The Bodyguard – high production values but emotionally light adaptation of classic film (Grand Opera House until Saturday 9 May)

The spirit of Whitney Houston is much less pronounced in this latest UK touring version of The Bodyguard musical (based on the 1992 film) directed by Thea Sharrock. There’s no attempt to recreate Houston’s legendary vocals, and instead the Houston’s back catalogue is explored and reimagined through the eyes and experience of fictional singer Rachel Marron.

Former Secret Service agent turned bodyguard Frank Farmer has been hired to protect Oscar-nominated power balladeer Rachel after she received a series of threats. His no nonsense hyper vigilant approach soon rubs Rachel and her entire entourage up the wrong way. Only her young son Fletcher is on Team Frank. But the tension melts away between Rachel and Frank after a risky club gig goes south and the pair bond over karaoke.

The Bodyguard breaks a lot of the normal rules of jukebox musical theatre. The build-up of tension trades on the fact that the audience are often kept well ahead of the characters. One scene late in the show is a case in point with some in the audience practically shouting to warn the cast about an emerging threat. In complete contrast, there are also moments when large bangs and flames startle the audience. (The appearance of a man wearing a balaclava feels like it’s going to be so much more sinister in Belfast than some English cities.)

Jukebox musicals also tend to rely on a central set that forms the backdrop for nearly every scene. The Bodyguard’s set designer Tim Hatley instead uses floor to ceiling curtains to (visually pleasingly) section off parts of the stage and create windows into rooms in Rachel’s mansion. Scene changes are achieved with elaborate yet elegant automation. The lighting design (Mark Henderson) slowly reveals its depth and tricks over the first ten minutes. Video projection (Duncan McLean) hints at production’s cinematic heritage and also helps immerse the audience in the second act build-up to the Academy Award ceremony.

Tonally, the regular appearance of big musical numbers drives the energy in so many scenes that moments of extended conversation feel neglected. The stage musical plays up older sister Nicki’s jealousy about Rachel’s success, but the revelation about her character turns out to be very different to the movie.

Greatest Love of All is the first song that properly showcases Sidone Smith’s voice (playing Rachel). During the sisters’ duets, Sasha Monique’s vocals (Nicki) tend to shine out ahead of Smith, and her performance of Saving All My Love For You is a low-key but standout moment in the first act.

It’s two and a half years since a previous production of The Bodyguard toured through Belfast (reviewed back in September 2023). This time around, Frank’s initially diabolical karaoke performance isn’t allowed to improve in the second verse of I Will Always Love You, and we never get to hear Adam Garcia properly sing (not even in the final extravagant curtain call).

Overall, The Bodyguard fails to capture the strident emotion of the film. A death after the interval evokes a strong sense of peril but strangely the characters don’t emote significant sadness. Smith/Rachel’s final rendition of I Will Always Love You recreates the musicality of the classic Houston’s version (of Dolly Parton’s song), with a tender a cappella beginning, building up to the powerful middle section and the iconic key changes. The remote cabin singalong of Jesus Loves Me is the first real moment that the normally vocal Belfast audience start to join in, accompanied by the unwelcome sound of text message notifications across the auditorium.

The Bodyguard continues its run at the Grand Opera House until Saturday 9 May.

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