The Bodyguard, Adelphi Theatre | Theatre reviews, news & interviews
The Bodyguard, Adelphi Theatre
Latest screen-to-stage transfer descends into dopiness
It's Academy Award season within the showbiz-centric world of The Bodyguard, but even the greatest of Oscar obsessives - count me among them - would be hard-pressed to toss many a trophy in the direction of the 1992 film or toward the largely stillborn stage musical that it has now spawned. Widely panned at the time of release (the film received more Golden Raspberry nods for the year's worst than it did golden statuettes), its pulpy narrative looks even more threadbare on the West End stage, notwithstanding the news value of the return to the musical theatre after a dozen years of Broadway actress-singer Heather Headley, following in the screen shoes of the late Whitney Houston.
For some, the opportunity to hear the Houston songbook re-packaged will be enough, and the show to some extent renders critical discourse as irrelevant as the likes of the West End Ghost, Dirty Dancing, and Flashdance did before it. Thea Sharrock's production is better than the above-named trio, largely due to the coolly commanding Headley (pictured below) and to a physical production that is simultaneously sleek and slick, its cinematic dissolves tipping a nod to the celluloid source. Tim Hatley's design offers up moneyed chic, Oscar-night glitz, and the rural appeal of a log cabin retreat, all with an effortlessness not glimpsed elsewhere.
But all the vocal pyrotechnics and technical know-how on offer can't put right the vapidity at the core of a plot that could have been written on the back of an interval drinks order. If your idea of scintillating dialogue runs towards the following - Q: "What the hell has gotten into her?" A: "The bodyguard" - then read no further. This is the show for you.
The rest of us are left to ponder the shifts in a story of mutual distrust turned to togetherness and lust that go completely undramatised in Alexander Dinelaris's book, adapted from the Lawrence Kasdan screenplay of the Warner Bros. film. Scarcely has the eponymous bodyguard Frank Farmer (Lloyd Owen, inheriting Kevin Costner's screen role) shown up at the LA mansion of six-time Grammy winner Rachel Marron (Headley) before she is sniping at him while he dispassionately stares her down. (Owen's performance, in fact, is defined by many a firmly held gaze and this actor's inimitably deep voice.)
The two might continue indefinitely on their jointly antagonistic path were anxiety not building about the looming presence of an assassin (played by a mostly mute Mark Letheren) who on this evidence has a thing for sequins and a knack for infiltrating heavily secured awards jamborees. Indeed, quite how this gunman ends up crashing the Oscars and brandishing a weapon in full view is anyone's guess, credibility evidently not of paramount importance.
But scarcely have lines been uttered on the order of "do you think he's out there?" before Frank and Rachel are making love, not war, their rapprochement abetted by a night out at an LA karaoke bar at which Rachel goes entirely unnoticed, her superstardom apparently not enough to render her recognisable to the women at at an adjoining table. So much, I guess, for gawker.com, while all it takes is one "C'mere!" delivered sotto voce by Frank (see Owen pictured above), and Rachel falls into his protective arms. And so what if at least two others among the male ensemble look far more physically apt than Owen for the role?
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 7,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Let the right Mormons in: a bit of everything in theartsdesk's tips
A joyous, ebullient adaptation whose real romance is with theatre itself
New play about the Crusades fails to communicate the lessons of history
An updating of Euripides which retains its mythical power
Brief encounters with the legendary New York diva
Or the importance of doing Wilde gracefully, in sensitively handled play-within-a-play
Lynn Nottage's Off Broadway hit is a London heartbreaker
Three striking American plays provide insight into female experience
A delightful dramatisation of a meeting between William Blake and Thomas Paine
A new play about religion and prejudice is just too traditional in form and content
Martin Freeman’s smooth villainy fails to reveal the twisted depths of his hunchback king
Maureen Lipman shines in West End transfer of post-Holocaust romantic comedy