The Bodyguard

I welcomed The Bodyguard when it first arrived in the West End last November, and now that it has settled into a long, healthy run, re-visiting it confirms the smart choices that have been made in translating this popular Whitney Houston film vehicle to the stage. While the fans will, of course, relish the knock-out songs that Houston herself made famous, the show has its own genuine theatrical flair and momentum as a fast and gripping stage thriller in which a fictional pop star finds herself being pursued by a dangerous stalker, and employs a new bodyguard to look after her.

So there’s a proper dramatic purpose to accompany the jukebox soundtrack, and Thea Sharrock’s vividly imaginative production keeps its drama on the boil throughout while never stinting on the fantastic delivery of its iconic songs. With Beverley Knight now taking over as Rachel Marron from Heather Headley who originated the role here, we have – as Houston also provided – a real musical star playing a fictional one, and the stakes feel higher. You sense that Knight knows what it is to be pursued by fans herself, though hopefully not an unhinged one like here.

She is also newly joined by Tristan Gemmill, best known from TV’s Casualty, in the title role of the bodyguard, who brings a handsome, sympathetic dramatic conviction to it. Debbie Kurup, who remains from the original cast, is still splendid as Rachel’s sister, whose vocals easily compete with those of her sibling but whose career hasn’t matched it. Michael Rouse is suitably sinister as the stalker. As still serviced by Tim Hatley’s superlative design, Arthur Pita’s dynamic pop choreography and a fierce musical quality (supervised by Mike Dixon, directed by Richard Beadle), this remains the best of the movie-originated jukebox scored shows around.