Well, The Bodyguard certainly started with a bang. Literally.
We’re all sat chatting politely to each other in the theatre with the lights still up, when suddenly a gunshot cracks through the room and jolts everyone upright. The lights drop. Silence sharpens. We’re in. The Bodyguard has begun.
Based on the 1992 film starring Kevin Costner and Whitney Houston, the stage version follows global superstar Rachel Marron as she receives increasingly sinister threats and is assigned a no-nonsense bodyguard, Frank Farmer, played on this tour by Adam Garcia. Rachel’s sister, Nikki, part of her entourage and an aspiring singer in her own right, completes the central trio – and the emotional tension.
What’s striking about this show is how vocally concentrated it is. Most musicals lean heavily on ensemble numbers and layered harmonies. This one does not. It rests almost entirely on two powerhouse vocalists: Rachel and Nikki. Between them, they shoulder the weight of Whitney’s back catalogue – and what a catalogue it turns out to be.
Rachel is played by Sidonie Smith, whose voice is nothing short of extraordinary. She delivers each number with astonishing control and presence, navigating the soaring highs and emotional crescendos with apparent ease. Nikki, portrayed by Sasha Monique, brings a different tonal quality – rich, soulful and beautifully measured. The contrast between the sisters works superbly, and together they dominate the stage vocally.
Even as someone who wouldn’t call themselves a Whitney Houston devotee, I found myself repeatedly surprised by just how many songs I recognised – and how strong they are. From powerhouse ballads to defiant anthems, each number feels purposeful. Some are framed as performances within the story, staged as concerts or industry events. Others are woven more intimately into the narrative, reflecting the emotional stakes of the moment. The integration rarely feels forced.
Adam Garcia’s Frank Farmer, meanwhile, is a largely non-singing role. He broods convincingly, moves with quiet authority and handles the protective physicality of the part with assurance. One of the few moments of levity comes during a comedy karaoke scene, where he joins other revellers in deliberately off-key singing – a playful, self-aware interlude that offers welcome light relief amid the tension.
If there’s a weakness, it lies in the chemistry between Rachel and Frank. While both performers are strong individually, the emotional spark between them never quite ignites. Smith’s Rachel is vocally spectacular, but perhaps just slightly guarded in her emotional expression. A little more vulnerability and warmth might have deepened the central romance. As it stands, you occasionally find yourself more invested in the dynamic between Frank and Nikki.
That said, this is a production driven by music, momentum and spectacle. As the threatening letters escalate and the tone darkens, the tension builds effectively towards a dramatic climax. And when the big songs land, they truly land.
You leave the theatre reminded not only of the film’s enduring appeal, but of Whitney Houston’s extraordinary musical legacy. It may not be the most nuanced love story on stage, but as a showcase for two exceptional vocalists, it absolutely delivers.
The Bodyguard runs at The Lyceum Theatre until 14 February. Tickets available here.
