Book: Alexander Dinelaris

Additional Music: Chris Egan

Director: Thea Sharrock

You can’t fault it for crowd pleasing. The 1992 film has become, for many, an iconic classic and several of the songs were global, award-winning hits. Spectacular staging with Mark Henderson’s lighting and Richard Brookner’s sound plus pyrotechnics gets it off to a bang – literally.

The plot is a simplified version of the film. Rachel Marron (Sidonie Smith) is an A list star, being threatened by a toxic stalker (James Lee-Harris): cue for lots of Woman in Black-style sinister ubiquity.  So Rachel’s manager imposes a bodyguard, Frank Farmer (Adam Garcia) on her. At first she is reluctant to accept the intrusion but eventually they fall in love.  Alas, there’s no happy ending – just a final passionate parting.  Also in the mix are her young son Fletcher ( Cale Cole on press night – very good), her envious sister Nicki and the existing security man whose nose is out of joint, among others.

Smith is a fine singer and very good at catching mood which she packs with emotion. And her range is impressive, whether she is strutting her character’s professional stuff in performances and recordings or reflecting gently and privately at home. Garcia provides a good down-to-earth contrast and makes it clear why chemistry soon stirs between them.

Because this is a show, partly, about show business there is plenty of scope for big, bone-rattlingly loud set pieces in which Smith is supported by a terrific dance ensemble. Choreographed by Karen Bruce, who clearly loves geometric shapes, they are rivetingly, sinuously, show-stealingly athletic.

Henderson’s rotating spots which sweep the audience like dazzling car headlights are unpleasant. At other times there are glitzy frames for Rachel’s performances and lots of murky corners in the “real life” scenes.

The show includes a rather good scene in a karaoke bar. If you can sing perfectly in tune, as every member of this cast can, it is actually pretty difficult to sing off key. Three ensemble members do it here to comic effect followed by Garcia’s Frank, It’s effective comedy hooked into poignancy because eventually Rachel, hitherto anonymous as Frank’s date, sings.

Full marks to stage management. This is a slick show with many scene and costume changes which are impressively seamless.

What happened, however, to putting the press in good seats so that they get a clear view of what they’re reviewing? The sightlines at New Wimbledon Theatre are dreadful from Dress Circle J6.

Runs until 21 February and tours until 15 August 2026