Review: THE BODYGUARD: THE MUSICAL, New Wimbledon Theatre

The Bodyguard film is much-loved, mainly due to the appearance of the late, great Whitney Houston, but the actual storyline is standard Hollywood romance.

Pop star diva Rachel Marron is being stalked by a crazed fan and slick security expert, Frank Farmer, is hired to protect her and her young son, Fletcher. The Grammy Award-winning soundtrack was the film's vehicle and remains indisputably good. The stage musical sensibly chooses to pivot the focus to the music, but the result is more like a concert of the Houston's hits, with a paper-thin and often laughable stalker story thrown in.

Even though the film came out in 1992 and the stage version debuted in 2012, the spectre of Whitney Houston still looms large. The role is huge, defined by Houston and her incredible vocal ability. The Pussycat Dolls' Melody Thornton takes up the challenge on this latest tour; vocally she is impressive, but struggles to make much of the very one-dimensional character of Rachel, who is either purring seductress or angry harpy.

Ayden Callaghan has a tricky job as Frank Farmer; the essence of the role is to be cool and non-communicative, but this ends up with Callaghan coming across as rather wooden and the chemistry between him and Thornton is muted.

A standout is Emily-Mae as Nicki Marron; she has a beautiful lyricism in her voice and you long for her to have more stage time. James Groom brings some light relief as Rachel's relentless publicist Sy Spector and John Macaulay is authentic and kind as Manager Bill Devaney.

The ensemble works hard in the concert scenes, with some smart and energetic choreography from Karen Bruce, but it is the energy of the finale makes you realise what is lacking in the rest of the production. One key part of the story is the stalker, which is handled in a bizarre manner; at first shirtless and therefore weirdly eroticised or unintentionally comedic in pointing his gun laser at the audience.

However, if you love Whitney Houston, you won't be disappointed by the songs, as the show adds more of her hits than the film. Thornton's performances of "One Moment In Time", "I Have Nothing", as well as the epic "I Will Always Love You" nail every note, even if they lack some of the velvety richness of Houston.

Director Thea Sharrock brings in additions, such as a drunken karaoke rendition of "Where Do Broken Hearts Go?", that seems to facilitate the slow set and costume changes rather than adding anything to the show. The concert scenes work well, particularly the medley of Houston's hits, but use of slow motion and excruciating filmed projections are awkward and lifeless.

There are a few casual nods to modernisation, such as mentions of Instagram and viral videos, but the show needs a huge overhaul to drag it out of its dated format and design. Houston's hits deserve better.

The Bodyguard is at the New Wimbledon Theatre until 11 March, then touring

Photo Credit: Paul Coltas

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