start. She’s always second in the sibling line of stardom and her demise is rather glazed over. Only in her death does Rachel mourn convincingly.

The best part of the night is the end. That’s not as harsh as it sounds, but there’s an ensemble piece of “I Wanna Dance With Somebody” which is a showcase for a kind of audience singalong. This musical is happier when it is doing the numbers rather than relying on the script which is rather by the numbers.