Review: THE BODYGUARD at Chateau Neuf

Bodyguard: The Musical at Chateau Neuf in Oslo is an ambitious production that dazzles with high-energy performances, stunning visuals, and a "score" packed with Whitney Houston's iconic hits. Starring Mimmi Tamba as Rachel Marron and Odd-Magnus Williamson as bodyguard Frank Farmer, the show is based on the 1992 film of the same name, written by Lawrence Kasdan. Directed by Thomas Agerholm and Lisa Kent, with set design by Benjamin La Cour and choreography by Sonny Fredie Pedersen, this production captures the glamour and intensity of Rachel Marron’s world.

he story centers around Rachel Marron, a world-famous pop star who becomes the target of an unknown stalker, prompting her team to hire former Secret Service agent Frank Farmer as her bodyguard. While initially reluctant to accept Frank's presence and strict methods, Rachel gradually grows closer to him, and a complex relationship develops between the two.

The show retains the core plot of the original film but introduces a few significant differences in its adaptation for the stage. In the musical, the role of Rachel Marron’s sister, Nicki, is expanded. Nicki, who has feelings for Frank and struggles with jealousy over Rachel's fame, becomes a more central character. In the film, her relationship with Frank is less prominent. The musical heightens Nicki's emotional complexity, which adds a deeper layer to the sisterly rivalry and tension within the plot. Additionally, the stage version features more prominent use of Whitney Houston's song catalog beyond the soundtrack of the original film, giving the musical a stronger focus on Rachel’s career as a performer and creating high-energy moments that differ from the film’s more subdued tone.

Bodyguard is show that is difficult to lable. Even though it says "musical" in the title, the production is filled with iconic songs like "I Will Always Love You" and "I Have Nothing," these numbers are (for the most part) concert performances and serve more as showstoppers than integral parts of the storytelling. In traditional musicals, songs serve to advance the plot, reveal character motivations, or heighten emotional moments. Here, however (and especially the first half of act one) the songs do little to serve the narrative, more like a interludes than a true dramatic expression. While this may be a minor quibble for some, it highlights an important distinction between the two types of musicals, jukebox musicals being the other. But there are moments when the show transcends into a deeper theatrical territory. Examples of this is when Rachel sits at the piano scribbling down what becomes "The Greatest Love of All" or when the sisters sing "Run to you".

Mimmi Tamba as Rachel Marron is an absolute revelation. From the moment she steps onto the stage, she commands the audience’s attention with a voice that can only be described as powerhouse. Tackling Whitney Houston's legendary hits is no easy task, but Tamba not only meets expectations, she exceeds them. Her emotional range as a performer is equally impressive, capturing Rachel’s vulnerability beneath her confident public persona. It’s a star-power turn that drives the production forward, and Mimmi Tamba’s perfomance alone makes the show a must-see.

Odd-Magnus Williamson as Frank Farmer offers a strong counterbalance to Tamba’s energy. His portrayal of the stoic, no-nonsense bodyguard carries a quiet intensity, and his performance suggests a deep internal conflict. However, while Williamson’s Frank has the necessary gravitas, the chemistry between him and Tamba feels a bit off at this early stage in the production, but this is likely something that will grow as Tamba, Williamson settle into the role over the course of the run. Given both actors’ strengths, it’s easy to imagine their relationship deepening and gaining more authenticity with time.

Anna-Lisa Kumoji as Nicki Marron provides a strong, soulful and very compassionate performance. Her voice is stunning and heartfelt. In the supporting roles Dennis Storhøi is solid and grounded as Bill Devaney. Håvard Lilleheie and Mads Henning Skar-Jørgensen bring lightheartedness and charm to their roles as Sy Spector and Tony Scribelli. Kim Helge Strømmen in devilishly creepy as "the stalker", and Håvard Eikeseth makes an intense yet humane portrayal of detective Ray Court, always reminding the audience of the dangers lurking in the wings.  Special praise to 11 year old  Oscar McEvitt Braathen as Rachel's son Fletcher. What a debut!

Directors Thomas Agerholm and Lisa Kent have made a production very easy to follow. They have made effort in making the characters more dimensional, and yet keeping the entertaining spectacle that this show should be. The choreography by Sonny Fredie Pedersen felt a little generic at the start of the show, but as the evening progressed became more and more impressive. It is slick and well-executed, keeping the energy high throughout.

One of the real highlights of the show is the set design by Benjamin La Cour, which is nothing short of elegant. Three revolving floors and modern LED set pieces transition smoothly between the various locations in Rachel's life, from her luxurious home to high-octane concert scenes. The design is visually impressive, providing a polished backdrop to the action on stage and lending the production an undeniable sophistication.

However, while the performances and technical aspects are largely excellent, the script leaves something to be desired. Alexander Dinelaris' script can feel stale at times, with dialogue that sometimes leans too heavily on exposition and fails to delve deeper into the emotional core of the characters.

Bodyguard: The Musical is real crowd-pleaser! And the most pleasing aspects are Mimmi Tamba, Anna-Lisa Kumoji and the very talented ensemble. If you’re a fan of Whitney Houston's music or looking for a night of big performances and visual flair, "The Bodyguard" is a solid choice, though purists of the musical genre might find themselves craving more from the storytelling.

Production photos by Fredrik Arff

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