Screenplay by Lawrence Kasden

Book by Alexander Dinelaris

Directred by Thea Sharrock

Basing its structure on the 1992 film, Alexander Dinelaris’s screenplay makes a decent attempt in capturing the original Bodyguard, but sadly refrains from expanding upon it. Lawrence Kasden’s cinematic release told the developing love story between singer Rachel Marron and her bodyguard Frank Farmer.

The Bodyguard contains numerous Whitney Houston classics. Marron, stubborn to the interference Farmer poses, attempts to live her life. Together with her envious but vastly more talented sister, she stays with her young song. With her PR team desperate for an Oscar to boost her career, Farmer and Marron begin to realise that the most important things aren’t the fame or fortune.

Beginning with a literal bang, one may notice that our first impressions of The Bodyguard are that this might just be something extraordinary. To use the term spectacle is too simplistic, Tim Hatley’s set design is of incredible construction. It frames the production marvellously, honing our focus into the correct areas. Expanding for us to take in the bigger picture. If only there had been this much dedication in the adaption of the script or direction.

Returning is Alexandra Burke, who receives an eruption of applause from a ravenous crowd. First portraying the character of Rachel Marron back in 2012, Burke takes to the character well-enough, seeking to show off a younger, less experienced diva than Whitney’s version. It’s always promising to hear a performer take the role and make it their own, but the first act highlights that Burke is first and foremost a singer before a stage performer. Her control for standout numbers, I Will Always Love You and Jesus Loves Me are the exceptions where she finds a balance between the two.

Vocally, she is there. There is no question to her capabilities to hold a tune, but her characterisation is lacking. Chiefly this is down to the script, which seems to have severe issues with Rachel’s identity. She flips in the span of a single scene from staunch, headstrong mother into a whimpering lovestruck teenager. The whiplash from such a turnaround does Burke no favours. Attempting to save Rachel in the second half, Burke does well to inject some humour, but it’s not enough.

We seem to be watching the wrong sister for the majority of the production, for as evidently talented as Burke is – she is simply outshone by Micha Richardson’s envious sister Nicki Marron. Her emotive voice far surpasses anything we have seen this evening. In reality, her connection with the bodyguard himself Benoit Marechal is superior to that of Burke. Marechal, who is as charismatic as possible turns in an impressive Farmer.

Issues with narrative show more in the second half, but by these are largely overlooked by the finale, which, truth be told, is rather phenomenal. It’s what most of the audience has been waiting for. Burke belting out the notable tracks of the production, with some surprise vocals from the ensemble and antagonist Phil Atkinson who we discover is vastly underused.

You know you have an issue when your antagonist receives laughter upon arrival. Especially, given the nature of the character. We’re informed that this ex-military man could have a potential history of sexual violence, assault and is a masterful tactician. The stage version toys with a Travis Bickle inspiration for their antagonist. Atkinson is capable of the role, he has the manner to be intimidating, but the stage direction places him more as eye-candy than a genuine threat. One really has to think if the phrase “sexual assault” should follow your audience’s wolf-whistles.

What’s hugely frustrating about The Bodyguard is that this has the potential for a five star, stellar production. The components are in place, but they devastatingly underutilise the talents they have. This is the genre of production which resurrects a cinematic counterpart but fails to build upon it.

The Bodyguard has some of the finest set design and backing orchestral touring the country, but it has little sense of identity. Unsure if it wants to be a large-scale jukebox musical or serious drama. It deserves it’s standing ovations as much as it deserves its criticism.

Runs until July 20th, tickets avialable from The Plahouse: https://www.atgtickets.com/shows/the-bodyguard/edinburgh-playhouse/