On Theater: Music and suspense blend in ‘The Bodyguard’

By Tom Titus

June 1, 2017 3 PM PT

Music and suspense are two qualities that rarely coexist on the stage, with the notable exception of “The Phantom of the Opera.” Now Segerstrom Center for the Arts is offering another sterling example with “The Bodyguard.”

Adapted from Lawrence Kasdan’s 1992 movie starring Whitney Houston and Kevin Costner, this “Bodyguard” deftly divides the lyrical and the sinister under the splendid direction of Thea Sharrock. We get the mega-hit solo “I Will Always Love You,” just not when and from whom you might expect — at first.

The nail-biter of a plot concerns pop singer Rachel Marron, who is threatened by a stalker and hires retired Secret Service agent Frank Farmer to provide personal protection. As you might imagine, his protection becomes truly personal by intermission.

Excelling in the role of the diva is Deborah Cox, who once recorded with the late Houston and channels Houston’s stamina and vocal ability in this showcase assignment. Cox is as accomplished dramatically as she is musically, a powerhouse of an entertainer in a show-stopping performance.

Judson Mills steps into Costner’s shoes as the bodyguard, offsetting Cox’s career-oriented energy with a hardened realism that’s chipped away bit by bit as he begins to fall for his client. He’s no vocalist but he does sing one number, and audiences will be astonished at the song he chooses.

Jasmin Richardson — who understudies Cox and will headline the show on Saturday matinees and Sunday evenings — delivers a snappy performance as Rachel’s sassy sister who also has her eye on the new bodyguard. Douglas Baldeo is a nicely upbeat Fletcher, Rachel’s young son — he’s replaced by Kevelin B. Jones III for the Saturday afternoon and Sunday evening shows.

Reflecting an evil so pure that he’s booed on his curtain call is Jorge Paniagua as the murderous stalker. Curiously, Paniagua also understudies the role of the bodyguard. Charles Gray, Alex Corrado and Jonathan Hadley provide strong support as the singer’s assistants.

The show plays out on a series of settings nicely designed by Tim Hatley. Karen Bruce’s zippy choreography highlights the talents of the show’s ensemble, which struts its talents briskly under the baton of musical director Matthew Smedal, especially in the rousing post-curtain all number.

One sore spot in the show is lighting designer Mark Henderson’s choices of illumination. While the stage is beautifully lit with ever-changing hues, the flashing of harsh, bright lights into the faces of playgoers isn’t artistic — it’s irritating.

Fans of the 25-year-old movie version should be pleased with the stage adaptation of “The Bodyguard.” It’s a show with suspense set to music at the Segerstrom Center for the Arts.