The spectacle of ‘The Bodyguard The Musical’
The spectacle of ‘The Bodyguard The Musical’
Fact: Every Filipino and their mother grew up listening to and singing Whitney Houston songs. I remember as a kid the school would hold a singing contest during foundation day. I would check the program and see Whitney Houston’s “Greatest Love of All” on the list of songs that the candidates would perform. Music filled every room of Filipino households and Whitney’s songs left a lasting mark in Filipino karaoke culture. I’ve heard people sing “I Have Nothing” and “I Will Always Love You’ several times, so hearing Whitney songs in The Bodyguard the Musical gave me a whirling trip of nostalgia. Christine Allado, from the original West End cast of Hamilton, was the perfect person to sing Whitney, alongside Sheena Palad, who plays her sister in the play. Unfortunately, that’s all there is to this production.
The Bodyguard the Musical, based on the Kevin Costner-Whitney Houston 1992 film, follows Frank Farmer, a former Secret Service agent, as he takes on an assignment to become a bodyguard for Rachel Marron, a pop idol, who has received threats from an obsessed fan. The film and the musical both played out their relationship as an enemies-to-lovers type of romance, where Rachel and Frank clashed at first, but then warmed up to each other when they learned more about each other. Those familiar to the film may find some differences, including a love triangle between Nicki, Frank, and Rachel.
At first, it was unfathomable for me that they made a musical based on this Razzie-nominated film. Then again, it’s inevitable to adapt a Whitney Houston film into a stage musical. I mean, who wouldn’t want to sing Whitney for eight shows a week (typical number of performances per week at Broadway and West End)? It’s a film I would often see on our television when I was young (in Filipino dub), so I was familiar with the material they are working on and honestly, there are some things that just work better on screen and are harder to capture on stage. Perhaps it’s the direction of the production for there are several times when tension should be felt, but the play ultimately underwhelms the audience with laughable “slow motion” scenes that feel rushed.
To quote a line from a Tarantino film: “Just because you are a character doesn't mean that you have character.” This is what the book of the musical did with all of its characters: never fully developed them. For a character whose main job is the title of the musical itself, we learn so little of his character. The playwright thinks they can develop Rachel and Frank’s relationship (and cram much of their respective backstory) by dedicating just one scene of them going on a date at a bar, telling each other of their upbringing, and singing a couple of Whitneys (Rachel Marron in the musical’s universe). Rachel’s relationship with her sister was underdeveloped too. We only know of their past with a few stories Rachel and Nicki shared to Frank on separate occasions but we never really see the extent of it and how they are as sisters.
The direction would’ve saved the underbaked, soap-opera story of the musical, however, it further dragged down the material with appalling choices made. The tone is inconsistent for it doesn’t know whether to be a drama or a thriller (or a comedy at times). The scene transitions consist of many dead airs and noticeable sounds from the movement of some set pieces which made it seem like an elementary production. Blackout transitions are normal but considering the lights in the stairway inside the brand-new Proscenium Theater stays lit even during the show, you can see the stagehands move the set pieces onstage which dispels whatever glitz they’re serving for the audience. Moreover, there are productions this year that made transitions seamless and flawless, from relatively smaller scale productions such as Walang Aray, to similar big scale productions like Delia D. These long, blackout transitions kill the momentum of the show which is supposed to be high-energy and dramatic.
Going back to the “slow motion” scenes mentioned earlier: These scenes could’ve been more intense had it been executed better. The concert stampede scene could’ve used more ensemble in the crowd and a better and dramatic lighting design, while the Oscars scene could’ve played with the sound to induce more panic for the viewers watching. Instead, these scenes, like said earlier, became laughable and disappointing.
If you can get past those glaring flaws, you can certainly get something enjoyable out of this production. I got a thrill watching Christine Allado belt out Whitney Houston tunes that transported me back to my childhood. Her performance proves her prowess as a performer, because who can sing all of those songs without a noticeable strain or decline in her voice during the show? Sheena Palad is also a standout with only a couple of songs she sang in the musical. Even the minor characters gave their best and all with the few lines they got. Vien King’s performance consists heavily of body language and his performance as Rachel’s stalker is cold and menacing and he sells his character really well, considering his scenes are mostly at the farthest part of the stage away from the audience.
From the very beginning, the producers of the show have been transparent about the show’s target audience. The ticket price alone leaves you to wonder how big of a production this will be. Buying a whopping P4,000 for a low tier seat should make you feel entitled that you are going to be given a fantastic show with flawless direction and captivating set design. Sadly, all they can serve is nostalgia and if you’re comfortable with that, then you’ll be okay, flaws and all.
Sadly, considering the staggering ticket price, the musical only leaves you wanting for more. The performances are definitely highlights, but no amount of “I Wanna Dance With Somebody” encores can save this production. With this and their lukewarm production of Liwanag sa Dilim, I just need 9Works Theatricals to get their sh*t together in the future.
9Works Theatricals’ production of ‘The Bodyguard The Musical’ started its run last September 26 at the Proscenium Theater, Rockwell Center, Makati.
