The Bodyguard--Oh, Please, Let the Music Never End

By Joseph Cervelli

Shhh!  A stalker (Jorge Paniagua)  is lurking around wanting more than just to meet superstar Rachel Marron (Deborah Cox) in the overly melodramatic and, at times, laughably bad, London import musical “The Bodyguard” based on the film currently at the Paper Mill Theater. 

The musical casually directed by Thea Sharrock along with bookwriter Alexander Dinelaris who was more successful with his “On Your Feet” have aimed for a cinematic feel with photos of the stalker on the scrim looking up in a menacing manner and then later a scene directly out of Lifetime  with Marron and her bodyguard  Frank Farmer (Justin Mills) juxtaposed. There is no doubt that the latter was accomplished to give a thrillingly romantic feel. Sadly, Mills who has no stage presence and the chemistry between he and Cox is in a deep freeze that you never for a nano second believe their involvement. And what about the “holes” in certain scenes? Please, give me a moment. 

The opening production numbers is most definitely supercharged with Cox’s sensational singing voice. Aptly named “Queen of the Night” it most definitely fits the lead actress and let’s not forget that can also apply to the equally wonderful Jasmin Richardson who portrays Rachel’s sister. Both have towering voices that resonant each of the gorgeous songs made famous by the late Whitney Houston. The difference is that as good a singer as Cox is her acting is adequate while Richardson gives a very heartfelt performance as the singer who never made it big. To make things worse Nicki is madly in love with Frank even though they never had any type of relationship. Richardson does a beautiful job on the lovely  “Saving All My Love for You” and this is one instance where the lyrics fit in with the action. Yet, when Richardson sings the immensely touching “All At Once” late in the second act it makes little sense for that song exemplifies a long relationship which she and Frank never had. So, it like others are just fillers for the repertoire of the magnificent songs sung by Whitney Houston through her all too short career.  

Right from the start Rachel is a true diva feeling that she does not need an an ex-secret service agent who is a professional bodyguard. She already has one Tony (Alex Corrado) who is apparently not as adept as the new guy. Rachel also has a young son Fletcher (Kevelin B. Jones III). Jones gives a likable performance and has the energy to keep up with the ensemble of gyrating dancers. While Karen Bruce’s choreography is certainly lively it is commonplace and while Mark Henderson’s lighting is quite good (love those dark moments with the Stalker ominously entering the stage) the sets by the usually quite good Tim Hatley (also providing the costumes) are non descript. 

Despite the bumpy relationship between Rachel and Frank he does accompany her to a Karaoke Bar where she will not be know. Really?? A major pop star walks into a bar and expects not to be noticed.  Three young ladies known as the College Girls do a purposely awful  job of “Where Do Broken Hearts Go?” as wont most people in such a bar. Then for no reason other than to offer comic relief (please, there is enough unintentional ones in this show as is) Frank “sings” off key “I Will Always Love You.” Now, let’s just take a moment. Granted he cannot sing so instead of having Sharrock play that scene strictly for laughs she could have built more of a connection between the two leads. Not easy to do when you have Mills who, unfortunately, seems to be wading through the role, but worth the try. 

But then--key up the ominous music--when Rachel breaks into “I Have Nothing” at the bar who is there with a knife but Mr. Stalker.  May I also add that earlier in the show for no particular reason  we see a shirtless Paniagua with six pack abs in what amounts little more than a Calvin Klein ad. 

The second act begins with Rachel and Frank now in love in bed and and wham! (are there no locks on the door) in walks the unsuspecting Nicki.  And speaking about locks on the door, how did the Stalker get into the cabin so easily where the four are staying. Another scene making little sense is at the Academy Awards where Rachel is singing the nominated song she wrote with Nicki when who should appear standing aiming a laser pointed gun at her but--HIM! No one immediately saw the red light from the gun going from the bottom of her dress to her head? 

As gorgeous as the ballads are and while the ingratiating production numbers do please, especially “I Just Want to Dance With Somebody” which is given an encore, once the music ends and the dialogue and book take over over the calamity begins. 

As an aside, while there is not currently a cast recording of this production the London version with an excellent Alexandra Burke is equally good. 

Tickets are available at the Paper Mill Playhouse 22 Brookside Drive, Millburn, NJ or by calling 973.376.4343. Limited engagment ends January 1.

Photo credit: Matthew Murphy