The Bodyguard The Musical at Theatre Royal & Concert Hall Nottingham Review

DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW

Reviewed by Katy Nettleton

There’s something magical about watching a story you already know unfold live, and The Bodyguard at Nottingham’s Royal Concert Hall proves that familiarity is no obstacle to being genuinely swept away. From the opening moments, this production grabs your attention and doesn’t let go until the joyous, party fuelled finale.

Adam Garcia’s Frank Farmer is the emotional backbone of the show. He begins as guarded and buttoned up, all professional distance and clipped efficiency, but Garcia charts a beautifully judged transformation across the evening, thawing from that cool exterior into something warmer and more open by the curtain call. It’s a performance built on restraint, which makes the moments he lets his guard down land all the more powerfully.

Just as unsettling, in the best way, is James Lee Harris as the Stalker. Harris brings a real sense of menace and unease to the role, that classic “he’s behind you” dread, while somehow also threading through it flickers of longing and even tenderness. It’s a performance that runs through the full emotional register: strength, warmth, worry, happiness, fear, hope, love for family, and jealousy, often within the same scene, and the way the character hides in plain sight among the family gives the whole show an added layer of tension.

At the heart of it all is Mireia Mambo as Rachel Marron, and she is a genuine tour de force. Her athleticism and dancing are impressive in their own right, but it’s her voice that truly sets her apart, one capable of carrying real pain and worry, not just power. What struck me most was how much feeling she brought to the role throughout: this wasn’t a superstar simply performing her hits for an audience within the story, but a woman whose walls come down over the course of the evening, much like Frank’s. She lets herself feel, and lets herself believe, rather than just putting on a show, and that honesty is what makes Rachel’s journey so affecting to watch.

Sasha Monique’s Nicki Marron is a genuine highlight. In the story, Nicki is meant to live in her superstar sister’s shadow, but Monique’s voice is impossible to overlook, it’s the kind of performance that makes you understand exactly why this character’s talent can’t stay hidden forever, story or no story.

And then there’s Fletcher, played with irresistible mischief by Mason Dyett. From his very first entrance, Fletcher pulls focus and charms the whole auditorium, a cheeky, loveable presence that sets the tone early and keeps the energy buoyant whenever he’s on stage.

Visually, the production has a wonderful trick up its sleeve: at times it feels like watching an old American movie palace unfold in front of you, with scenes screened off and partially obscured to create a cinematic, voyeuristic quality. It’s a clever device, especially during the Stalker’s scenes, where he operates in the shadows behind a screen, controlling what we see. Those sequences are riveting, the whole auditorium seems to hold its breath, and there’s a real sense of intrusion, as though we’re watching something far too private for a stage.

Just as impressive are Rachel’s costume changes, which sometimes happen in full view rather than hidden in the wings. Far from breaking the spell, it becomes part of the spectacle, bold and confidently staged. The ensemble dancing throughout is high energy and high impact, and the singing is genuinely skin tingling; you feel the weight behind every lyric rather than just hearing it performed.

One of the smartest choices in this production is its pacing. The first act runs just over an hour, and it’s exactly right, long enough to do the story justice, short enough that nothing drags. The balance between dialogue, music and dance is well judged throughout, so the storytelling never feels like it’s simply pausing for the next big number. Whether you know the film inside out or you’re coming to the story fresh, it’s a genuinely well-choreographed and well told couple of hours.

This is a standout production, emotionally rich, visually inventive, and paced to perfection, before it sends you out into the night on a genuine high with a finale that turns the whole auditorium into a party. Whether you’re a longtime fan of the film or new to Rachel and Frank’s story, this touring production of The Bodyguard is well worth catching during its run at the Royal Concert Hall Nottingham, 13 to 18 July 2026.

Website: www.trch.co.uk | www.thebodyguardmusical.com
Socials: @RoyalNottingham | @thebodyguarduk | @thebodyguardmusical

Rating: 5/5!