The Bodyguard tells the story of Rachel Marron, a world-famous music superstar whose glittering life hides a dark threat — an anonymous stalker fixated on her every move. When former Secret Service agent Frank Farmer is hired to protect her, sparks inevitably fly. Both used to being in control, their clashing worlds gradually give way to respect, vulnerability, and — predictably but satisfyingly — romance. Interwoven throughout are some of Whitney Houston’s biggest hits: I Will Always Love You, So Emotional, Greatest Love of All, and I Wanna Dance with Somebody, ensuring a built-in emotional pull and a healthy dose of nostalgia for audiences who grew up with Houston’s catalogue. It’s a jukebox thriller that never pretends to be anything more than a crowd-pleaser — and on that front, it largely delivers.
The musical, directed by Thea Sharrock and adapted by Oscar-winner Alexander Dinelaris, is based on Lawrence Kasdan’s 1992 Warner Bros. film starring Whitney Houston and Kevin Costner. It premiered in the West End in 2012 at the Adelphi Theatre and earned four Olivier Award nominations, before embarking on a series of sell-out UK and international tours. Since then, The Bodyguard has played to almost four million people across 45 U.S. cities and 15 countries, from Germany to Japan. The current 2025/26 tour, produced by Michael Harrison and David Ian, sees Adam Garcia take on the role of Frank Farmer opposite Sidonie Smith as Rachel Marron, joined by Sasha Monique as Nicki Marron and Matt Milburn as Sy Spector.
There’s no denying that The Bodyguard remains a feel-good hit with audiences. The Regent Theatre was buzzing on press night — not least because of the familiar soundtrack that had the crowd humming along even before the overture began. The production banks heavily on nostalgia and spectacle, and while the music and choreography deliver, the storytelling struggles to match that energy. The book feels thin, its episodic structure leaving emotional beats underdeveloped. Scenes are often too briskly stitched together, robbing key moments of depth and continuity.
Adam Garcia brings warmth and humanity to Frank Farmer, giving the character an understated sincerity and heart that make him instantly likeable. It’s a shame that an actor of Garcia’s charisma and triple-threat pedigree isn’t given the chance to sing or dance — something that feels like a missed opportunity given his formidable stage résumé.
As Rachel Marron, Sidonie Smith offers a commanding stage presence and clearly possesses vocal power in abundance. However, during the press performance in Stoke, her vocal placements were consistently off throughout Act 1, producing a strained tone that suggested she was suffering from vocal fatigue or perhaps an off night. Things improved notably in Act 2, but the earlier issues were hard to ignore — especially given how vocally assured Sasha Monique sounded as Nicki Marron.
Monique’s Nicki, though underwritten and underused, was arguably the standout performance of the evening. She sang with warmth, soul and precision, never putting a note wrong. Her rendition of Saving All My Love for You was one of the night’s most genuinely affecting moments — an oasis of sincerity in an otherwise slick but emotionally restrained production.
The supporting cast all rise to the occasion. Matt Milburn brings just the right amount of comic smarm to Sy Spector, and John Macaulay’s Bill Devaney adds a grounded charm. The ensemble work hard, executing Karen Bruce’s choreography with energy and precision, though they sometimes feel underutilised — more often filling the stage than driving the drama.
Musically, the show is in safe hands. The orchestrations sparkle under Charlie Ingles’ musical direction, and frankly, you can’t go wrong with Whitney Houston’s back catalogue. Every number lands, and the live band brings vitality that fills the Regent’s auditorium beautifully.
The production’s visual design, however, is less consistent. Tim Hatley’s set relies heavily on curtained backdrops and projected imagery, and while this allows for swift transitions, it often feels basic and repetitive. The concert scenes, in particular, suffer — Rachel’s supposed arena performances feel oddly flat and under-staged, lacking the grandeur one might expect from a global superstar’s tour. The exception comes at the very start, when impressive pyro effects kick things off with a bang that hints at a level of production value not always sustained throughout.
Lighting designer Mark Henderson keeps the show visually dynamic, though the frequent use of blinding lights aimed directly into the audience between scenes soon becomes a distraction rather than an effect.
The Bodyguard at the Regent Theatre is an undeniably enjoyable night out — a polished, crowd-pleasing spectacle that taps into the collective memory of Whitney Houston’s golden hits. It’s glossy, familiar, and just sentimental enough to keep audiences onside. But beneath the glitter, it remains an uneven experience: musically thrilling, dramatically thin, and visually inconsistent.
Still, for those seeking an evening of nostalgia, soaring vocals, and a reminder of Houston’s timeless brilliance, it’s hard not to leave smiling — especially when the entire audience is on its feet for I Wanna Dance with Somebody.
The Bodyguard plays at the Regent Theatre until 8th November 2025 where it will venture to Germany for Christmas before returning to tour the UK for 2026.
Photography throughout from Paul Coltas.
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