Alexander Dinelaris’s musical The Bodyguard (based on Mick Jackson’s 1992 film starring Whitney Houston and Kevin Costner) has been a transatlantic success story for over a decade, and if the official opening night of the latest UK tour is any measure, the show’s pulling power is in no danger of waning any time soon. Director Thea Sharrock’s production had a heaving King’s Theatre in raptures throughout.

With a show as well-known as this, the primary job of any touring production is to deliver on audience expectations. One tinkers with the story of R&B star Rachel Marron and her new bodyguard Frank Farmer at one’s peril. Cannily, Sharrock’s production delivers the story straight, with all of the great singing, fabulous dancing, excellent live music and scintillating stage effects that audiences have come to expect.

Melody Thornton, former member of the Pussycat Dolls, reprises the role of Rachel following rave reviews for her performance during a six-month tour of China. Ayden Callaghan plays Frank, the emotionally tortured bodyguard. Together, the duo make a really strong leading pair. Thornton’s singing has impressive range and confidence and she can mix it up movement-wise with the best dancers around. Callaghan offers a portrayal of Frank that blends machismo and sensitivity in equal measure.

Rachel Marron, played by former Pussycat Doll Melody Thornton, weeps over the body of her sister Nicki (played by Emily-Mae) Photo: Paul Coltas

The two leads deserve the plaudits they will undoubtedly receive. However, there should be a special mention for Emily-Mae, whose vocals in the role of Rachel’s sister Nicki meet those of Thornton stride for stride.

The story itself – which shifts between the informality of Rachel’s mansion and a karaoke club, plus the glitz and glamour of big venue stage shows – provides the musical with variety in both tone and appearance. It’s an engaging story of fear, love, loss, redemption and, of course, action. What it isn’t is a narrative of particular subtlety or nuance.

Rachel’s initial resistance to Frank’s professional requirement to restrict her movements makes for an almost adolescent antipathy. Likewise the needling between Rachel’s publicist Sy Spector (James Groom) and the bodyguard. The characterisation of The Stalker ties the show to its cinematic roots. Marios Nicolaides’s threatening, hooded figure is so palpably malevolent that he seems like a cross between the maniacal Scorpio in Dirty Harry and Travis Bickle in Taxi Driver. In visualising The Stalker, video designer Duncan McLean goes hyper-Hitchcock with a suddenly revealed special effect that had the Glasgow audience screaming in terror, then laughing in shock.

However, for all its pyrotechnics and visual spectacle, the real star of The Bodyguard is Whitney Houston’s music. From the opening ‘All At Once’ to ‘Where Do Broken Hearts Go’, Thornton sings these much-loved numbers with all of the necessary feeling and vocal dexterity. Whether leading a brilliant ensemble of dancers or singing a hymn with young son Fletcher (played beautifully by Frankie Keita), this all-round musical star had the Clydeside audience in the palm of her hand.

The Bodyguard has long been a West End and Broadway juggernaut. This latest touring production keeps it well and truly on the road.

Production Credits

Various music  Alexander Dinelaris book Lawrence Kasdan screenplay

Reviewed at the King’s Theatre on 1 February 2023. Now touring until 30 December 2023

Cast Melody Thornton, Ayden Callaghan, Emily-Mae, James Groom, Marios Nicolaides, Frankie Keita et al

Direction Thea Sharrock Musical direction Sam Hall Orchestration, additional music Chris Egan Choreography Karen Bruce Set, costumes Tim Hatley Lighting Mark Henderson Sound Richard Brooker Video Duncan McLean