Review: The Bodyguard - The Musical (New Wimbledon Theatre / UK Tour)

Review by Rosie Holmes

⭐️⭐️⭐️

The latest UK tour of jukebox musical The Bodyguard swept into New Wimbledon Theatre this week, having last toured in 2023. This adaptation promises glamour, romance, and a sprinkle of thriller‑style tension for good measure. Adapted from the 1992 film starring Whitney Houston and Kevin Costner, it features all of Houston’s crowd-pleasing greatest hits, including ‘I Will Always Love You,’ and ‘How Will I Know.’

For those unfamiliar with the story (I must confess, I have never seen the film), The Bodyguard follows global superstar Rachel Marron, whose fame has made her the target of a dangerous stalker. In an attempt to keep her safe, her manager hires Frank Farmer, a former Secret Service agent whose rigid professionalism initially clashes with Rachel. As the threat escalates, so too does their relationship, developing into a love story complicated further by Rachel’s sister Nicki, forever living in her sibling’s shadow.

Historically, the role of Rachel Marron has often been cast with a pop star, lending the production a slightly meta commentary on fame itself. In this touring production, however, Rachel is played by accomplished musical theatre performer Sidonie Smith. Smith makes a confident first impression, particularly in the opening number, where she commands the stage with ease and energy. There is no doubt that she is competent, and she captures Rachel’s steely self-protection well. Yet, vocally, there is a sense of restraint that proves frustrating across the evening. The score cries out for moments of raw emotion and powerhouse crescendos that never quite arrive. In a show so closely associated with Whitney Houston’s vocals, the absence of those goosebump-inducing moments is unfortunately felt.

By contrast, Sasha Monique’s Nicki Marron emerges as the emotional heart of the production. Vocally assured and dramatically open, Monique brings a depth and vulnerability to Nicki that immediately draws the audience in. Her rendition of ‘I’m Every Woman’ is one of the evening’s highlights, brimming with confidence and character, while her quieter moments allow us to see the pain of a woman constantly overlooked. Ironically, it is Nicki, not Rachel, who earns the audience’s deepest sympathy, a testament to Monique’s layered performance.

Taking on the titular role, Adam Garcia delivers a solid and dependable Frank Farmer. Best known for his dancing prowess, it is admittedly strange to see Garcia in a largely straight acting role (karaoke-style rendition of ‘I Will Always Love You’ aside). I can’t have been the only audience member hoping for a sneaky dance break from him. That said, he brings a sturdy authority to Frank, portraying him as stoic and emotionally guarded. The problem lies less with Garcia’s performance and more with the material, Frank is written as deliberately reserved, giving Garcia limited opportunity to explore nuance or growth.

If there is a central weakness in this production, it lies in the direction and pacing. The show opens with a gunshot, an immediate bid to grab attention, and rarely slows down from there, with scenes racing by at such speed that emotional beats barely have time to land. Moments of high drama are quickly followed by musical numbers, jump scares, or scene changes, creating a sense of constant motion but little sustained tension. As a result, the central love story struggles to convince. Despite the talent of both leads, there is a noticeable lack of chemistry, meaning the romance never quite packs the emotional punch it should.

Where the production truly shines is in its ensemble work. The larger dance numbers, choreographed by Karen Bruce, are bursting with energy and flair. These sequences bring a much-needed sense of joy and spectacle, allowing the company to light up the stage. Special mention must also go to young performer Cale Cole, who plays Rachel’s ten-year-old son Fletcher. Cole is a scene-stealer, bringing warmth, heart and brilliant dance moves to his time on stage.

Visually, Tim Hatley’s set design makes excellent use of Wimbledon Theatre’s expansive stage, shifting between glitzy concert venues and intimate domestic spaces such as the lakeside cabin. Less successful, however, is the use of video and projection whilst transitioning between set pieces. Intended, perhaps, as a nod to Rachel’s celebrity and media presence, the visuals instead feel oddly low-tech, occasionally pulling focus away from the performers and breaking the immersion.

Ultimately, The Bodyguard remains a crowd-pleasing night at the theatre. While the plot often takes a backseat to the songs, and the emotional depth never fully develops, there is undeniable pleasure in hearing a catalogue of Whitney Houston’s greatest hits performed live. The final curtain-call mega mix, in particular, brings the audience to its feet, sending everyone home smiling and tapping their toes. This may not be a definitive or revelatory revival, but it is a fun, glossy, and reliably entertaining one.

The Bodyguard plays at New Wimbledon Theatre until Saturday 21st February 2026 before continuing on its UK tour.

Tickets and more information can be found here - The Bodyguard Musical | Official Site

Photos by Paul Coltas