The Bodyguard, as a film, has connected with film lovers on so many levels over the years. It doesn’t matter whether you love great songs from a musical icon, crave a bit of action, are a romantic at heart, or love strong storylines; this film has everything to offer.
I was intrigued to see The Bodyguard: The Musical, as, despite being a huge Musical fan, I am very much on the fence when films are converted to stage. Sometimes it doesn’t adapt as well as you’d hope. I went in with an open mind and no expectations, only to be awakened out of my apathy by one of the most explosive starts to a show I have ever seen! Combined with gun effects and strong orchestral overtures, we saw a silhouette of three people in a standoff emerge, a gun being drawn and harsh words exchanged. Immediately, this caught our attention and set the tone of one of the most well-developed stage adaptations of a film seen to date. It was not only relatively faithful to the original concept, but it had slick choreography by Karen Bruce, Duncan McLean’s dynamic video designs complementing the action, and some of the best acting performances under the direction of Thea Shamrock.
What was interesting about this interpretation was that it took some creative risks to make it stand out from what is currently on the musical circuit. For instance, it is not very often that we see a musical song being led by two women, leaving the men and the rest of the cast to concentrate on purely their acting or dancing. It can be a huge risk to do this, as a huge responsibility falls on the allocated performers’ shoulders, but the incredible vocal talents of Sidone Smith (Rachel Marron) and Sasha Monique (Nicki Marron) shone brightly as they interpreted two different sisters’ perspectives on life and love through classic Whitney Houston songs that complemented the story extremely well. They showcased heightened and bruised egos respectively and were not afraid to show their vulnerable sides as fame, love, jealousy and at times, bitterness were explored. As a duo, they had a strong partnership on stage, even though the characters in themselves were not close. The emotional journey they took was one that showcased Smith and Monique’s dynamic range of performance experience under their belts and drew us in as one was dismissed and one enjoyed the spotlight.
Whilst everyone in the cast gave us memorable characters that will stay with us for a long time, I must highlight three others who gave incredible performances. Firstly, James-Lee Harris’s stalker, who demonstrated the power of silence as he followed Rachel’s career obsessively, watching her every move. Harris gave a masterclass in how physical theatre, subtle, precise moves (like holding a knife), and stillness created a sense of power and the terrifying reality of his purpose in the story and is one to watch out for in the future.
Coronation Street’s Matt Milburn left Tommy Orpington well and truly behind as he took on ambitious manager Sy Spector. Milburn created an exciting character who was obsessed with playing the fame game and didn’t leave room for any personal feelings to interfere with what he wanted to create. The American accent was finely tuned and his acting choices were conveyed with precise timing and intricate details that made Sy come to life. Just don’t tell Tracy Barlow where he really is!
The really surprising highlight, though, was Adam Garcia’s Frank Farmer, the Bodyguard in question. I say surprising, as over the years, we have become used to seeing him being cast as the triple threat in musicals of acting, song and dance with a certain charm in his roles. On this occasion, we saw him purely as a straight actor. No gimmicks, no well-rehearsed songs. Just an actor who led the show in a different way than normal. We saw him as a man with a past who had to focus on his job, no matter what the consequences were. It was good to see Garcia in this kind of setup, as we got to see what he could really bring to the table as an actor. He kept his choices simple and maintained his control by channelling his energy into a stillness that we do not see from him often. It seemed to challenge him in a good way, which made the onstage chemistry between him, Smith and Monique electric as the show progressed.
The Bodyguard: The Musical is dynamic, emotionally charged and visually appealing. A tour not to be missed.
Review by Sascha Cooper
Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge – what they don’t expect is to fall in love.
Cast:
Frank Farmer – Adam Garcia
Rachel Marron – Sidone Smith
Bill Devaney – John Macaulay
Tony Scibelli – Jonathan Alden
The Stalker – James-Lee Harris
Fletcher – Cale Cole, Prince Conteh, Mason Dyett and Rio Chigwedere
Sy Spector – Matt Milburn
Nicki Marron – Sasha Monique
Ray Court – Ryan Bennett
Ensemble:
Taylor Bridges, Ohanna Greaves, Mireia Mambo, Alice Readie, Luke Walsh, Theo UK Rose and Zirigi Zadi
Swings:
Kayne Gordon, Luke Woollaston, Emma-Jane Smiht and Yiota Theo
Mireia Mambo plays the role of Rachel Marron at certain performances
Understudies:
Frank Farmer – Matt Milburn and Ryan Bennett
Rachel Marron – Sasha Monique and Ohaana Greaves
Bill Devaney – Luke Walsh and Kayne Gordon
Tony Scibelli – Luke Walsh and Luke Woolaston
The Stalker – Luke Walsh and Luke Woolaston
Sy Spector – Ryan Bennett and Luke Walsh
Nicki Marron – Mereia Mambo and Ohaana Greaves
Ray Court – Luke Walsh and Luke Woolaston
Orchestra:
Musical Director/Keyboard – Charlie Ingles
Assistant MD/Keyboard – Jemma Starling
Guitars – Tim Bloomer and Gareth Lieske
Bass Guitar – Dan Hall
Drums – Dave Stewart
Orchestral Management – Stephen Hill for Musicians UK Ltd
Resident Production Team:
Company Manager – Lauren Harton
Resident Director – Mark Hedges
Stage Manager – Adam Tartaglia
Deputy Stage Manager – Heather Fox
ASM/Book Cover – Tara Daynes
ASM/Technical – Zoe Doy
Swing Techs – Steve Andrew and Evan Bevis-Knowles
Sound no 1 – Bertie Pugh
Sound no 2 – Lisa Pleass
Chief Electrician – Michael Seaman
Deputy Electrician – Jack Norman
Assistant Electrician – Josh Hopkinson
Head of Wardrobe – Clare Freeman
Wardrobe Deputy – Philip Couch
Wardrobe Assistant – Macy O’Grady
Head of Wigs – Stephen Frizzle
Wigs Deputy – Luke Rice
Wigs Assistant – Ruby Wynne
Chaperones – Tanicia Barrett, Anna Gray and Catherine Jones
Creatives:
Screenplay – Lawrence Kasden
Book – Alexander Dinelaris
Director – Thea Shamrock
Set and Costume Designer – Tim Hatley
Choreographer – Karen Bruce
Orchestrations and Additional Music – Chris Egan
Associate Director – Tracey Lane
Musical Supervisor and Additional Vocal Arrangements – Richard Beale
Lighting Designer – Mark Henderson
Sound Designer – Richard Brooker
Video Designer – Duncan Mclean
Production Manager – Patrick Moloney
Associate Musical Supervisor – Theo Jamieson
Associate Lighting Designer – Dale Driscoll
Associate Sound Designer – Nick Lodge
Assistant Choreographer – James-Lee Harris
Hair, Wigs and Makeup – Beverley Chorlton
Costume Supervisor – Jack Galloway
Associate Wardrobe Supervisor – Clare Freeman
Casting Director – Beth Eden
Children’s Casting Director – Debbie O’Brien
Children’s Director – Karen Sproull
Producers – Michael Harrison, David Ian and Crossroads Live
THE BODYGUARD
New Wimbledon Theatre, 16 to 21 February 2026
Tour continues to 29 August 2026
