The Bodyguard returns to the Palace Theatre Manchester under the direction of Thea Sharrock, bringing with it all the high-stakes drama and musical spectacle audiences have come to expect from this stage adaptation of the Warner Bros. film. With a screenplay by Lawrence Kasdan and a stage book by Alexander Dinelaris, charged with delivering drama, romance, and some musical theatre’s most challenging songs, the production faces inevitable comparison to its celebrated origin.
The story centres on Rachel Marron, an internationally adored singer whose fame places her in serious danger. When anonymous threats escalate, former Secret Service agent Frank Farmer is brought in to protect her. Initially resistant to the intrusion, Rachel clashes with Frank’s rigid professionalism, yet as the threat intensifies, trust and vulnerability begin to form. While the musical follows a familiar narrative path, it relies on tension and iconic songs to keep the audience emotionally invested.
Sidonie Smith takes on the formidable role of Rachel Marron. Smith is no stranger to leading roles, having previously impressed audiences in productions such as Funny Girl, Grease, and West Side Story. Her confidence on stage is evident, and she carries the physicality of a global superstar convincingly. Vocally, however, her performance was uneven. Smith’s sound frequently sat in a forward, nasal placement, which affected tonal richness. Given the demanding nature of numbers like “I Have Nothing,” “Run to You,” and “I Will Always Love You,” vocal consistency is crucial. While she approached these songs with commitment, some of the climactic notes lacked the emotional release and security that audiences anticipate, resulting in moments that felt restrained rather than soaring.
Adam Garcia portrays Frank Farmer with controlled intensity. Known for his work in Saturday Night Fever, Wicked, and numerous screen projects, Garcia brings considerable experience to the role. His Frank is disciplined, guarded, and physically commanding, traits that anchor the character effectively. Although the romantic connection between Frank and Rachel felt underdeveloped and unconvincing, Garcia’s portrayal remained solid, offering a believable sense of duty and inner conflict.
A true highlight of the evening came from Sasha Monique as Nicki Marron. With exceptional vocals and commanding stage presence, Monique delivered a performance that was both emotionally raw and technically strong. During shared moments with Smith, particularly in duets, Monique’s vocal control and expressive delivery consistently stood out, often eclipsing the lead performance. Her portrayal added emotional weight and complexity to the narrative.
The supporting cast contributed well throughout. Matt Milburn infused Sy Spector with an energetic edge, while John Macaulay’s Bill Devaney carried authority and composure. Jonathan Alden brought warmth to Tony Scibelli, providing lighter moments when needed. James-Lee Harris was particularly impressive as the stalker, crafting a chilling, unpredictable presence. His performance generated genuine tension, with sudden appearances prompting audible gasps and keeping the audience firmly on edge.
Visually, the production opted for a streamlined set design that relied heavily on lighting and video projection. While minimal, this approach proved effective, allowing swift scene changes and enhancing atmosphere. The lighting and video designers deserve significant credit for elevating the staging. Costumes delivered full glamour, reflecting Rachel Marron’s celebrity world, with several slick and seamless costume changes adding polish.
Choreography by Karen Bruce was vibrant and expertly executed. The ensemble was exceptionally strong, performing with precision and energy that lifted the production considerably. Their contribution cannot be overstated. The presence of a live orchestra further enriched the experience, adding depth and emotional nuance throughout the evening.
Fletcher, portrayed on this occasion by Cale Cole, brought charm and warmth to the stage, providing a welcome softness amid the tension.
Having seen The Bodyguard numerous times, this production felt refreshed in certain aspects and held my attention throughout. However, the central love story felt rushed and emotionally underpowered, ultimately falling flat. While the show is undeniably entertaining and packed with crowd pleasing numbers, it did not fully land as a big budget theatrical experience. Nonetheless, it remains an enjoyable night at the theatre, buoyed by a strong ensemble and moments of genuine impact.
Overall, The Bodyguard remains a feel-good crowd pleaser, packed with instantly recognisable songs that linger long after the final curtain call. It is the kind of show that has audiences humming familiar melodies on the journey home, swept up by the nostalgia and scale of the production. With its popular score and moments of high energy spectacle, it is clear why this musical continues to resonate so strongly with theatregoers and remains a firm audience favourite wherever it tours.
The show runs until Saturday 31st January 2026 and tickets can be purchased via ATG Tickets – https://www.atgtickets.com/shows/the-bodyguard/palace-theatre-manchester
Reviewer: Katie Leicester
Reviewed: 19th January 2026
North West End Star Rating: