By Gerry Falco.
The Bodyguard, the popular movie turned play, is currently running at the White Plains Performing Arts Center until May 12th. The screen-play, starring Whitney Houston and Kevin Costner is now more than twenty-five years old. Hard to believe. The movie (by Steven Kasdan), screened for the first time in February 1992. The musical adaption by Alexander Dinelaris was not debuted until 2012 following several years of development to modernize the plot. The musical production has been featured in various cities as part of a world tour in the years since. This production is directed by Frank Portanova.
Creating a play from a full-length movie has its challenges most notably that of condensing a sizeable plot into a limited number of live scenes. This leaves gaps in time and character development that are difficult to fill. In this play, adverse characters become friends and even lovers without the viewer knowing much about the background upon which those relationships are formed. In the main plot, professional bodyguard Frank Farmer (Sean Hayden), a no-nonsense tough-guy, is hired to protect pop diva Rachel Marron (LaToya London) from a very formidable and evil stalker (Tyler Whiteman). As anticipated, the pair become unlikely lovers in the course of a very few scenes. The cast is very large and well played. The oft neglected but very talented sister of the pop star is Nicki Marron (Cecilia Snow), and Ms. Marron’s ten year old Fletcher was played on this night by young Nazir Garnett who is both adorable and talented.
Naturally, the strength of this play is its music. Unless you have been living in a sealed biosphere for the last quarter century, you are surely familiar with the many pop tunes made popular by the late Ms. Houston in the 1990’s. The music is directed by Stephen Ferri, and most of the hit tunes are belted out by Ms. London whose beautiful voice becomes stronger with each number. The best is saved for last. The other well-known tunes are performed by Ms. Snow whose voice is flat-out spectacular. There are a few duets between them plus an endearing number involving the two plus young Fletcher. The chorus voices are supported off-stage by a large contingent of pit-singers. The resulting collaboration is both powerful and pleasing. The instrumental music is live and performed back-stage by several musicians who are occasionally made visible to the audience as the play moves forward.
The musical production is generously supported by intricate and glitzy dance numbers choreographed by Daniel Gold and professionally performed by a large cast of talented dancers. Costuming is directed by (Antonio Consuegra). The ingeniously creative and eye-catching set is designed by Christopher and Justin Swader and is supported by the excellent and varied lighting combinations (designed by Adam Honore’) and high-quality sound production (designed by Jon Weston).
The action begins immediately and for the most part flows right through to the finale, which is soaring and enjoyable. The encore is used, in part, to showcase the individual talents of some of the cast members. This play runs for two and a half hours with a fifteen-minute intermission, but it feels much shorter because of the constant action.
And, finally, a note about the Performing Art Center itself; It is a gem. The venue is modern, the seats are very comfortable, viewing angles are great and the sound quality is first-rate. With all this, ticket prices are very reasonable. If you haven’t visited this venue yet, perhaps you should.