Based on the Warner Bros Film
Book by Alexander Dinelaris
Directed by Thea Sharrock
Review by Dominic Corr
A big hitter for musical theatre fans; direct, unapologetic and built on the kind of glossy spectacle that knows exactly what it’s selling, The Bodyguard arrives at the Edinburgh Playhouse with a confidence that rarely wavers, even when the paper-thin material threatens to splinter under the weight of its ambition. *name’s production is one that prioritises momentum, image and vocal power over nuance and technique, and while that approach doesn’t always land evenly, it proves difficult to resist at its best; audiences love it; always have and always will.
Adapted from Lawrence Kasdan’s 1992 film, the musical tracks the uneasy, increasingly intimate relationship between global music superstar Rachel Marron and former Secret Service agent Frank Farmer, hired to protect her from a growing and increasingly volatile threat. It’s a narrative that sits somewhere between romantic thriller and jukebox concert, and the tension between those two identities remains both its greatest strength and its most persistent challenge. To the show’s credit; for as thin as the narrative can be; it finds justification for the songs within the setting, and plays out with a vein of nostalgia and romance which many an audience will clamber for.
At the centre of the production is Rachel Marron, here played with vocal assurance and a confident star presence by Sidonie Smith. It’s a performance that understands the demands of the role, delivering Whitney Houston’s catalogue with clarity and force, while negotiating a character that doesn’t always receive the same depth on the page. One of more withdrawn Marrons, Smith’s performance is much more realistic, at times, than many who graced the stage before. Songs like I Will Always Love You, Run to You and I Wanna Dance with Somebody are staged as full-scale musical events, lifting the production into another register entirely before dropping us back into its more uneven dramatic spine.
When those transitions align, the effect is genuinely thrilling. But the shortfall comes in *names choreography, which pushes for a speed and synchronicity the cast seems incapable to matching. It’s most notable in the major performers, who seem uneasy with the move set; and it shakes the confidence specific roles are trying to build. Even then, the backing dancers, each individually talented, can struggle to maintain a synchronicity and momentum; for a show which is no spring chicken, The Bodyguard needs to be slick, and precise, and in the footwork – the show fumbles.
Oozing charisma, and holding the show to a strong level, Adam Garcia’s Frank Farmer offers a measured, controlled performance that leans into restraint. It’s a credible interpretation of a man defined by professionalism and guarded instinct, though the text gives him limited emotional terrain to explore. The central relationship between Rachel and Frank never quite ignites in the way it threatens to – more simmering than combustible – which in turn dampens some of the production’s dramatic urgency.
And as often is the case, Sasha Monique’s Nicki Marron brings a welcome edge to the narrative, her presence cutting cleanly through the show’s more polished exterior. There’s a tension in the performance that feels lived‑in, grounding the character in something sharper and more conflicted than the material might otherwise allow. It’s in these moments—when the show leans into its darker undercurrents—that it hints at something more complex beneath the surface.
Where The Bodyguard consistently delivers is in scale. The Edinburgh Playhouse, with its breadth and height, suits the production’s visual language: bold lighting states, slick scene transitions, and a staging aesthetic that borrows heavily from arena concerts and televised spectacle. The show moves with purpose, rarely pausing long enough to lose momentum, even if that comes at the expense of emotional breathing room.
Music, remains its strongest advocate. The arrangements are designed to showcase vocal power first and foremost, and they succeed. The ensemble, too, plays its part in maintaining the show’s pace, ensuring that even transitional moments carry a sense of drive. There’s a clear confidence in the material’s musical identity—it knows the audience is here for the score, and it leans into that without apology.
Yet it’s in the quieter stretches that the production reveals its limitations. The shifts between romance, thriller and musical spectacle can feel abrupt, with character development often sacrificed in favour of pace. The narrative doesn’t always allow its central figures the space they need, rushing through emotional beats that might otherwise land with greater weight. By the final act, the story feels as though it is catching up with itself, accelerating toward resolution rather than unfolding naturally.
A polished, visually assured production that trades depth for dynamism – occasionally uneven, but undeniably effective when it hits its stride, The Bodyguard works best when it embraces exactly what it is: a high‑energy, music‑driven spectacle anchored by a score that remains as potent as ever. It may not fully reconcile the demands of its narrative with the scale of its presentation, but it rarely falters in delivering moments of genuine impact.
High-Energy Spectacle
The Bodyguard runs at The Edinburgh Playhouse until May 23rd
Running time: Two hours and twenty minutes with one interval
Photo credit: Paul Coltas
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
