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The Bodyguard The Alexandra Theatre **** The hit film, the second biggest earner
of 1992 despite lukewarm reviews, has become a hit musical and it is
easy to see why. For a start it has a string of Whitney Houston hits,
music we all know, which makes it familiar, nostalgic even, and, let’s
be honest, there are some cracking songs in there. Then the story is simple and easy to follow with
a megastar diva under threat clashing with a bodyguard she doesn’t want
but who is willing to die for her. Mind you, apart from the dying bit,
it is a job with fringe benefits, so we do get a brief love affair,
along with a few laughs, a sinister stalker and a final showdown. Oh, and then there is that song, I will
always love you, (which Dolly Parton’s bank account certainly
does), which owned the charts for ten weeks back in the day. The film
cemented Houston as an international star and the musical will certainly
do Emily Williams no harm. The New Zealand born, Australian star, born into
a Samoan family, has the southern hemisphere pretty well sewn up, but
this could be her one moment in time – she might not be a household name
in these parts yet but with a magical voice that can soothe one minute
and raise the roof the next, it shouldn’t take long for word to spread. She takes pop diva Rachel Marron by the scruff of
the well pampered neck and makes the role her own managing quiet
romantic ballads such as The Greatest Love of All and power
ballads such as One Moment in Time with equal ease.
Emily Williams as Rachel Marron, singing that song, the Whitney Houston cover with a billion plus hits on YouTube, streamed more than 100 million times in the UK and topping the charts for 10 weeks in 1992. Pictures: Paul Coltas Not that she has it all her own way though.
Emily-Mae as Rachel’s sister Nicki is right up there with a voice to die
for. It can drift into jazz or ballads or anthems without dropping a
beat and for both Marron sisters you could hear every word, every note
was clear and on the duets their voices blended quite beautifully,
always controlled, balanced and harmonious. Ayden Callaghan (Hollyoaks) gives us a rather
humourless Frank Farmer, former secret service agent turned bodyguard
for hire. Mind you if you knew any little mistake in your job meant you
were likely to get shot dead it would take the gloss off many an office
party at this time of year. We also discovered that Frank is a far better
bodyguard than singer as he was to prove in a karaoke bar making Lee
Marvin’s wandering star sound like Pavarotti. A reluctant Frank is hired by Rachel’s worried
manager Bill Devaney, played by John Macaulay, after threatening notes
left in the star’s dressing room. Frank doesn’t do celebrities but once
persuaded is committed to the job, making enemies of Rachel and her
entourage from the moment he arrives and shows her so-called security at
her mansion is non-existent. Bill spends much of the first act
persuading Rachel and her team Frank is needed.
Ayden Callaghan as Frank Farmer, the bodyguard, and Emily-Mae as Nicki Marron The only person not riled is Rachel’s young son
Fletcher, with a lovely performance from Sam Stephens on Press night.
Sam has a good voice, lovely stage presence and is a product of The
Royal Ballet School, so dances like a pro. All around Rachel are the trappings of celebrity.
There is her publicist Sy Spector, played with an air of I don’t
really care what happens as long as it gets on TV and in all the papers
by James Groom, and her head of what it turned out to be non-security,
Tony Scibelli, from an initially surly Greham Elwell, Tony is to come around as he learns the finer
points of keeping your client alive while Sy . . . keeping Rachel alive
keeps him in a job, but putting her in danger keeps her in the
headlines, so it’s a tough choice. Then we have Marios Nicolaides as the stalker,
always a shadow in the background, waiting for his chance, well second
chance really as he really messed up the first one – can’t say any more
but he should ask for ID next time, that’s all I’ll say. It’s a nice touch at the curtain call for him to
have a friendly short duet with Rachel. The plot might be a bit cheesey, but it is at the
quality vintage mature cheese end, and, despite a few holes in the
storyline if you look too closely, it does provide rock solid
entertainment, doing everything it promises on the tin, or poster in
this case, with Alexander Dinelaris’ book mirroring the original
Lawrence Kasdan screenplay as far as possible on stage. There have been changes over the years and without too much of a spoiler the final stalker scene is a little weak these days.
We have the psycho with his laser guided gun
targeting the audience in a dramatic moment with his red beam slowly
traversing the punters threatening death (some people even ducked!) –
then during the Oscars he wanders on stage close enough to use a
flintlock pistol with no laser in sight. They could at least have
stretched out the threat and tension with a bit of red beam targeting to
whet our appetites ready for violence. Always around as well are the hard working
magnificent seven in the ensemble, with some lively and acrobatic dance
routines (choreography Karen Bruce), Then there are two more stars in
the show with Duncan McClean’s video designs on a full stage scrim
screen adding interest and almost a film noir feel, then the set and
costume design from Tim Hatley and lighting from Mark Henderson, which
took on a life of their own, changing scenes and moods in the wink of an
eye, showing what computer controlled LED lighting can manage. Behind it all was the music from a six strong orchestra under Musical Director Sam Hall, an orchestra who managed a big sound for such a small number, all well balanced by Richard Brooker's sound design. The Bodyguard is a sparkling alternative to panto which promises an entertaining evening packed with classic hits It might not be festive, but it is still a cracker. Directed by Thea Sharrock, Frank will be doing his best to keep Rachel alive to 30-12-23. Roger Clarke 04-12-23 |
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